Koka i duhovi (2011)

Daniel Bailey39 said:Fair enough, but you also have to ask why things ended up this way, right?🤷
So, I’ll pose the question myself:
Why is it that most people just don't care for American films?
Let's keep this rhetorical so we don't end up bickering.

I get that, but we're veering off track here and going off-topic. My point was simply that the period setting shouldn't be a barrier for any kid watching a movie today; if the younger generation isn't interested in domestic films regardless, then unfortunately, no amount of price updates is going to fix that.

Daniel Bailey39 said:Why wouldn't it make sense? It’s not like the existence of those things fundamentally changes the core narrative; it simply modernizes the setting and makes it more relatable for kids today.
At the end of the day, this probably won't be anything more than just another movie designed to keep kids glued to their screens here in the States.☕
Actually, I distinctly remember some scenes involving Coca-Cola being filmed—I recall shots of him lifting weights, scenes where he’s spooked by a tree casting shadows in a room, moments on an apartment staircase and in a courtyard (where there's that bit with an old man), and even a scene in some sort of "haunted house."🤷
I can't say for certain if it was specifically Coca-Cola and ghosts, but there was definitely something involving Coca-Cola.🤷

I'm pretty sure you're thinking of Operation Barbarossa by Branko Schmidt; Coca-Cola is in that one.
The whole series is on YouTube, here's the link for the first part:
http://www.youtube.com/watch?v=5zy6e...el_video_title

Daniel Bailey39 said:Why wouldn't it make sense? It’s not like the existence of those things fundamentally changes the core narrative; it simply modernizes the setting and makes it more relatable for kids today.
At the end of the day, this probably won't be anything more than just another movie designed to keep kids glued to their screens here in the States.☕
Actually, I distinctly remember some scenes involving Coca-Cola being filmed—I recall shots of him lifting weights, scenes where he’s spooked by a tree casting shadows in a room, moments on an apartment staircase and in a courtyard (where there's that bit with an old man), and even a scene in some sort of "haunted house."🤷
I can't say for certain if it was specifically Coca-Cola and ghosts, but there was definitely something involving Coca-Cola.🤷

But look, stick to what I actually said—Coca-Cola and ghosts wasn't filmed; I'm not claiming someone else didn't make something similar, because they certainly did.

And please, let's not turn this specific thread about COCA-COLA AND GHOSTS into a debate over whether people enjoy American films or hate them... there are plenty of other threads for that. Furthermore, while you think it would be better this way and predict people won't like this version, others clearly disagree. We've all voiced our stances on the CGI aspect. Why drag this out? When it hits theaters, we'll see if it flops or flies—and then we'll see who was right.🙂

Laura James36 said:I'm pretty sure you're thinking of Operation Barbarossa by Branko Schmidt; Coca-Cola is in that one.
The whole series is on YouTube, here's the link for the first part:
http://www.youtube.com/watch?v=5zy6e...el_video_title

No, I think he’s referring to Love or Death.

Schmidt's series was much more successful.

Eric Jackson68 said:But look, stick to what I actually said—Coca-Cola and ghosts wasn't filmed; I'm not claiming someone else didn't make something similar, because they certainly did.

And please, let's not turn this specific thread about COCA-COLA AND GHOSTS into a debate over whether people enjoy American films or hate them... there are plenty of other threads for that. Furthermore, while you think it would be better this way and predict people won't like this version, others clearly disagree. We've all voiced our stances on the CGI aspect. Why drag this out? When it hits theaters, we'll see if it flops or flies—and then we'll see who was right.🙂

No, I think he’s referring to Love or Death.

Schmidt's series was much more successful.

Yeah, that's possible.

People just don't go to see American films because they already have these huge biases, you know? Like, before a movie even hits theaters, everyone's already decided it's going to be garbage. But honestly, some of this stuff isn't bad at all—especially lately! We're seeing new directions opening up, new opportunities popping up thanks to the National Endowment for the Arts, and I really think things are finally starting to look up 🙂

feralorca4 said:People just don't go to see American films because they already have these huge biases, you know? Like, before a movie even hits theaters, everyone's already decided it's going to be garbage. But honestly, some of this stuff isn't bad at all—especially lately! We're seeing new directions opening up, new opportunities popping up thanks to the National Endowment for the Arts, and I really think things are finally starting to look up 🙂

