{"id":4722,"date":"2025-09-26T14:07:34","date_gmt":"2025-09-26T14:07:34","guid":{"rendered":"https:\/\/symbol-quorum.com\/?p=4722"},"modified":"2025-09-26T14:13:53","modified_gmt":"2025-09-26T14:13:53","slug":"an-actor-lives-and-creates-as-long-as-he-finds-joy-in-every-new-role","status":"publish","type":"post","link":"https:\/\/symbol-quorum.com\/en\/an-actor-lives-and-creates-as-long-as-he-finds-joy-in-every-new-role\/","title":{"rendered":"\u201cAn Actor Lives and Creates as Long as He Finds Joy in Every New Role\u201d"},"content":{"rendered":"\n
Written by: Gea Vlahovi\u0107 
Photos: Nesh <\/pre>\n\n\n\n
…<\/p>\n\n\n\n
From the Faculty of Dramatic Arts in Belgrade, through years of wandering across Europe, to the Lee Strasberg Institute in New York \u2013 the acting journey of \u017deljko Dimi\u0107 (59), better known in the American film industry as Jack Dimich, unfolds more like a film script than a traditional biography. Born and raised in Bosnia and Herzegovina, Dimi\u0107 has spent decades building his career in the United States, where he has worked with some of the biggest names in the film industry, from Steven Spielberg to Al Pacino. We\u2019ve seen him in hit series like Hawaii Five-0 and The Blacklist, and now he\u2019s returning to this part of the world \u2013 solo, on stage.<\/p>\n\n\n\n
With his monodrama Oj, \u017eivote (Oh, Life), he\u2019s setting off on tour, with a performance scheduled in Croatia this June. His take on Josip Pejakovi\u0107\u2019s cult classic delivers a universal story of sacrifice, morality, and the fate of the common man \u2013 leaving the personal stamp of an actor who journeyed from an anonymous immigrant to a recognised name in American film and television.<\/p>\n\n\n\n
In this interview, he shares how he found his footing in the cutthroat world of the American entertainment industry, what returning to the region means to him, and why performing in English now feels more natural than in his mother tongue.<\/p>\n\n\n\n
Your arrival in the United States marked something of a turning point \u2013 a moment when you chose to embark on an uncertain, yet artistically rich path. At the time, did you feel fear or excitement? To what extent was that decision guided by intuition, and how much by conscious choice? And could you, even then, sense the direction your career might take?<\/strong><\/p>\n\n\n\n
When I was rejected for the final time at the entrance exam to the Faculty of Dramatic Arts in Belgrade, in May 1992, I finally decided to seek my place in the sun elsewhere. The war had already taken hold in our region, which further influenced my decision to leave the Balkan Peninsula.<\/p>\n\n\n\n
I couldn\u2019t go straight to the United States, so I tried to get by in Hungary, the Czech Republic, and Sweden, taking on whatever work I could find. Of course, I had no idea what lay ahead when I left, but over time I came to realise it had been the right decision \u2013 any uncertainty is better than a certainty we don\u2019t want. Sadly, throughout history, people from our region have been leaving time and again, simply because what we long for is so often out of reach at home.<\/p>\n\n\n\n
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Do you feel a sense of nostalgia, or have you learned, over time, to live \u201cbetween cultures\u201d? Nostalgia for one\u2019s homeland often takes on complex forms \u2013 how do you balance the feeling of belonging with the reality of a life built far from your roots?<\/strong><\/p>\n\n\n\n
Nostalgia \u2013 or a kind of longing \u2013 is always there for what you leave behind: your hometown, the people, childhood, youth, the landscape. I have a deep love for my Dubica, where I was born, and for both Dubicas where I grew up \u2013 Bosnian, Kozarska Dubica, and Croatian, Hrvatska Dubica, with the beautiful river Una flowing between them.<\/p>\n\n\n\n
My upbringing helped me immensely in embracing and becoming part of multicultural environments wherever I\u2019ve lived since leaving home \u2013 because both of my Dubicas were just like that. My wonderful father, Vlatko, used to say to me: \u201cLearn how others live \u2013 their culture, traditions, and customs \u2013 because you already know your own. Only then can you be truly accepted wherever you live on this beautiful planet.\u201d<\/p>\n\n\n\n
