Background
The subject of education is so vast that an entire series of successful films could be made on it, without them repeating one another in terms of plot or message. I make no secret, of course, that the success of „XI A“ has also spurred me on. It also contributed to the swift funding of the project, which was realised entirely with private funds.
It all happened as if by magic. The script was finished in April or May, and by October we were already filming. In the world of cinema, that’s the speed of light for the „Millennium Falcon“.
Yana Marinova was unavailable during the filming period, so we had to decide what to do. We decided to look for a new actress — with all the risks that we were well aware of. This decision also meant we had to rewrite the script, whilst, at the same time, the clock was ticking. It was one of those productions where, for financial and other reasons, there’s a fixed timeframe we have to stick to.
An exhausting casting session followed. Director Maggie Ralcheva and I were faced with a tsunami of young talent, including Maria Bakalova and Itzaka. Alongside the positive emotions, we also had a few bitter moments (there are always a few).
The first was that we had to part ways with one of our leading young actresses, who opted for another production at the last minute. She was the perfect fit, and we had no one to replace her with. Fortunately, Veli Kostadinova came along, and she slotted into the role so perfectly that it was a real „click!“. A real stroke of luck. Or a blessing.
The next situation, however, came as a real shock. Once again, we had to replace an actor, once again just a few days before filming began, and once again for one of the main student roles — this time among the boys. Maggie and I had just finished rehearsals (I think it was the last day) when the actor in question came up to us and said he couldn’t play the part. We asked him why, and he explained that his girlfriend had read the script and seen that, at the end of the film, he kisses another girl. So she’d put her foot down.
Try to imagine the look of surprise on Maggie’s face and mine when we exchanged glances. We thought it was a joke. After all, doesn’t he want to be an actor? He’s even studying at NATFA! Don’t he and his girlfriend realise that he might have to kiss someone at some point?
It was utterly absurd! Utterly!
Fortunately — and thank goodness — we found a solution again. This time, we delved into the casting footage we’d already filmed and carefully reviewed all the videos — for every single role. That’s exactly where our man was hiding. We rang him up, sent him the new script, and he really shone! Far more so than the „original“! And not just with his acting qualities and skills, but also with his professionalism. Believe me, that’s very important.
I can only imagine the horror we would have had to go through on set with the previous actor and his girlfriend — regardless of whether she was going to be there or not.
Option 1: is present on site.
In that case, our man will have to be very careful about who he talks to and how; and if, God forbid, he touches her (or she touches him), he’ll certainly have to write half a forest’s worth of paper explaining why it happened, given that it didn’t need to happen in the first place.
Option 2: not present on site.
Then he’ll be in for it that evening (another phrase is on the tip of my tongue, but never mind), when he’ll have to give a detailed account of how his day went. The interrogation, complete with a lie detector, would be so brutal that the next day we’d end up with an actor wrung out like a rag, with bloodshot eyes, as if he’d been welding a balcony. No, thank you!
To be honest, as far as I’m concerned, the story of „XII A“ is every bit as good as that of “XI A”. Radina Kardzhilova was brilliant in the role of Lina, but she had to contend with ghosts and high expectations. Perhaps that is why the film did not enjoy the same success. What’s more, we didn’t have a television channel behind us to handle the advertising and distribution.
And, of course, the discord amongst the project’s leadership proved fatal. So fatal, in fact, that the film might never have been released in cinemas at all. People turned up who had nothing to do with the film industry, but because they were the ones providing the funding, they started to assert themselves and edit scenes simply because they didn’t like the colour of the bra strap… for goodness’ sake!
Just so you know.
It was just as well that Mitko Rusev turned up at that moment; he was the one entrusted with the post-production. How many days and hours we spent working with him… how many battles we fought and how many we witnessed… only we know.
The film has finally come out! I’m telling you, it was a real treat. We screened it at Cannes, then in Rome – they were both lovely experiences. The screenings weren’t a huge success, but the after-party in Cannes was certainly memorable. We were on a yacht, where you’re supposed to take your shoes off, and the host had certainly splashed out on drinks and food. At one point, an Indian producer turned up. He was offered a drink, but he said he didn’t drink. It was just as well he didn’t, because afterwards he couldn’t find his shoes.
In Rome, on the other hand, the actress Anelia Mangarova wore me out walking. It was the day of the premiere, the heat was stifling, and after walking 12 kilometres – which, according to her, was supposed to be just two – we ended up at the Trevi Fountain, which by then looked to me like nothing more than a village water tap.
But if it hadn’t been for her, I wouldn’t have seen so much of Rome.
I do feel, however, that my story has turned into a travelogue, which wasn’t the intention. But let it be known that cinema does have its charming side ;)
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