Erik Jasaň, is a Slovak film producer, director, scriptwriter, casting director, actor and 1AD. “I’ve been working in the Slovak and Czech audio-visual industry a few years. I worked as a casting director and 1AD in The Car Gangs project co-produced by HBO (TV premiere in December 2023),” says Erik. “My films have premiered at festivals such as the 8th Bengaluru International Short Film Festival (Oscar qualif) or the 13th Omladski Film Festival Sarajevo.
My music fiction video RECALL (2022) starring Tatiana Pauhofová had its US premiere at the 45th Denver Film Festival. I work as a co-producer of the feature-length documentary The Walley for The Widows (director: Miro Jelok). The project was presented at 30th Febio Fest Bratislava and won prize Doc Around Europe Award in 38th DOK.fest Munich“.
indieactivity: How did you get into directing? How would you describe your style?
Erik Jasan (EJ): I originally studied acting, and during my studies, I participated in a short student film. It was there that I met the director of photography, Matej Janosik, and we connected artistically. One day, Matej called me because the director for his student project had fallen ill, and he asked if I could step in. That was my first time directing. From there, I went on to direct several small student exercises and films.
The Official Trailer for The Professional Parent Directed by Erik Jasan
The Professional Parent is my first professional debut, produced under DOG 95 FILM FACTORY. If I had to describe my style, I’d say that I aim to capture truth in my work. I like to film what I’ve personally seen, experienced, or been directly involved in. I also strive to explore subjective filmmaking, because we all perceive art through the lens of our own souls. My goal is to focus as much as possible on the main character’s perspective.
Who is The Professional Parent for? Who do you think would enjoy it the most?
Erik Jasan (EJ): Although the film is set in my country, I aimed to make it accessible to a global audience. It primarily caters to an artistic viewer, but it also holds appeal for commercial audiences. However, with its unique style, powerful subject matter, and strong performances, it’s especially well-suited for art and festival audiences.
How long did it take to shoot the entire film?
Erik Jasan (EJ): We had thorough preparation, including a pre-film and rehearsals before actual filming, which allowed us to complete the shoot in four days. There were two scenes that didn’t make it into the final cut. Although we had an additional five days as a contingency, we didn’t end up needing them.
How long was the post-production process?
Erik Jasan (EJ): Post-production took about 3 to 4 months. The editing process alone took around 10 days. We worked with AVANPOST, the largest post-production studio in Eastern Europe, for both editing and color grading. The sound was done in the Czech Republic, and the VFX was handled both in Slovakia and remotely in Romania.
The film had a lot of talent working behind the scenes—DPs, sound designers, composers, etc. Why is diversity important both in front of and behind the camera?
Erik Jasan (EJ): Absolutely, the crew was a mix of professionals from Slovakia, Romania, and the Czech Republic. One of our co-producers, Marian Crisan, is a Cannes Film Festival winner (2008 for Megatron). Diversity is crucial because it broadens our perspectives, allowing us to approach storytelling with a more nuanced understanding of the world.
What are your goals with The Professional Parent?
Erik Jasan (EJ): We still have a few more festivals to attend. Recently, we had our European premiere at CinEast, the Central and Eastern European Film Festival. Up next is our German premiere at Exground Wiesbaden, followed by the Polish premiere at the Film Critics Festival in Lodz, Poland. In the coming year, we’re aiming to release the film in Slovak theaters and, once the festival run is complete, make it available on VOD platforms.
What’s next for you? What are you working on right now?
Erik Jasan (EJ): I’m currently developing a student film at the Academy of Performing Arts (VSMU), which is set to be shot in May 2025. It has a Slovak folk theme and explores the topic of gossip and its impact on people. In the meantime, I’m also working on a new short film, though I’m keeping the details under wraps for now. I can say it’s a rather unusual topic. I’m also open to offers to direct, whether for music videos or, ideally, a crime-themed series.
What would you recommend to a new director starting out? Any courses, workshops, or books you’d suggest?
Erik Jasan (EJ): In my experience, it’s all about experimenting and learning from mistakes. Don’t be afraid to experiment, especially with short films. It’s essential to explore different approaches to filmmaking and find your own unique style. I also think it’s important to have a solid understanding of film history and contemporary cinema. This knowledge allows new directors to bring fresh ideas and innovative techniques to the screen.
Who is your favorite director and why?
Erik Jasan (EJ): I admire both Ruben Östlund and Thomas Vinterberg. Their films are fiction, but incredibly truthful fiction. They tackle topics that might be uncomfortable, but they approach them head-on with no pretense. I appreciate their minimalistic style and the way they think deeply about their work, which is something I aspire to in my own projects.
What advice would you give to directors around the world?
Erik Jasan (EJ): Film truthfully and from the heart.
Tell us what you think of the interview with Erik Jasan. What do you think of it? What ideas did you get? Do you have any suggestions? Or did it help you? Let’s have your comments below and/or on Facebook, Instagram, or Twitter.
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