Readers of this blog should already be familiar with Czech animation legend Jan Klos and his work on the series in 1981-85. In one of my previous posts, I mentioned how I believe Klos' work on three episodes in 1984 and 1985 was credited with a pseudonym. In its conclusion, I stated: Jan Klos is still with us and, hopefully, somebody will ask him about this peculiarity someday, as there is probably more to this story. I am not one to sit around and wait, so already then I was trying to reach out to Jan myself. In the end, I was able to do so thanks to the great folks from Memory of Nations and the Post Bellum organization, for which Mr Klos had given an interview. I especially must thank A. Poláková, who gave me Klos' e-mail contact in the end.
There are couple of interviews with him online already (for instance, this one, where he talks for three hours), but they mostly concern his life before animation. In my e-mail to Mr Klos then, I presented my posts on the blog and asked him about several things: the altered titles, the way he animated the characters and so on. After about 15 days, responses started coming in.
Jan Klos about 20 days ago in a candid photo made by his son-in-law, which he included in his e-mail |
As you know, Jan Klos is 79 years old, so once again I must say: Thank you very much, sir, for taking the time to write to me! I know Jan will not read this, but in case members of his family do, give my best to Jan yet again. Jan stated that he cannot spend much time at the computer and has to "ram" his thoughts into it (he's, in his own words, a simple, old, too old man), so he provided answers to my questions in the form of chapters chronologically speaking about his work (of course, in Czech) and he didn't mind me sharing them on this blog. He really took the time and effort to write them over a period of a few weeks, so here I present them to you translated into English. You will notice that Jan openly discusses his life and work, often with self-biting irony As he noted: producing "humor and folk entertainment" is an ambition and an ideal profession for me. Unfortunately, it rarely succeeds.
Jan Klos:
CHAPTER 1
By profession a puppeteer, I became an employee of Krátký film Praha in 1973 by a combination of lucky coincidences and I began to animate in the Jiří Trnka Studio (puppet film) in director Břetislav Pojar’s staff. Those were my apprenticeship years in animation. DIFFICULT years - but BALANCED with a good feeling that I can be part of creation ON A CERTAIN LEVEL. The production process, dramaturgy, direction, collaboration with the experienced deaf-mute, ingenious animator Boris Masník, these were standard professional conditions - simply HAPPINESS (the studio's address then was Čiklova 13 A).
Břetislav Pojar in the studio's yard in 1974 (photo: Ivan Vít) |
At the beginning of 1982, the management of Krátký film Praha banned Pojar from working (comrade director "was unable to fulfill the production plan") and Pojar's staff was scattered around. In order to be able to continue to animate puppets (it is the simplest and my favorite animation discipline), an average director, a skilful, hardworking man and also an employee of Kr. film Luboš Beneš offered me work on his films in a new four-member team. A space he discovered was adapted for shooting puppet films with cameraman Miler, animator Chocholín and one graphic artist. So I moved to the SECOND DIVISION, and there were five of us (address: Wenzigova 5). We called ourselves "Benešfilm". Here I worked on five or up to seven parts of PAT and MAT (I don't remember anymore), which belonged to the First series - it was 21 parts. Now I remember that the series was then called A JE TO.