- [on genesis of The Girl on a Broomstick (1972)]: "Before I wrote the story idea for it, there were a lot of girls walking the streets with such fluffy, disheveled hairstyles. I thought they might make pretty witches. As time went on, I wondered how such a witch would have gotten into the world, what she would have done here, and so on. But there was another reason for my interest in witches and witchcraft. In those days, questionnaires were filled out everywhere, searching for the origins of each person. If the origin was bourgeois, it was unpleasant for the person concerned. Everywhere! At school, at the authorities, perhaps only at the hospital could one get in without any trouble. I had a lot of bourgeois friends, so one day I thought how nice it would be to have an origin that nobody would assume, and therefore couldn't be put into a questionnaire. A witch's origin. Anyway, after all the books and movies about the socialist brigades, I felt like writing something that had nothing to do with the regime of the time."
- [on her most complicated work]: "The most complex script I wrote was in 1991, when Milos Macourek and I were approached by the author of Kinoautomat (1967), Radúz Cincera. He wanted to make Cinelabyrinth (1990). It was about twelve separate cinema halls. In the first one it was announced what it was about, the viewer then moved on, and whichever room he entered, the plot had to continue in a comprehensible way. It was hard work. It premiered at the 1991 World's Fair in Osaka and then traveled the world."
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