That\u2019s probably one of the reasons why I\u2019ve rarely faced unpleasant situations \u2013 because I\u2019ve never had trouble understanding and accepting that there are people who are different from me. New York, where I live, has also played a big role in that \u2013 a fascinating city of eight million people, home to more than 200 nationalities and ethnic groups, where over 180 languages are spoken. But above all, I\u2019m grateful to my parents, and then to my teachers, mentors, professors, and to the many people I\u2019ve learned from \u2013 and continue to learn from \u2013 to this day.<\/p>\n\n\n\n
And on the rare occasion that I come across someone who takes issue with my background, the languages I speak, or the culture I belong to, I simply ignore them and leave them to their own narrow-mindedness and ignorance. Or, as our great Ivo Bre\u0161an put it in Hamlet in Mrdu\u0161a Donja: \u201cYou have to live in peaceful coexistence with stupidity\u201c.<\/p>\n\n\n\n
You often portray layered, psychologically demanding characters who carry an inner struggle. Is there a specific acting process you go through when taking on such roles? Would you say you choose the roles, or do the roles choose you?<\/strong><\/p>\n\n\n\n
The process of working on each character is extremely complex and demanding\u2014but I selfishly keep it to myself. That\u2019s how I was taught at the Lee Strasberg Institute in New York, where I graduated in acting in 2001 under Professor Michael Margotta. I do choose my roles, but in a way, they also choose me. I accept them only if I genuinely want to do them, and if they\u2019re not compromising in any way.<\/p>\n\n\n\n
Every role I choose has to be approached with love, no matter what kind of character I\u2019m playing, because that\u2019s one of the key elements in truly believing in what we\u2019re creating. And if we believe in ourselves, the audience will believe in us too\u2014as we step into someone else\u2019s shoes.<\/p>\n\n\n\n
\"\"<\/figure>\n\n\n\n
You\u2019ve worked with many prominent directors and actors who have helped shape the contemporary film narrative. What\u2019s the most valuable lesson you\u2019ve taken from those collaborations? Has any particular collaboration left a lasting influence on your work?<\/strong><\/p>\n\n\n\n
I\u2019ve had the opportunity to work with many masters of the craft: Robert Singer, Steven Spielberg, Ben Ketai, Richard Loncraine, Micha\u00ebl R. Roskam, Tim Garrick, Christopher Kubland, Goran Markovi\u0107, Dejan Ze\u010devi\u0107, and many others. I\u2019ve learned a great deal from them, and I always enjoy working with directors I trust\u2014because, along with the screenwriter, the director knows the project best. My task is to serve the character I\u2019m portraying, and that character, in turn, serves the film, series, or play to which it belongs.<\/p>\n\n\n\n
I\u2019ve been fortunate to work with some outstanding colleagues, including Tom Hardy, Jeff Goldblum, Al Pacino, Kevin Dillon, Alec Baldwin, Selena Gomez, Elisabeth Shue, James Gandolfini, Donnie Wahlberg, T\u00e9a Leoni, Morgan Freeman, Lucy Liu, Steven Van Zandt, Martin Freeman, Petar Zekavica, Tihomir Stani\u0107, James Spader, Stana Kati\u0107, Selma Alispahi\u0107, Senad Ba\u0161i\u0107\u2026<\/p>\n\n\n\n
There\u2019s a lot to be learned on set, especially from your fellow actors\u2014each of them brings something unique that I might not have. And because interaction is such a vital part of our craft, every actor can draw exactly what they need in that moment for the character they\u2019re portraying.<\/p>\n\n\n\n
The Hollywood production system and the European theatre and film tradition are often seen as two contrasting visions of what it means to be an actor. Is there space in Hollywood for that \u201cinner fire\u201d we so often associate with European performers? As someone who has experienced both worlds, where do you, as an artist, truly feel at home?<\/strong><\/p>\n\n\n\n
My \u201cTechnique 2\u201d professor at the Lee Strasberg Academy always insisted that acting is a universal craft\u2014it shouldn\u2019t have barriers, limitations, or prejudices. It\u2019s true that approaches vary between America, Europe, and other parts of the world, but that doesn\u2019t mean the geographical origin of a project or a role automatically defines its quality.<\/p>\n\n\n\n
