migrating to other televisions. It was a sort of special migration in both directions. The moment a TV channel was more or less on top, everybody was heading towards there. The only ones who were left behind at Channel 31 were the cullies, how shall we call them, the delicate persons. And Sârbu, in a very demagogical manner, promised that we were going to see what was to happen! He used to be a normal guy at the time. We used to be together every New Year?s Eve, Christmastide or Eastertide. It was that kind thing of not having any obligation and we were happy to stick around! In the end, it proved a successful solution.
We represented a sort of hybrid of PRO TV. It was a very cheap and insignificant re-branding? immediately afterwards there had followed that huge boom when PRO TV aggressively entered the market.
For me, that was an incredible world. I was working with many people whom, up to that moment, I had only seen on screen. Wow! Afterwards, I had my share of big disappointment when realizing that between actor and real human being there was a huge difference. Being an actors is a role, a thing on the screen and that?s it? I was really disappointed! Actually, this is one of the things that a television does: tricking you.
Then, a lot of Americans arrived, to teach us? There is a difference between having a scholarship abroad and learning in your own country. I think you learn better here. This is just a subjective opinion, but in our case, in television, those guys were pushing us forward and we were learning because we were interested in preserving our jobs. The televisions also sent people abroad and the scholarship they got did-n?t change anything of what they had to do when coming back. Here, at home, everybody was more motivated to show his best shot to the boss, to the American. Here, at home, you are somebody. Abroad, you are just one of the many with a scholarship.
It is a common practice for people to move from one television to another. I didn?t do it. I pursued my job and, to brag a little, I ended up being very good at montage. And they kept me there, while at the same time taking very good care of me, because I was good at what I was doing and I had a good relationship with my colleagues. I used to do the montage for commercials, for movies. I didn?t fall for the stereotype of doing the montage for news and thus getting jaded. I had this luck, to be very good at it and hence respected.
In 1996, the PSD1 regime was overthrown. I remember that PRO TV had a campaign with ?You are voting for the change!?. And many people say that PSD or FSN was overthrown because of that campaign. And it really meant something? I was already part of the Promo department at the time and we found it very funny that we were playing with the nation?s chemistry. We shall add a drop of it and wait and see what?s going to come out of it! Things had already been decided way above us, and yet, I remember that at the time there were some of Cristoiu?s editorials which stated it that it was the PRO TV team- he had no idea that it was the Promo department- which had an impact on the Romanian voting public. It was about that commercial with a fist, coming out of a sheet of paper and saying: ?You are voting for the change!?
The funny thing was that the guys who were good at montage and editing were hunted by the political parties, in order to help them with their campaigns. I was doing the FSN campaign during that time. We were more or less four guys, a kind of double agents. We didn?t know each other very well. After doing the montage in televisions during the day, we used to film at the parties? residences during the night, hidden, protected. I was in charge of Ion Iliescu?s campaign and I benefited from the strictest SPP2 protection. It was funny, but when entering there,
1 The Social Democratic Party.
2 The Guard and Protection Service.