In Zagreb, the Old Town really could be Prague. You go two hours to the coast to Opatija, and you really could be in the South of France, in the Croatian Riviera. And then you head down the coast towards Split, and you get into more Turkish architecture, so you can double Istanbul.

The quote by James Watkins — "In Zagreb, the Old Town really could be Prague. You go two hours to the coast to Opatija, and you really could be in the South of France, in the Croatian Riviera. And then you head down the coast towards Split, and you get into more Turkish architecture, so you can double Istanbul." — celebrates the remarkable diversity of architectural styles and landscapes found within Croatia. Watkins, a filmmaker known for his attention to setting and atmosphere, is pointing out the country's cinematic potential, where one can simulate various European and Mediterranean locations without leaving its borders.

By likening Zagreb’s Old Town to Prague, Watkins emphasizes the Central European charm, marked by baroque facades, cobblestone streets, and historic squares that evoke the feel of a classic European capital. His mention of Opatija being comparable to the South of France draws attention to the city's elegant seaside promenades and Belle Époque architecture, reflecting a rich coastal heritage that mirrors the aesthetics of the French Riviera.

As Watkins moves down the coast to Split, he notes a shift toward Turkish-influenced architecture, alluding to the Ottoman legacy present in the southern regions of the Balkans. This blend of Eastern and Western styles gives the area a cultural complexity that can visually stand in for Istanbul, a city famed for its cross-cultural fusion. His perspective reveals not only an appreciation for regional history and design, but also the practical advantages these varied visuals offer for film production.

The origin of this quote likely comes from interviews or commentaries where Watkins discusses location scouting and his experiences filming in or researching Croatia. His words reflect a filmmaker’s lens—one attuned to how geography, architecture, and atmosphere contribute to visual storytelling. In essence, Watkins is praising Croatia’s architectural versatility, suggesting it serves as a microcosm of European aesthetics, ideal for capturing a wide range of narratives on screen.