interviews

Los Bando The Witch Hunters Journal Jim Button and Luke the Engine Driver No. 3 | 2018 The Websters September

Photo: Los Bando www.ecfaweb.org Index Editorial

ECFA 30 YEARS 3-5 Los Bando Interview The main lever

6 ECFA Seminar 1991. I had been a film professional for already ten I explicitly state that it would have been impossi- 7 Xiaojuan Zhou about children’s films years (independent producer, director, scriptwriter, ble to create the Olympia Festival without ECFA’s Statement actor), but it was the first time I made a film focused support. ECFA was always on our side in many diffe- 8-9 The Witch Hunters on childhood. THE FLEA was selected for the Berli- rent ways. This spirit of collaboration still governs Interview nale Kinderfilmfest and was awarded later in many ECFA’s function and it’s the main lever for the de- international children’s film festivals. Until then, I velopment of children’s cinema in Europe and the 10 Promise Dox Spot had no special training on children’s cinema and I rest of the world. This is why today ECFA has more didn’t even know it was considered a distinct genre than 130 members. My partners and I are happy to 11-13 The Websters or there were specialised international festivals! be members of this beautiful family. Interview

14-15 Jim Button and Luke the Engine Driver My acquaintance with dedicated ECFA members – – Interview especially Felix Vanginderhuysen – was crucial to Dimitris Spyrou my turning towards children’s cinema. Artistic director of Olympia International Film 16-17 Films on the horizon Festival for Children & Young People 18 Bending gender roles in shortfilm Being allergic to the intense competitiveness which Short Cut usually characterises the rest of the film world, I soon became passionate about children’s films. 19-20 Zoo I got in contact with some beloved colleagues in Interview Greece, I “inducted” them to the case and we ini- 21-22 The educational role of film museums tially created the non-profit organisation Neaniko Interview Plano in order to take action for the promotion of quality children’s films and film education. 23 Thessaloniki Film Festival Festival In 1997, we made a big leap forward. We created 24-25 Mission Kathmandu: The Adventures the Olympia International Film Festival for Child- of Nelly & Simon ren & Young People, unique of its kind in Greece. Interview In 2000, we created Camera Zizanio, the European Meet ECFA and its members at the Film Meeting of Young People’s Audiovisual Creation, Literacy Seminar @ Cinekid, October 23, which immediately attracted the interest of young EYE Filmmuseum in Amsterdam. (not only) European creators.

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Christian Lo about LOS BANDO “Dropping simulated police cars in digital water”

The big moment has come for best kit to start playing loudly! friends Aksel (Jakob Dyrud) and Grim (Tage Johansen Hogness). For years In the film Aksel is wearing a T-shirt they’ve been dreaming about their that says: “music is my religion”. Is rock band’s big breakthrough. Now that really so? that Los Bando is invited for the na- Christian Lo: That slogan fits his cha- tional rock contest the world might racter and it would somehow fit me just be at their feet. But how to get to too. As a teen I played in a rock band the finals that are held on the other and playing music has formed me the film I’m a drummer. And Jakob, contest, just like Los Bando. The song side of Norway? And who has the guts just as much as what I learned in film who is a drummer, plays a guitarist. I “Kill, death, destroy” in the movie was to finally tell Aksel that he can’t sing? school. The dynamics and dramaturgy had to practise some drumming, and on our first demo recording. They embark on a journey with a rally of good music are probably the same it felt somehow like dancing: keeping driver behind the wheel and a 9-year- as for movies. Being a band member the rhythm and hearing the different Jakob, there is something manic old cellist in the front seat. feels like belonging to a film crew. accents and beats. about your character that I can only Tage Johansen Hogness: I’ve listened Lo: Tage is an excellent dancer, you describe as ‘hyper enthusiasm’. In the hilarious Norwegian road mo- to music my entire life, and it has be- should know. Dyrud: Yep, that’s me! Aksel is pretty vie LOS BANDO, two friends put eve- come an important part of who I am, stupid, obsessed with his love inte- rything at stake to make their dream but I wouldn’t call it my religion. It’s clear that the movie is made by rest, and without any form of self- come true. Director Christian Lo (RA- Jakob Dyrud: My father is a musician, someone who knows how much fun awareness. He believes he is the gre- FIKI, SUPERHERO) made the kind of music was always there in the house it is to be in a band. atest gift to mankind. Him being so film that gives you a hard time to re- where I grew up, and I listen to it all Lo: Scriptwriter Arild Tryggestad had over optimistic made it a tiring role. main seated. The audience feels like the time. But nowadays I’m focussing the idea to make a road movie, and I I had to act all over the place, all the jumping up, cheering for the young more on acting, although I still play always dreamed of making a band mo- time. Playing an outrageously happy heroes to help them escape from the from time to time. vie. Both ideas came together in LOS person makes you feel exhausted, clutches of policemen and anxious BANDO. Arild developed four charac- as you have to give so much – by parents. And probably some of those You do play? ters, each of them with its own prob- the end of a long day you still have kids in the crowd were already drea- Dyrud: I play the drums. lems. I told him some anecdotes from to act as happy as at the beginning. ming about running out of that cine- Johansen: The funny thing is that I’ve the time I was playing with my own It was a difficult role to shake off. ma to grab the nearest guitar or drum been playing guitar for years, but in band – we made it to the national rock

