The Energy of Unexpected Connections

Jan Gogola, Jr., František of His Own Kind (František svého druhu) and the inspirational connecting of the seemingly unconnectable

František of His Own Kind

“Those who smoke, ponder upon life.“ If anyone is living evidence of Goethe's quote, it is Jan Gogola, Jr. – with the October setting sun behind his back sitting in the smoky atmosphere of the Department of Documentary Film at FAMU.

The film is from the cycle, Stories of Uncommon Energy, which originated from the co-production of the Czech Television and CEZ Group. How would you describe your participation with these subjects?
A year ago, I received a phone call from Erika Hníková asking if I would be interested in taking part in an eight episode co-production series of the Czech Television and CEZ Group about people, who do more than is required. A special ad was supposed to appear on television inviting people to submit suggestions for potential adepts. I took some time for consideration, but in the end my fears of the possible involuntary pressures one can find himself in, were over-weighed by three ideas: I was interested in the experience with CEZ Group as a different world compared to what I had encountered so far as an author – producer.  I wanted to find out if it would be possible to cooperate with such a type of powerful company in a creative way. It was a social-personal challenge analogical to my attempts in films to connect environments and situations, which at first glance do not seem to belong to each other. The fact that Erika was the dramaturge of the whole series played its role as well. She is an inspiration to me, in a good kind of way in how simply she thinks about complicated things. I was also interested in the topic about people, who do more than is required.

Did you choose the story of František on your own?
No, I submitted another man into the competition who, however, did not succeed. Nevertheless, I did not build my participation in the project upon me selecting the individual. Approximately 500 applicants signed up for the prepared cycle from which 20 were chosen in the first round. Each one of them came into the television studio to meet the representatives of Czech Television, CEZ Group and all of the directors, except for me since I was filming abroad at the time. During the meeting, eight individuals were chosen and then selected by the different directors. František was one of the two individuals from the final selection which I was most interested in and I was not alone with this preference. But based on a draw and negotiations, I was finally able to get František.

In the end, what did cooperating with CEZ Group bring?
The fact that even with CEZ Group you can cooperate in such a way that something meaningful is created. I am not just referring to the fact that the company did not put any political or ideological pressure on us while working on our film. I do not want to live in such a way that would a priori distinguish between those with whom you speak and those with whom you don't. In this sense, I find it a positive thing that not only CEZ Group, but also other big companies are partners of the  Jihlava festival. Or do we want these companies to only support football or family films? Do, for example, films have to originate only in context and for contexts that are a priori given?

The film is presented by the voice of commentator Rímsky, who we know especially from nature documentaries. Why did you decide upon such a specific form of commentary?
With each film, I aim for the form to come out of its context. Which makes each film different. In the case of František, I built upon the fact that the film is about an unusually systematic and rational person, who is, at the same time, remarkably fascinated by nature, otherwise he would not be doing what he does. And it is actually difficult to determine to what extent he lives in the human world or the animal world. So I thought that we could create a portrait in the genre of nature films, posing questions about what is still human-like and what not and whether any given border between the two worlds actually exists. This is why I chose the genre and why it was my first time incorporating    commentaries or film music. I also wanted to make sure that the chosen starting point did not overshadow the ethos of František's unusual activities.

What do you think makes him so unusual?
I will speak in general terms to not give away too much of the film. František's work has a strong impact on nature's diversity in the Břeclav region, also on the harvest of grains. The extent of his work could be an analogue to the book or film The Man Who Plants Trees, even though trees are not in the main role in the case of Franišek. The financial support from ecological institutions is not even enough to cover the expenses. And from his work's point of view, he is left with nothing. František lives with a certain ideal. And from this standpoint he can be an inspiration to everyone.

Taking into consideration the duality of a human – a bird, everything you have mentioned so far can be incorporated into the human category. In what way does his bird nature come through?
A person is also what he does. If you have a connection with something that flies, you also fly. Jean-Christophe Bailly wrote: We have wings due to which we are able to walk. For a long time I was thinking about including this sentence at the end of the film, but then I realized that it was already implicitly interwoven and that by doing so I would also disrupt the selected genre. Bailly with his seeming nonsense, states that we could possibly fly by what we do. In the case of what František does, this applies to him more than anyone.


Jan Gogola, Jr. (1971) is a journalism graduate from Charles University and the Department of Documentary Film of Prague's FAMU, where he currently works as a pedagogue. At the same time, he is an active creator of documentary films, for example the debut Vila Innocent (1996), the portrait films Rock of Life (Rock života) (2011) and The King Does Nothing (Král nic nedělá) (2012) or Kateřina Šedá: Mythmaking (Kateřina Šedá: Jak se dělá mýtus) (2013).

This interview was published full-length in Czech in the Jihlava IDFF newspapers, dok.revue F03.

