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INTERVIEW WITH THE DIRECTOR Can you tell me something about your artistic background, who are your favourite film or theatre directors, whose aesthetics influenced you? KM: I am a countryside boy and because I come from a small town there was no theatre at all but we had a cinema club. And at the age of 14 or 15 when I became sensitive, I was most impressed first by Bergman and a little bit later by Fassbinder, But they did not influence me as filmmakers then but they inspired me as a human being. Later at school I first tried to build up a fine art career, but soon found out that in drawing I could not express enough, so I went to an acting school for four years an only later turned to directing. I think about myself as filmmaker. In preparing myself for your piece and the interview I read a lot about the boy being the monster. But now after I have seen it I do not see him as a monster anymore. KM: Who decides who is the monster? This question is the same all over in the world, in the book of Mary Shelley he is the monster but although he is killing he is totally innocent. My solidarity is with the monster from the very beginning. It is a change of paradigm. In the book of Shelley there is only one creator who is a scientist, who is in connection with the infinity. In my conception the creator is a mother and a father and the creation is one everyone knows from a point of view. To create a child is not a finished act in itself, you still have to look after it. It is the mother and the father who are responsible, in our story the mother does not want to change her life for the child. I felt a deep understanding for the monster. We did some research in children homes and 70 percent of the boys and girls want to know their physical parents. Immediately after I read the book it became clear that my monster is a young years old boy and a little bit like the figure of Tadzio in Thomas Mann's Death in Venice. Is there something Hungarian about your monster? KM: The deepness of the poorness is Hungarian. I think you can understand it better in Eastern Europe. But in general it is a very universal story. Do you wish for the audience to feel some sort of catharsis? KM: If the piece is working the audience should feel something like that: he did the killing but he was the innocent one. This is the paradox, which also reveals something frightening about the world. All the time I do quite classical dramaturgy. I'm not really believing in post-modern theatre making and i have no admiration for it. The audience is too sensitive and passionate forthat. People come to see a good story and it is difficult enough to find a good story.