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have a personal favourite. What is small roles benefitted from it. special: this film has four main charac- ters, rather than one. It’s an ensemb- You mean the crazy people they le film, which you don’t see often in meet on the road? children’s cinema. Tilda (9), Grim and Lo: All those clever characters that Aksel (14) and Martin (17) all reach Arild came up with. Like the religious out to different age groups. maniac driving his van with the slo- gan ‘God has no speed limit’. I found Then was it difficult to make them it particularly funny that Arild hooked What about Grim? a true team? him up with an ‘anger management Johansen: He’s a good lad who wishes Lo: On the contrary, they were a super problem’. KEY AND THE BANDIT and THE BLUES everybody to be happy, but he’s avoi- friendly gang, taking good care of the Dyrud: Or the crazy bride. Swedish BROTHERS. ding conflicts. Like he doesn’t dare to youngest. actress Vera Vitali seemed totally tell Aksel that he can’t sing. Dyrud: Tiril Marie Høistad Berger, normal when we met, but when we re- With a lot of stunt driving to be playing Tilda, was fun to hang out corded that scene, in one split second done. When Tilda hears him singing for the with, she was joyful, we all had fun she turned into an outrageous mons- Johansen: In the coolest scene to first time, the non-verbal “dialogue” listening to her stories. I have a litt- ter, screaming and shaking her body. shoot, Jonas was driving fast with between her and Grim is a fine ex- le sister exactly the same age, and She went nuts. a truck driving alongside us, with ample of wordless acting. sometimes it felt like I got myself an a cameraman standing on top. He Lo: Tilda speaks with her eyes and extra sister. thought this was the most exciting body language rather than with Johansen: Jonas Hoff Oftebro, play- car scene he ever did, as he himself words. Reading the script, you would ing Martin, is actually 21 and has was allowed to drive. find out she has very little dialogue, professional acting experience. As a Lo: The most difficult thing was to maybe 10% of what the other main kid he was in THE OLSON GANG, and find the right bridge for our ultimate characters have. But she has a natu- recently he starred in BURNING, a car stunt. ral power, she shows the world her Norwegian blockbuster about street You seem to have used all the assets strong attitude, although you know racing. He often gave us useful advice. of the Norwegian landscapes and There was a real bridge? that deep down, she’s a lonesome, Lo: I think we found the perfect cast. roads to the fullest. Lo: There was, but not like in the film. troubled girl. For all four main characters, I don’t Lo: We were influenced by LITTLE We erased parts of it on the compu- think we could have come up with an- MISS SUNSHINE in creating a kind of ter. The sinking police car was simu- Among the four, is there one charac- yone better. There was something so parallel universe. We imposed some lated in a studio. They dropped a ter that is the audience’s favourite? positive about this film that stimula- style rules upon ourselves, like how simulated police car in digital water Lo: Apparently every band member ted people to contribute. That energy to frame landscapes in a symmetric and then calculated how much time it has its own fans, there seem to be and chemistry shows in the final re- tableau, and we mirrored ourselves would need to sink. On all three fea- different audience segments that all sult. Even the professional actors in in classic car chase movies like SMO- tures I made, I’ve been working with