That\u2019s why I try to embrace any knowledge that can serve my craft, no matter where it comes from or where I happen to be working. The passion for this beautiful profession is something deeply personal for every actor\u2014regardless of where they were born or where they trained..<\/p>\n\n\n\n
In her autobiographical book, Mira Furlan portrays the American film industry as a deeply hostile environment\u2014harshly dismissive, nationalistic, exclusive, extremely competitive, and inhumane. Is it really like that?<\/strong><\/p>\n\n\n\n
I had the honour and privilege of working with Mira on Goran Markovi\u0107\u2019s film The Tour, and of meeting her a few times in Los Angeles. I don\u2019t feel I have the right to comment on her views of the American film industry\u2014her thoughts were her own, and they reflected her personal perspective on the world. The only thing I can say with certainty is that Mira Furlan\u2019s passing is a tremendous loss for our cinema.<\/p>\n\n\n\n
\"\"<\/figure>\n\n\n\n
You\u2019ll soon be performing at the Croatian National Theatre in Zagreb with the monodrama Oj, \u017eivote (Oh, Life) by Josip Pejakovi\u0107\u2014a story of an artist constantly tripped up by life, written in a very different socio-political context, in a country that no longer exists. As an actor whose own biography is intertwined to that former state, how did you approach the text today? Is its message still universal, or has it taken on a new dimension?<\/strong><\/p>\n\n\n\n
Oj, \u017eivote (Oh, Life) is a brilliant piece that tells the story of an ordinary man from a rural background, someone willing to make a sacrifice\u2014so much so that he served a prison sentence in place of his brother for a crime he didn\u2019t commit. The themes of the monodrama are universal and could be set in any place or time, as they speak to human nature and everything a person experiences and endures when they choose to sacrifice themselves for someone else.<\/p>\n\n\n\n
I simply adapted this brilliant text and brought it to the stage in the present day, performing it in a way that feels most natural to me as an actor.<\/p>\n\n\n\n
A monodrama is a format that demands exceptional focus, emotional endurance, and the ability to establish a subtle dialogue with the audience. What does your preparation process look like, and do you feel a greater sense of responsibility when you\u2019re completely alone on stage?<\/strong><\/p>\n\n\n\n
Monodrama is the most demanding forms of acting, as the actor is completely alone on stage. Keeping the audience\u2019s attention for over an hour is an incredibly challenging task and comes with a great deal of risk\u2014there\u2019s always the possibility that the audience won\u2019t respond to the performance. I was fortunate to be given an excellent script by the esteemed Josip Pejakovi\u0107, which greatly helps in keeping the audience engaged. Of course, I\u2019ve adapted it in my own way, and so far, I\u2019ve had wonderful experiences with audiences wherever I\u2019ve performed the piece.<\/p>\n\n\n\n
You moved to the United States three decades ago; it wasn\u2019t easy even then, but it seems that today, for those seeking a new life there, the road has become even more difficult. America no longer speaks the way it once did. In that sense, how has life as an actor changed over the past 30 years?<\/strong><\/p>\n\n\n\n
It\u2019s not easy being an actor anywhere\u2014whether in the United States or back home\u2014unless you have the privilege of someone backing you and giving you a push forward. It\u2019s true that it\u2019s hardest in America, simply because the competition is the toughest. Actors from all over the world come here in search of roles and their place in the spotlight. As for me, whether for better or worse, I\u2019ve had to do everything on my own.<\/p>\n\n\n\n
On top of that, the biggest barrier is the language\u2014and the accent, whether subtle or strong, that everyone brings with them when speaking English, no matter where they come from. I had one too, and I worked on it for 12 full years, repeating words hundreds\u2014even thousands\u2014of times a day, depending on the word I was training. It wasn\u2019t until 2012 that I finally landed my first role as a native-born American\u2014Randy Thorpe from New Jersey\u2014in the CBS series Hawaii Five-0.<\/p>\n\n\n\n
