MDj: There are so many influences, not only from the world of film. It's actually the influence by people who experienced their lives as I want to affirm life through Disobedient. From Rimbaud to the new Hollywood and directors of new Hollywood, even by the directors who aren't good or perfect, but brave in the sense of new spiritual initiation, breaking through the shapes and forms... But not in some primary, rebellious sense, I'm excited by the films that have no safe formula, films that risk being bad but done bravely and are impeccable, good and beautiful in their bravery. For me, the existence of that almost self-destructive investment is very important, investment into something that's beyond you and beyond your control. So in that sense, I was influenced by all the people who were thinking that way. I was formed by poetry, music, film... I always tried to connect that viewer experience with the existing life one, which is all that bigger and more important and that's actually becoming a part of my life experience. That being said, nostalgia is not only reminiscing the old times, but an awful need to keep all of that alive in me, and to serve for something new turned more towards future and less towards past.

{niftybox background=#8FBC8F, width=360px} Mene je to vrlo koštalo, jer je to ogroman sukob sa stvarnošću. Ja sam taj povišeni intenzitet živela i bilo mi je posle teško da se ponovo povežem sa svojim životom. Odjednom mi je on delovao nedovoljan, nepotpun, nedovoljno živ, intenzivan... Valda to znači da si onda posednut kreativnošću i da više nema nazad. Da moraš u nešto novo. {/niftybox}

MDj: Yes, that scares me the most; does growing up mean giving up the freedom, that general consensus – ok, get a grip, settle down... It's like dying out. It's really hard to be in peace with the fact that I have to get rid of all the ideas and accept some norms to be socially functional or acceptable. I think this environment doesn't give you that chance. It can't even put you in the safety mode "by cheating" because it doesn't offer you one. So things being as they are, maybe in the postponement of maturation which is illusionary in this case, we can discover how to become more free, more functional for some hypothetical society, because this is not a society.

CL: Are you satisfied with the visual look of this film (cameraman Djordje Arambašić)? I ask you because that's your world, definitely perfect in your head. Are you satisfied and did you succeed in transferring that to the screen? I like it...

MDj: A lot of people say how the film is beautiful, beautiful photography, but I think the beauty is not only a beautiful landscape.

{niftybox background=#8FBC8F, width=360px} ja ne znam u kom vremenu živim. Ja bih volela da sam živela u 60-im ili 70-im godinama, trudim se da živim u sadašnjosti, a nadam se nekoj budućnosti. I to odsustvo zdravog konteksta ti pravi da ti kreiraš neki svoj simulakrum epoha, uzora, uticaja i živiš u svojoj glavi{/niftybox}

MDj: Yes, exactly. Because those cities in Vojvodina, Kula especially, was an idyllic city of Yugoslavia surrounded by factories... And then it all went down the drain. I won't let the same thing happen to me. I will, in spite of all that, find the beauty and turn it into something new. I don't accept the world you're offering me because you're not actually making any efforts for me to feel good. I will create one. It's the same with the context of cinema. You don't start from something that context offers and then it encourages you as a young director. No, you start from zero, each time you start from zero and create your context which someone will recognise or not. But there isn't really anything that the society offers and makes possible, no context on which you can rely and say: "Ok, I'm starting from here"

CL: The music is very important. In Disobedient music is something that intensifies the magic which exists in our lives and heads, but the magic disappears when the music stops...

MDj: The music helped that feeling of immense beauty, beauty that in a way has to stop, because its intensity is unbearable. Music really helped me, especially because I found my soundtrack which was recorded 40 years before the film came out. I don't know in what kind of time I live. I would like to have lived in the sixties or seventies...I'm trying to live in the present, but have hopes for a certain future. And that absence of a healthy context makes you create your own simulacrum of epochs, models, influences and live in your own world.

CL: I really experienced that as one time machine; they sat on their bicycles and entered a whole other world... But their reality was, as you said in one of the announcements, too tight for them, so they had to become film heroes...

MDj: They come from the reality, all their dilemmas belong to this reality, but this reality does not offer a context in which such an impossible intensity of the reality can be lived. That cost me a lot because it is a huge clash with reality. I lived that heightened intensity and it was hard for me to connect again with my life. Suddenly it seemed to be insufficient, incomplete, not alive enough, intense... I guess that means you're possessed with creativity and there is no way back. You have to dive into something new.

CL: There no going back, obediently or disobediently...

Nevena Matović