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probably the best sound designer in key, but about singing in a way so that Norway. The sound design for the car people still can hear the right melody chase is absolutely brilliant. behind it. It sounded as if there was a song but it wasn’t there yet. Most of LOS BANDO pays tribute to Norwe- the singing was recorded afterwards, gian rock! With Turbonegro’s Hank but the song around the fireplace was von Helvete (Hans-Erik Dyvik Hus- recorded live. It was one of the most by) playing The Hammer. funny scenes, everyone on the set Lo: He is a celebrity in Norway and a was laughing. nice guy to work with. Bringing good music to a young audience was a mo- Christian Lo was not the only one dest personal goal I set for myself. with that name on the credit list… There was another one… And there is a Motorpsycho song Lo: Yes, our daughter Matilda plays that plays an important role in the the role of the little girl that bargains story. over her bicycle. Pure typecasting! Tage Johansen Hogness, Jakob Dyrud & Christian Lo Lo: As a teenager, the first time I went to a rock concert, I travelled from the Underneath the surface of a feel king all the time. In one of the scene’s and dreams that young people have. small valley where I grew up all the good comedy, there is a story lay- there is a note on the fridge saying It’s about following your dreams, the way to Oslo to see Motorpsycho. Of er about loneliness and about res- “diner is in the freezer”. Even if it importance of friendship and having all Norwegian bands, they were pro- ponsibilities, that usually have so- isn’t said explicitly, everybody under- someone to share things with. bably the most well-known on the mething to do with parenthood. stands. continent, being pretty big in the in- Lo: I always thought the best come- – die scene. dies carry a certain melancholy within. How many times can a director make Gert Hermans Each of our characters have their own a film like this, in which he combines What about the singing skills of struggles, which are usually caused by literally everything that could ple- Contact info: Sola Media, both boys, the one who can and the their parents. Grim’s parents are get- ase the audience: comedy, music, car [email protected]; one who can’t sing? ting a divorce and don’t know how to chases and outrageous characters? www.sola-media.com Johansen: That is a cinematic secret handle that in a responsible way, Mar- Lo: I wanted to make a feel good mo- that will never be revealed. tin is living his father’s dream instead vie because I think sometimes there’s watch trailer Dyrud: I’m not a natural talent, but of following his own heart and eve- too much darkness in Nordic cinema, I’m not as bad as in the film. It was ac- rybody understands that Tilda is too or in children’s film in general. I wan- tually really hard to sing out of tune often left by herself. ted to make something lively, a light- ‘correctly’. It’s not about singing off- Dyrud: Because her parents are wor- hearted film tackling the problems

5 | Journal 03 | 2018 ECFA Announcements STATEMENT , ECFA partners in Film Literacy Xiaojuan Zhou: My experience with Seminar: Exploring Visual Culture children’s films 23 October 2018, at the Eye Filmmuseum, Amsterdam