From that moment on, I was no longer labelled as an actor who could only play foreigners in America. And I\u2019m not the only one\u2014Goran Vi\u0161nji\u0107 achieved the same, and in my opinion, he\u2019s the most successful actor from our region to make it in the U.S.<\/p>\n\n\n\n
\"\"<\/figure>\n\n\n\n
Acting in a foreign language often brings with it a different kind of physical expression, intonation, and even emotion. Do you feel that your approach to interpreting characters changes when you perform in English compared to your native language?<\/strong><\/p>\n\n\n\n
I know it might sound strange, but these days, it\u2019s actually easier for me to work in English than in my native language. That\u2019s the result of years of consistent work on my pronunciation, constant reading in English, and the dedication I\u2019ve brought to each of the hundreds of auditions I\u2019ve done in the U.S. Fortunately, in recent years I\u2019ve been working and spending more time in the countries of the former Yugoslavia, so I regularly use the languages and dialects spoken there.<\/p>\n\n\n\n
That\u2019s why I\u2019m especially excited to be performing in Croatia soon\u2014with my appearance at the Croatian National Theatre on June 15.<\/p>\n\n\n\n
You\u2019ve played around 90 roles across film, television, and theatre. After all these years in the industry, is there still anything that can truly surprise you in the world of acting? Is there a particular type of role or directorial approach you\u2019d love to explore but haven\u2019t had the chance to yet?<\/strong><\/p>\n\n\n\n
Of course there is\u2014an actor lives and creates for as long as there are challenges and a sense of excitement for each new role. The worst thing that can happen in our profession is to lose the passion for what we do and stop looking forward to new parts. Or, as my movement teacher Irma Sandrey used to say: \u201cThe moment we stop\u2014we\u2019re done, we no longer exist.\u201d<\/p>\n\n\n\n
Looking back, is there anything you would change about your professional journey? Do you see challenges as necessary catalysts for artistic growth? Do you believe they were essential in shaping the actor you are today?<\/p>\n\n\n\n
You\u2019ve already said it yourself\u2014challenges are the catalysts for everything that happens to us. When they\u2019re no longer there, we lose the joy not only in our work, but in life itself. That\u2019s the essence of it all: without challenges, the desire to play fades, and so does the passion for the work we do.<\/p>\n\n\n\n
Was there a specific moment in your career when you felt you had arrived\u2014reached the place you\u2019d been striving for? Is success something that\u2019s experienced in individual moments, or is it a continuous process of seeking out the next challenge?<\/strong><\/p>\n\n\n\n
I often say\u2014in interviews and to the people around me\u2014that success isn\u2019t a final destination in our lives. For me, success lasts as long as a person is able to create and doesn\u2019t stop creating. The only real failure in this one life we have is to stop and give up on creating\u2014especially in our line of work.<\/p>\n\n\n\n
Which upcoming project are you most looking forward to?<\/strong><\/p>\n\n\n\n
I look forward to every day I wake up alive and well. I look forward to every good person I meet. To every place I haven\u2019t yet been. Every book I haven\u2019t yet read. Every role I haven\u2019t yet played. I look forward to life\u2014for as long as I exist.<\/p>\n\n\n\n
Translation by: Tea Alfirov Ko\u017eul<\/p>\n","protected":false},"excerpt":{"rendered":"
The acting journey of \u017deljko Dimi\u0107 (59), better known in the American film industry as Jack Dimich, unfolds more like a film script than a traditional biography<\/p>\n","protected":false},"author":2,"featured_media":4712,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28],"tags":[37],"class_list":["post-4722","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture-art","tag-published"],"yoast_head":"\n\u201cAn Actor Lives and Creates as Long as He Finds Joy in Every New Role\u201d - Symbol<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/symbol-quorum.com\/en\/an-actor-lives-and-creates-as-long-as-he-finds-joy-in-every-new-role\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cAn Actor Lives and Creates as Long as He Finds Joy in Every New Role\u201d - 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