Inside the game: director Tudor Giurgiu unveils documentary on tennis legend Ilie Nastase

More than five years after the initial idea, director Tudor Giurgiu provides insight into his newest documentary project, which focuses on the life and career of Romanian tennis superstar Ilie Nastase. Delving into the intricacies of crafting a compelling narrative around one of Romania’s most iconic sports figures, Giurgiu sheds light on the extensive research, meetings with other superstars, challenges, and creative processes involved in the film.

When and how did the idea of a documentary about Ilie Nastase come about?

Actually, I think it was a case of two minds simultaneously conceiving the same idea, and fortunately, we both met and agreed to undertake the project. I’m talking about Cosmin Hodor, the other producer, and myself. I was thinking that there weren’t any significant documentaries about major Romanian sports icons like Gheorghe Hagi, Nadia Comaneci or Ilie Nastase. I felt compelled to pursue this endeavour because of my passion for tennis, while having limited knowledge about Ilie due to my youth coinciding with his peak. I became curious and resolved to create something about him. Fortunately, I crossed paths with Cosmin, and we agreed to work on the film together.

When did your passion for tennis start?

I used to play tennis when I was a child; I took tennis classes in Cluj. During my time as a student in Bucharest, I only played occasionally, here and there. So, while the passion was present, it wasn’t as intense as it is now.

In the last ten years especially, I’ve been training and playing more frequently, and it has evolved into an addiction of sorts. Nevertheless, the passion has always been there. I recall admiring all the big names like Bjorg Borg, John McEnroe, Jimmy Connors, and the Swedish champions Stefan Edberg and Mats Wilander during my childhood and teenage years. So, I was indeed a fan.

You mentioned your collaboration with Cosmin Hodor, who has expertise in marketing and sports management, to which you’ve added your passion for tennis and filmmaking. How did this dynamic function during production?

We worked so well together because I believe we share the same values and vision regarding the film. The approach differed significantly from that of a feature film. Here, it primarily involved extensive research, scouting, perseverance, and identifying prominent figures who could contribute their recollections and stories about Ilie. This aspect of the process required the involvement of a small number of individuals, including Cristian Tudor, myself, and other researchers.

However, the most significant challenge on the production side was securing funding. The film ended up being twice as expensive as initially anticipated, making this the biggest challenge. While the artistic and marketing aspects were relatively straightforward, budgetary constraints posed the toughest obstacle.

Was that because you had to pay and negotiate the copyright coverage?

Yeah, that’s the main thing. Securing the rights for all the footage was a nightmare because we wanted it so badly. I mean, if this film were to travel—and I was confident it would travel internationally—it could potentially become a global hit. However, to achieve this, everything needed to be cleared up legally. We were dealing with more than 30 sources of archives, including both photo and video, each with their own set of rules and contract requirements. Additionally, the rates for some of them were exorbitant.

Could you elaborate on the research process?

Initially, I believe we began with books and articles. However, our research process became meticulous as we delved deeper. I consulted my friend and colleague, director Cristian Pascariu, who became the research guru. He devised an effective method for compiling all our sources, meticulously examining every clip, newspaper, and document we uncovered. This proved crucial because after a year, we had a lot of information and creative ideas on how to approach various individuals. Nastase’s life was brimming with stories, not all of which were easy to uncover. Therefore, when meeting with individuals like Stan Smith or John McEnroe, it was imperative to understand every phase of their relationships with Nastase. I believe Cristi’s dedication to sifting through our research made the filming process much smoother. Additionally, it helped us during the editing phase.

How did you handle the logistics of meeting with all the superstars featured in the film?

It took time to arrange and coordinate, especially for individuals like Nadal or Borg, as it was quite complicated to find an available slot in their schedules. However, each person we interviewed had a completely different story. Sometimes, we had time for planning and preparation, as was the case with Stan Smith; we conducted his interview in Paris. But when we finally received confirmation from Phil Knight, the Nike founder, he emailed us on a Sunday stating, “Guys, I’m ready to meet you on Thursday.” Consequently, we had to purchase tickets for a flight to Los Angeles within two to three days and found ourselves flying across the US. Unfortunately, we encountered an issue when the airline lost our equipment, including lights and sound gear, so we had to rent new equipment in Los Angeles.

Although logistics seemed straightforward, typically requiring less equipment than a fictional production, filming in numerous locations had its challenges. On occasion, we had difficulty obtaining approval to film, like in Rome, for example. However, we found creative strategies to gain access, ultimately achieving our objectives. Filming a documentary during prestigious events like the Grand Slam tournaments or major ATP tournaments in cities such as Madrid or Rome presented other significant challenges. Securing suitable interview spots where media and journalists wanted the same proved particularly complicated. I distinctly recall the issues we had during the US Open in obtaining approval to film a few interviews, including one with Billie Jean King. We struggled to find a quiet spot; eventually, we identified a suitable location at the upper level of the sports arena, a tiny room where we could conduct the interviews.