After 20 years in children’s film she children’s films. He identified won- could write a book about the indust- derful children’s novels by Dutch wri- ry, both encyclopaedia and autobio- ter Annie M.G. Schmidt and adapted graphy, a bestseller in the making. them for the big screen. From his firm But no… Xiaojuan Zhou decided to hits were created, one after another. bundle some thoughts for the ECFA Journal. A critical gaze from someo- It was my good fortune that when I ne who follows every development started working in children’s films, in the field of children‘s film from the these two gentlemen were already first row, not as a spectator but as a well established on the market. Over driving force. a period of two decades they beca- me my collaborators, mentors and It all started with my first Canadian friends. employer, Mr Rock Demers who was This October Cinekid, ECFA, Eye and On the programme are: and is still considered by many to be Fond memories FLICK are hosting the Film Literacy - Keynote speech by Claire Boonstra the ‘Disney of the North’. Rock produ- Seminar: Exploring Visual Culture in (founder of Operation Education) ced two dozen children’s films most of After having handled about 200 Amsterdam. The industry event is - Best practice presentations which were co-produced with foreign children’s films, there are so many organised on Tuesday October 23rd - Hands-on ‘Zoom-into-sessions’ countries. His TALES FOR ALL coll- fond memories, such as: (11:00 – 19:00 hours) in the run-up - Informal sessions in an international ection, almost all based on original - A low budget Russian film about to Cinekid for Professionals, which environment scripts, filled a niche at the right time a 6-year-old orphan grossed A$ starts the next day. and together they became legend. 1,000,000 in Australia! Local press Accreditation requests for single ti- teased that the orphan became a mil- The aim of the seminar is to exchange ckets (€ 49,95) for the Film Literacy Almost around the same time, in the lionaire. and broaden perspectives on visual Seminar. Accreditation requests for late 80s, another like minded produ- culture and the role of film in the cul- combination tickets for Cinekid for cer emerged in the Netherlands. Bur- - When a Finnish Christmas film ope- tural and educational debate. Professionals + Industry Forum + Film ny Bos, a broadcaster and children’s ned in Chinese cinemas, the distribu- Literacy Seminar (€ 249,95). book writer, wanted to make good tor called me in a frenzy to ask to talk

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For those who wish to listen, here the better. The more supportive you is a short list of the do’s and don’ts are, the better. A wise producer will when it comes to films for children: know how to motivate without loo- king overbearing. Seek fantasy and adventure: Social drama is necessary as it reflects rea- Animation can be good, but is not lities, but kids all over the world love always the solution: People are a fantasy and adventures. lot less fussy about the lip sync of THE DOG WHO STOPPED THE WAR, animated characters. But animation produced by Rock Demers MINOES Sorry, but keep your childhood does not guarantee absolute success. story to yourself: This may sound Children need to see live action which close minded than the kids). I still to the scriptwriter. He wanted to find offensive, but I have seen so many is more identifiable to themselves. hope to find ways to double shoot or out the conversation between the cases wherein the story belongs to mix shoot. writer and Santa Claus – what did San- the childhood memory of the writer/ Double shoot, coproduce, presales: ta tell him in private? director but does not, in my opinion, So many wonderful European films Write to me should you have a great appeal to the kids today. would have sold many times more, if idea about kids or pets, or both… just - A Dutch film about the cultural mis- there were an original English version one email away! understanding of young Chinese im- Hone your skills: So many stories available. It is a shame to deprive Eng- migrant Winky was an unexpected have good intentions but fail to be lish speaking countries of the pleasu- Thanks, success. It melted my heart when, executed according to internatio- re of enjoying these films (I would bla- – at the end of a screening in Montre- nal standards. A good children’s film me mainly the buyers who are more Xiaojuan Zhou al, one small kid raised her hand and needs to be a good film, no matter popped the cutest question I had ever who your audience are. received: Are you Winky? As President of Attraction Distribution, Set your expectations reasonable: I Xiaojuan Zhou brings over two decades of - MINOES, a Dutch 2001 catwoman tend to enjoy working with producers experience and expertise in film and TV dis- film, is my all-time favourite, equal whose expectations are lower than tribution and international cooperation. She to, in my book, SOUND OF MUSIC, WI- my own. That way, it is more likely was instrumental in raising Attraction Distri- ZARD OF OZ, PIPPI LONGSTOCKING that I could bring them nice surprises. bution to a position of world leadership in or HEIDI. The film has been sold and Ha, self-protection, you may say. high quality family films and kids entertain- resold in many countries. In the US, it ment brands. She has fostered long term was first a DVD release and then had Keep your sales agent informed and relationships with dozens of producers and hundreds of distributors and a small theatrical release years later inspired: The earlier you get your broadcasters around the world. Xiaojuan Zhou is based in Montreal and – yes, in this order, and for a dubbed sales agent involved, the better. The works in English, French and Chinese. live action film! more useful information you provide,