Translated by Christina Skorulská





more articles from a section:  Interview

1.20None of the big streaming platforms are buying documentaries now because people are so scared in their personal lives Challenges for the film industry and festivals in the age of the coronavirusRadim Procházka
1.20We have to start with ourselves, or nothing will changeAn interview with Macedonian documentarians Ljubomir Stefanov and Tamara Kotevská, creators of the film Honeyland.Vojtěch Kočárník
1+2.19Karel Vachek: Films Just Have to Make You Laugh!One of the most original Czech filmmakers Karel Vachek made his ninth film novel called Communism and the Net or the End of Representative Democracy. Fifty years after Prague Spring and thirty years after the Velvet Revolution, Karel Vachek “with his inner laughter” looks back on the evolution of our society and predicts a transformation to direct democracy based on the possibilities of the internet that will allow for the engagement of the whole mankind without the need of representatives. His film Communism will be screened at the beginning of next year at the International Film festival Rotterdam.Kamila Boháčková
1+2.19To Surprise MyselfWhile the main competition at the International Karlovy Vary Film Festival does not feature any Czech title, the festival’s documentary section has one Czech film to offer: A documentary road movie by Martin Mareček entitled Over the Hills exploring the relationship between a father and a son, as well as the distance that separates us from others. Unlike his previous socially engaged films, the latest title provides a personal and intimate insight. But as Martin Mareček put it in his interview for dok.revue – what is intimate is universal. Marek Hovorka, Petr Kubica, Kamila Boháčková
1+2.19Greta Stoklassa: I Read Rather than Preach the RealityAn interview with the director Greta StoklassaKamila Boháčková
F2.18Special little momentsInterview with Antonio Di Biase, the director of De Sancto Ambrosio movie, which has the world premiere in Opus Bonum competition at 22nd Ji.hlava International Documentary Film Festival.Matěj Pořízek
F2.18Are we experiencing dystopia today?Interview with Frédérick Cousseau, the director of the poetic documentary called NU, which has the premiere in Opus Bonum competition at 22nd Ji.hlava IDFF.Tomáš Poštulka
F2.18Freedom of ChoiceInterview with Jacky Goldberg, the director of Flesh Memory, which will have its international premiere in Opus Bonum competition
F1.18I like to find other ways to tell a storyInterview with Jorge Pelicano, the director of the Until Porn Do Us Part, which has the premiere in Opus Bonum competition at 22nd Ji.hlava IDFF.Eliška Charvátová
F1.18Wim Wenders on Pope Francis: Courageous, Fearless, Extremely HonestMicro-interview with Wim Wenders about his film Pope Francis: A Man of His Word

starší články

6.14DOK.REVUE
29. 12. 2014


from current issue:

Situational reviewCaught in the Net should really be on the net if it’s going to change anythingDiscussion about the new film by Vít Klusák a Barbora Chalupová Caught in the NetKamila BoháčkováSituational reviewWill our civilisation negotiate this turn?American documentarian Jeff Gibbs’ activist film Planet of the Humans, which criticises the way we treat renewable energy sources, has evoked numerous controversial reactions. It’s no surprise that the producer is well-known filmmaker Michael Moore, who released the film freely on YouTube on Earth Day, when the worldwide corona virus pandemic was at its peak.Kamila BoháčkováNew releaseFREMWhat is it like to shoot a film in Antarctica? Is it possible to get into the head of artificial intelligence? And what is GAI? All this is described by the documentarist Viera Čákanyová in the text she wrote about her new film FREM in dok.revue.Viera ČákanyováNew releaseSun of the Living DeadAnna Kryvenko on the loss of compassion in the post-factual age, the battle with the chaos and hostility of the universe, and how to create a documentary essay from archive materials.Anna KryvenkoNew releaseThe story of a small provincial townNovice Russian director Dmitrij Bogoljubov tells dok.revue about the circumstances surrounding the origin of his new film Town of Glory, a co-production with Czech production company Hypermarket Film and Czech Television. The film uncovers the mentality of Yelnya, a provincial Russian town that is one of the most depressing in the country and where the legacy of the Great Patriotic War still lingers – something Putin’s establishment has successfully exploited to gain the support of the local citizens. The film was available to stream for a short time in March on the portal DAFilms as a part of the festival One World Online. This fall it will be shown on Czech Television and possibly in cinemas as well.Dmitrij BogoljubovThemeThere’s more than one feminismA reflection on women documentarians inspired by Barbora Baronová’s book Women on WomenMartin ŠrajerTheoryBiopics and the Trembling Ethics of the Real We publish here the essay by one of the most prominent minds in film today, Timothy Corrigan, who presented his essay “Biopics and the Trembling Ethics of the Real” at the Ji.hlava International Documentary Film Festival in fall 2019 as a part of his lecture for students in the festival’s educational module Media and Documentary.Tereza Hadravová, Timothy CorriganInterviewWe have to start with ourselves, or nothing will changeAn interview with Macedonian documentarians Ljubomir Stefanov and Tamara Kotevská, creators of the film Honeyland.Vojtěch KočárníkInterviewNone of the big streaming platforms are buying documentaries now because people are so scared in their personal lives Challenges for the film industry and festivals in the age of the coronavirusRadim ProcházkaIntroductionWhen local is universaldok.revue 1.20Kamila Boháčková