Did Ilie Nastase contribute to the selection of interviewees?

We started with Ilie; I mean, the first series of interviews were with him. Afterwards, he constantly suggested names, prompting us to seek out additional interviewees. Despite not having personally seen many of the individuals featured in the documentary in years, Ilie proved very helpful; he served as a valuable resource.

How was the collaboration with Ilie Nastase during the filmmaking process?

Ilie is very straightforward and opinionated, and conducting interviews with him was tiring and exhausting due to him having the tendency to repeat the same story numerous times. However, this was necessary for our project. He didn’t intervene during the editing process. Personally, I was keen to witness his initial reactions. Last year in Cluj, we held a private screening of the work-in-progress version of the documentary, and his response was truly remarkable. He was deeply impressed, visibly moved, even crying. For me, this was the most significant aspect: the fact that he grasped the essence of the film, that of portraying the multifaceted character of Ilie Nastase, showcasing both his moments of anger as well as his charm and generosity. Ilie possesses a complex personality, and I was pleased that he understood and appreciated the portrayal. Despite some potentially embarrassing moments in the film for contemporary viewers, that’s simply the way it is.

Was there anything that really surprised you during the creation of the documentary?

Yeah, one thing that surprised me was the depth of friendship among those players. We’re talking about the big icons of the 70s and 80s. They didn’t speak highly of Ilie just for the sake of making positive comments in a documentary. No, it was genuine friendship that had stood for decades. They formed a group of formidable champions who travelled together, shared meals, and trained alongside each other during tournaments. It was a bonding experience and they had a sense of camaraderie among them, which now seems almost like science fiction considering the significant changes that have occurred in sports as a whole and in tennis specifically. Nowadays, players seem more like robots, they’re accompanied by large teams; but this wasn’t always the case.

Looking back on the production process, is there anything you would do differently?

Actually, no. I believe that all of us, the co-directors—myself, Cristi, and Tudor—feel that we’ve found the right formula, and that the film has the right vibe. However, I’ve come to realise that there is still so much more to uncover. I’m sure there’s still footage, photos, and stories that we may have overlooked because with Ilie, it seems that every time you dig deeper, you find something new. For instance, just a few weeks ago, we found footage from NBC in the United States—a discovery we had been researching for two years and that no one knew about. Needless to say, we were thrilled. So, while we’re happy with our progress, I can’t help but wonder if there’s more out there.

While the title of the documentary is self-explanatory, can you tell us more about the poster?

Actually, the international title of the film will be “Nasty – More Than Just Tennis.” In Romania, we will just use “Nasty” because it’s simple and for obvious reasons.

As for the poster, we didn’t spend much time deliberating. When I came across this drawing—an illustration in a 1977 Playboy magazine accompanying a feature article on Ilie, “Ilie The Terrible”—I thought it was perfect. It captured Ilie in a simple yet striking manner, depicting both his charming and angry sides, perhaps even the arrogant or nasty aspects of his personality. So we decided it would be ideal to track down the artist, Roger Huyssen. I was in the US at the time, and I was pleased to discover he was still alive. Despite his advanced age, he graciously granted us permission to use his illustration.

Ilie Năstase: NASTY documentary

The German tennis player Boris Becker is coming to Bucharest to participate in the gala premiere of the documentary about Ilie Năstase: NASTY. Becker appears in the film, where he speaks highly of the Romanian athlete. On April 16th, he will be present at the event at the Palace Hall alongside Năstase, Ion Țiriac, and Nadia Comăneci. Tickets for the event can be purchased online at https://eventbook.ro/film/bilete-nasty-premiera-de-gala.

Former world No. 1 in the ATP rankings and considered one of the greatest tennis players of all time, Boris Becker has won 64 titles throughout his career, including 6 Grand Slam titles. He was the youngest player in history to win the Wimbledon trophy (at 17 years old, in 1985) and also holds an Olympic gold medal. Năstase played one of his last matches of his career against a very young Becker at the Monte-Carlo Masters in 1985. Romanian player received a wild card from the Prince of Monaco to compete.

In NASTY, which combines archive footage and interviews with prominent figures from the sports world, other appearances include Rafael Nadal, Björn Borg, Jimmy Connors, Stan Smith, and Phil Knight (founder of Nike). The documentary tells the story of Năstase’s career and the influence he had on tennis. NASTY will be available in cinemas starting from April 16, 2024.

DMCA

PROTECTED