Czechoslovakian - Director | February 18, 1932 -
So I left with Jean Claude and went to Paris, so when the Russians came to Prague, I was in Paris.
Milos Forman
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So, thanks God, our films, our first films were suddenly being appreciated by the Western media; especially France was very good, and Switzerland was very good.
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Well, I wouldn't say that this experience had any influence on my decision to do this film about Andy, because Andy was apolitical. Andy was never political.
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Well, listen, you know, the Czech saying is, you know, when you are drowning you are grabbing even a little twig. That's what all Czechs were doing, grabbing for... with the hope for this little twig.
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When I came for the first time to the United States, visiting, I was absolutely fascinated by New York.
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You know what happened, you know, in 1938: France, England, you know, just sold out Czechoslovakia to Hitler.
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You know, 20 years... the films of television when it started, the literature, radio in communist countries, they're clean as a whistle; there was no violence, no sex, no drugs, nothing.
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Technically, you can learn everything on the set as an assistant director, and rather quickly.
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When I entered the film school at the Prague Academy in the '50s, it was the hardest time in the Communist countries. The ideological control of the society was almost absolute.
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Milan Kundera was my literature professor. He's a Francophile, so he made us read French novels like 'Les Liaisons Dangereuses,' which I made a version of many years later as 'Valmont.'
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I was born in a small town. My parents, my father was a teacher. My mother was a housewife.
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Communists love to make films about composers because composers compose music and don't talk subversive things.
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