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Then the collaboration with the great writer of the Italian cinema Pupi Avati came with whom I made four films and things went well. But I would say that I have never relied so far on the outside and I have always wanted my work to speak for me, not my acquaintances with someone. Especially now, if you know a politician in Italy things will go very well for you. It is the same in Bulgaria, unfortunately. I did not go in that direction. I say "unfortunately" because things went in this direction and this even has devalued the word "actor." My colleagues - I mean real actors, actresses – suffer a lot because all people have cropped up who pretend to be actors, but do quite different things that devalue the profession.

What is the difference between the true and devaluing actor?

They have the passion and love for the profession within themselves. As I said, no one had told me to learn several monologues by heart and when Mashchenko said, "Tell me something," I recited Tatiana's letter to Onegin in Russian. I did not know I would need it. I just was prepared and I liked to do these things. In addition, a person studies either at a Theatre or Film Academy or elsewhere and improves, makes courses. The man grows inside.

What is happening now? This phenomenon started in Italy. Bulgaria usually copies the negative steps of some countries in different sectors, but this is a long conversation. But why devaluation? Because creatures appear who wake up and say "I'll be an actress or actor and he will settle me." That “he” is a director of a television, an important figure, a politician. Then, there comes the time when the acting career does not satisfy these girls and they begin to say, "I want to become a minister," because this is the situation. They see what happens. These are especially hard times for culture. And that disappoints me.

We really hoped that this right-wing government will be able to manage culture well, but it turned out that they have other priorities. And that is bad, because the culture and the people working in this sector are people who represent the country. This is true for Italy, and Bulgaria. Moreover, the terrible situation when mothers take their 14-15-16 year old daughters and toss them into the hands of important people on whom it depends ... this is terrible, you know. There are many such cases, but I would not mention any names.

Anna Maria Petrova in the Cinema:

In all these years, have you missed the ballet? Have you ever wanted to go back to dancing?

Yes, I have been doing nothing for six years. I do not even teach. I stopped dancing as a performer long ago, because the river of films and television and production activity took me. I already dabbled in journalism work since 1989 as a correspondent from Rome for a program of the Bulgarian National Television. I qualified and continued to work in Italy as a TV newswoman So, I mean that I stopped the ballet long ago. But at the same time, because I finished ballet pedagogy and choreography I was engaged in teaching in Bulgaria, in Parma in Italy, and in Rome. But I made plays too. I made some ballet plays in the Bulgarian National Television.

Meanwhile, I completed courses in jazz techniques with two American teachers. I had the pleasure to be on a specialization in Ballet Bezhar in Lausanne for a month, while Morris Bezhar was alive, of course. Then I taught jazz techniques too. Then, in 2000-2001 I made stages at the conservatory in Sofia, the Ballet Faculty of Jazz Techniques. So, I was engaged until recently but I started missing it already. I saw Sofia's head of the school of choreography not long ago which is now National School of Dance and includes folk dancing which we also studied. And that's what I said, "I already have a strong nostalgia and I must start again." She said, "You should think it over, because there is no turning back". Maybe I'll start again because it endures; it is your whole life. I began when I was eight and especially when you are professionally trained, it becomes your nature. And I just miss it. I am doing it myself but it is different when you have the incentive to prepare, to give to others and I would say that I was very good at this too and it was nice, but I have to find time. I guess there are moments in life when there is a priority, and then comes the next.

We all remember the series of your interviews with the biggest names in world culture. What attracted you in journalism?

It was television journalism, I buried in it quite young and I liked this very direct contact with people who were in the limelight. I made many interviews for the Saturday morning show of the Bulgarian National Television, Good Morning, at that time. There was a section called Major Plan in which we presented famous people, people of any nationality and who were in the Italian capital. Then I collaborated with newspapers in Italy and Bulgaria, but the visual means of expression remained more attractive to me. You have to control a lot of things in television and cinema. You have to control how far you are from the man, how you hold the microphone, where to put it, where the camera is at the moment, not to turn your back to the person or not to lean I do not know how, etc. In fact, there are a lot of things you have to control and the combination and your reactions between those who direct it and what you have to give the person have to be very fast as you are interested to get answers. You also have to think about the length of questions too. You should not talk more than him or her.