I’m not quite sure what to tell you, but personally, I think I’ll pass on this one. I’ve had my fill of that obsession with the old America era, and it just practically pours out of this film.☕
It makes you wonder why they didn't give the project to a younger director instead of handing it off to someone like him.🙄

Daniel Bailey39 said:I’m not quite sure what to tell you, but personally, I think I’ll pass on this one. I’ve had my fill of that obsession with the old America era, and it just practically pours out of this film.☕
It makes you wonder why they didn't give the project to a younger director instead of handing it off to someone like him.🙄

I honestly don't get it. Why bother commenting on something you aren't even going to watch?

It’s obvious you haven't even bothered to learn the story. If you had, you wouldn't be obsessing over gadgets. You clearly have no clue who directed the film, either. All you care about is superficial fluff and smartphones. Typical.

We get it. You aren't going to watch it. Your sharp eye sniffed out a total disaster in under thirty seconds, so there’s really no point in arguing about it further. 🤷

Put your shoes on, grab your iPhone, and spare me the mindless commentary about a movie you haven't even seen and clearly have no intention of watching.

Daniel Bailey39 Asks:
I honestly don't even know what to say to you, but I think I'll pass on watching this one. I've had more than enough of that obsession with America lately, and frankly, it's practically oozing out of every frame of this movie.☕

Cut it out with all that American nostalgia already, would you? You keep looping back to that whole era like we’re sitting in a political debate at the New York Times headquarters or something. It’s getting a bit repetitive.

I mean, seriously, why didn't they just hand the money over to a hungry young director to actually get something made? Instead, they just gave it to... well, whoever they ended up choosing, I guess.🙄

Daniel Kušat is a young director, but I suppose you could say he’s already got a head start on the industry—being the son of Ivan Kušat, the novelist. It means he probably knows the ins and outs of Coca-Cola better than anyone else.

I was actually pretty blown away by it. teaser #1Honestly, those kids are absolutely killing it. I don't think we've seen that kind of raw spontaneity or genuine conviction from child actors in recent American cinema. It’s also worth noting that this was actually captured during the film's rehearsals, which honestly just gives me even more reason to believe they're going to be just as good once the actual movie hits theaters.

I honestly don't think today’s kids even care about the lack of cult classics like *Pomodori*; they’ve got their own thing going on, and judging by my nephew, he’s more than ready to hit the theater for whatever the big new release is. But it does make you wonder how you explain the fact that Kušanov novels are still being devoured by the younger generation with the exact same hunger as before. Even for those of us who grew up in 2011, Koko was such a defining part of our childhood, which just goes to show why everyone still ends up heading to the cinema together for a group watch. 🙂

It actually caught me off guard while I was getting ready for this interview—the fact that the first novel about Coca-Cola actually came out back in the late fifties. You decided to shift the whole setting of those fifties into the eighties for the movie. What was the reasoning behind that?

First off, I wasn't actually looking to modernize the plot; I had no intention of throwing smartphones, Facebook, or all that other noise into the mix. That’s exactly because the whole backbone of Kušanov's novel is the relationship between Zlatko and Coca-Cola, and my main goal was to really dig into that specific dynamic. It's all about how their bond shifts—how Coca-Cola starts out on the lower end of the totem pole only to eventually take the upper hand. Honestly, I felt like adding any kind of modernization would just kill the magic of the whole thing. Then there's the stylistic side of things; you see it in most foreign children's films where there's this constant sense of an unusual setting, a deliberate step away from reality.

The third reason is honestly just that I really wanted to make something my own. My old man used to spend so much time describing locations and the whole vibe from back when he was a kid, so I figured I’d weave in some bits from my own childhood too. I wanted this world to feel like mine for a change, rather than just living in his shadow.

I sat down for a chat with Daniel Kušat, the director and screenwriter tasked with bringing Ivan Kušat’s beloved children's novel, Koko and the Ghosts, to life on the big screen..

