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Director's Statement
The first challenge for me is always to find the actors. When 1 met Tamás Polgár during my short film „AFTA/ Day After Day", I knew immediately that he would be the lead actor of my feature. Despite all the „contrareasons" — that he had little acting experience and until the first day of shooting, he was in a detention home — I was firm with my decision in casting him. Nobody could change my mind because I felt that his talent and his „nudity" in front of the camera provided such a secret for the audience that could never be revealed using a professional actor. Because of this decision, I had to match everybody to him, and that is why we mainly worked with other amateurs.
I had to convince the actors that they only needed to give the deepness of themselves, completely, to bring life to each character. 1 trusted that their honesty would reflect my honesty as well.
The most exciting part of the story is that the center of every moment is Peter (Tamás Polgár).
He arrives from the outside and into the tragedies of two women and he is consumed with the happenings in their lives. Ultimately, he is at the wrong place at the wrong time.
During the making of this feature, I tried to diverge from my own life and film experiences. So I tried to give a new (if that is possible) rhythmical and dramatic structure to Pleasant Days. I was thinking of presenting slices of reality, in a documentary way, however in a tight story. Consequently, we implemented a very guided improvisation — so that's why I didn't allow the actors to read the script before shooting. In my opinion, film is not text but pictures.
In the film we operate with a visual technic which eventually simplifies itself in the end. In this film, visuality follows the rule of entropy it falls apart.
My main Intention with this film was to create a special feeling, like breathing mountain air, very clean and crisp, however, it can suffocate us, because of the lower amount of oxygen.
Pleasant Days should be viewed as a social criticism.