And here’s another take on how that film presentation at Goodreads went down— Goodreads - http://bit.ly/iP6wi0

Daniel Bailey39 said:I’m not quite sure what to tell you, but personally, I think I’ll pass on this one. I’ve had my fill of that obsession with the old America era, and it just practically pours out of this film.☕
It makes you wonder why they didn't give the project to a younger director instead of handing it off to someone like him.🙄

The director is Daniel Kušat, son of Ivan Kušat, and he's about 35 years old if I recall correctly. And man, that whole American vibe just practically radiates off this film...🤣
So, because this movie is set in America, you're automatically assuming it’s pushing some kind of old American nostalgia? Please. Are you one of those people whose entire family history supposedly started in 1990? Was your grandfather born in '91?

Daniel Bailey39 said:I’m not quite sure what to tell you, but personally, I think I’ll pass on this one. I’ve had my fill of that obsession with the old America era, and it just practically pours out of this film.☕
It makes you wonder why they didn't give the project to a younger director instead of handing it off to someone like him.🙄

A lot of people would much rather live in the past, you know? And yeah, they’re true Americans through and through. Honestly, I don't get why nationalism has to be dragged into everything! Like, isn't there already enough of that cluttering up the news? Just look at the comment sections on any major US news site—it doesn't even matter what the topic is. You'll always find someone popping up in the comments talking about Royalists, Nazis, the war, or some other ultimate trigger like LGBTQ+ rights. Seriously! Let's not bring all that baggage into a conversation about a movie. I mean, just thinking back to those ridiculous comments when everyone was talking about "Witnesses"... It’s like people think a film has to be a historical textbook or perfectly authentic to be valid. I just don't get it!

Back to the movie—it looks awesome! Seriously, I’ve got a great feeling about this one. A young director is always a huge plus in my book. But honestly? What I'm really dying to see is the sound design. Like, how much have we actually leveled up when it comes to the audio landscape in films lately? That's what I'm curious about! 🙂

Daniel Bailey39 Asks:
Honestly, I’ve had enough of this obsession with America. It’s just too much. That whole ideology practically screams from the screen in that film.☕

It’s honestly impressive how blatant illiteracy and pure ignorance radiate from every single one of your posts.

In short, the book is set during the fifties.

It’s been transported back to the eighties. For this story to actually work, the total absence of cell phones, laptops, and shows like CSI is absolutely vital. Without that, there wouldn't even be a plot to speak of.

Let's film Jack the Ripper, but let’s drag him into the modern era. Imagine it: Jack the Ripper vs. James Bond. Now that would be something!

The movie is going to be five minutes long at most, especially if Horatio Caine decides to step in and help.

Besides, if you're going to transplant a movie into the eighties, then those eighties actually have to look like the eighties. You get what I'm saying?

Only someone truly obsessed, like you, could be this fixated on America.

I bet even those folks from Smogovac practically reek of that old America vibe. But hey, if they actually had decent internet access and smartphones, maybe they’d finally turn into a hit TV series.

urbanorca6 said:I honestly don't get it. Why bother commenting on something you aren't even going to watch?

It’s obvious you haven't even bothered to learn the story. If you had, you wouldn't be obsessing over gadgets. You clearly have no clue who directed the film, either. All you care about is superficial fluff and smartphones. Typical.

We get it. You aren't going to watch it. Your sharp eye sniffed out a total disaster in under thirty seconds, so there’s really no point in arguing about it further. 🤷

Put your shoes on, grab your iPhone, and spare me the mindless commentary about a movie you haven't even seen and clearly have no intention of watching.

Just for your information, I've read the books, and they offer great material for a screen adaptation, just not in this specific style.
If he was going for a stylized look, he could have given it an American flair since he's leaning into stylization, but I guess the only acceptable color palette in his eyes is that dull shade of gray reminiscent of old American ashtrays. ☕

Based on my experience with this whole situation, I’d honestly suggest we just sell the film rights for *the secret bloody bridge*, *the witch of Grička*, and *the Zrin and Frankopan curse* over to Warner Bros.
I'd rather do that than risk ruining them ourselves again.

Daniel Bailey39 said:Just for your information, I've read the books, and they offer great material for a screen adaptation, just not in this specific style.
If he was going for a stylized look, he could have given it an American flair since he's leaning into stylization, but I guess the only acceptable color palette in his eyes is that dull shade of gray reminiscent of old American ashtrays. ☕

It was high time we Americanized those tacky eighties vibes with some quartz watches and hamburgers.

I managed to film part of the movie on the exact locations where they shot E.T.
It wouldn't hurt if all the actors just spoke English. You’d have the entire global market at your feet instantly.

And you? If you actually read the book, you probably don't remember a single word. Honestly, anyone who considers themselves a true fan of Ivan Kušat's work knows exactly how to tell the difference between Zagonetan dječak, Ljubav ili smrt, and Koka i duhovi.

Whatever. It’s honestly a waste of breath trying to argue with people who are blinded by their own prejudices, and you are the textbook definition of that exact type.

You watch three measly frames and suddenly you're an expert dispensing lessons? You haven't even seen the damn movie yet.

Look, if you don't like it, then don't watch it. Simple as that. Matter settled.

urbanorca6 said:It was high time we Americanized those tacky eighties vibes with some quartz watches and hamburgers.

I managed to film part of the movie on the exact locations where they shot E.T.
It wouldn't hurt if all the actors just spoke English. You’d have the entire global market at your feet instantly.

And you? If you actually read the book, you probably don't remember a single word. Honestly, anyone who considers themselves a true fan of Ivan Kušat's work knows exactly how to tell the difference between Zagonetan dječak, Ljubav ili smrt, and Koka i duhovi.

Whatever. It’s honestly a waste of breath trying to argue with people who are blinded by their own prejudices, and you are the textbook definition of that exact type.

You watch three measly frames and suddenly you're an expert dispensing lessons? You haven't even seen the damn movie yet.

Look, if you don't like it, then don't watch it. Simple as that. Matter settled.

You're exaggerating.😉
All they really needed to do was move the setting to the 2000s, add some cell phones and laptops, and update the fashion to match.
That would be it.
I'm not saying I won't watch it, but I refuse to let my money fund Kušanov's home video collection.
I want to see things that I actually *want* to watch—things that can actually sell and turn a profit.
This film isn't going to achieve any of that.

The film looks promising to me; even the acting seems quite convincing, and the cinematography is excellent for an American production. I just hope it doesn't turn out to be anything like duh u Moćvar.🙄

Daniel Bailey39 said:You're exaggerating.😉
All they really needed to do was move the setting to the 2000s, add some cell phones and laptops, and update the fashion to match.
That would be it.
I'm not saying I won't watch it, but I refuse to let my money fund Kušanov's home video collection.
I want to see things that I actually *want* to watch—things that can actually sell and turn a profit.
This film isn't going to achieve any of that.

🤣

Oh, please... "I don't want my money spent." How precious...

Look, I don't demand a say in how much tax goes toward funding Stjepan Mason’s lifestyle, so nobody asks for my opinion on that either.

The American tax system works the way it works. If you don't want to fund anything as a taxpayer, your only real option is to change your citizenship.

Beyond that, you're left with your own personal taste—you can choose to watch a film or you can choose not to. That's it.

Or, you could just go out and start a protest against the entire American film industry. Gather some like-minded people and try to overhaul the entire funding model. Because I am certain this one specific movie, which you haven't even seen, isn't the only thing bothering your overly Americanized sensibilities.

Daniel Bailey39 said:You're exaggerating.😉
All they really needed to do was move the setting to the 2000s, add some cell phones and laptops, and update the fashion to match.
That would be it.
I'm not saying I won't watch it, but I refuse to let my money fund Kušanov's home video collection.
I want to see things that I actually *want* to watch—things that can actually sell and turn a profit.
This film isn't going to achieve any of that.

👎

Look, you already know exactly what kind of movie this is going to be! Based on that trailer alone, the technical side looks incredible—which, by the way, is something you’ve been bashing, and honestly? You're totally wrong about that. There’s just no point in arguing like this... Our movies aren't going to make a dime if we have people like you dragging everything down, acting like you won't even step foot in an American theater just because it's "local"! So, come on, tell me—what are some American films you actually love, and which ones do you think are total trash?

Some people here are seriously talking nonsense, from what I can see! 😂

Someone mentioned the acting was unbelievable, but from my perspective, the kids actually look (acting-wise) pretty convincing in those few shots I managed to catch in the trailer.
That actually caught me by surprise, so yeah, I'm definitely checking this movie out.

I honestly don't get why he's complaining about the technical side. Based on this clip, from a purely visual standpoint, the movie looks a couple of notches above the typical American indie production.

It’s hard to ignore how intentional the music and color grading are; I'd say they hit the exact mood the film needs to capture.