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Rasko Miljkovic about THE WITCH HUNTERS “A set more comfortable than a five star hotel”

The life of 10-year-old Jovan is shaped The opening scene drags you into by the consequences of his cerebral the film from the very first second. palsy. He prefers to think of himself What a crazy location! as invisible to all others, including his Rasko Miljkovic: We scouted for a sort classmates. In the world of his ima- of dystopian setting to introduce the gination, however, he possesses the audience with The Shade. Luckily Ser- superpowers of the mighty and int- bia is gull of run down, half demolis- main exporter of superheroes. Even Miljkovic: The idea was to have tho- angible hero The Shade. Until his new hed ex factories, so we had a cornu- though he’s a kid, he’s pretty dark and se fantasies become more and more classmate Milica invites him to join in copia of choices. The place we shot mysterious, sort of a cool kid Batman scary as Jovan prepares to battle the on a real life adventure – to liberate used to be one of the biggest cotton with visual cues taken from the X-men witch. We wanted to convey his inner her father from his new wife, whom processing plants in Yugoslavia, but it Gambit and antihero Magneto. I spam- fears, up the stakes for the final en- Milica believes is a witch. closed down shortly after the fall of med my costume designer’s email for counter. But we were very careful in the nation. The DoP and myself loved months with different superheroes, dosing it, because it was the ambition THE WITCH HUNTERS is an outstan- it, but it caused a humongous health abilities and trivia about comic books, to make it more exciting, not to cause ding film, produced in a country whe- and safety hazard that we left to our and with her limitless talent she ma- trauma. re the silence on the children’s film capable producer Jovana Karoulic to naged to combine the best aspects of front has been deafening for deca- handle. After her intervention the set the pantheon of superheroes into our The boy behind that superhero, Jo- des. But director Rasko Miljkovic and was more comfortable than a five star very own, first Serbian hero! I’m proud van, is not always the nicest person. producer Jovana Karaulic seem to hotel... to say that I converted her into a geek, Miljkovic: I believe that the perfect feel like fishes in children’s film water. reading comic books on a regular ba- balance between the positive and ne- At the Zlin Festival they stood out as There we meet a special superhe- sis now. gative aspects of a character assure perfect ambassadors for their film, ro. In what way is he different from that he’ll feel real and lifelike. That’s before they started travelling from other superheroes we usually meet Though very stylish, those scenes why Jovan isn’t always a good, well- festival to festival, collecting multiple in films? are sometimes on the edge of get- mannered boy. But even though he awards. Miljkovic: He’s a child! That’s pretty ting super creepy. Was there a limit may be egocentric and a bit spoiled rare in Hollywood, them being the to their creepiness? at times, his motivations are always

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cess to work on with the actors? learn how to use this imagination to Miljkovic: To be honest we had to tone benefit us in our everyday life. it down! The two of them hit it of so well, even in the casting phase, that How much acting is there in Miha- we had to work on distancing them jlo Milavic’s performance? How de- in the first half of the film. The che- manding was his task? mistry between them was amazing, it Miljkovic: He’s very different in real pure. I believe, him being selfless just grew on screen! During rehearsals life. He isn’t shy at all and he is su- deep down, could win over any au- we focused more on the delivery and per mature, it’s like working with a issue. Our overall idea was to create a dience. emotions rather than on the mise-en- 30-year-old in a kid’s body. But his film that will start a dialogue with the scene. We set up the whole process of facial expressions, gestures and cha- community on important social issu- Milica has a lot of anger in her. Whe- filming as a game and they just ente- risma was translated to Jovan. He es. We hope we succeed in that! re does that come from? red the set and played around with us. had a blast while filming. He was al- Miljkovic: From a teenage aspect of That’s why the result feels so natural. ways the centre of all attention and – myself. My parents got divorced when got along with Silma so well that it Gert Hermans I was a kid, and I remember how an- The adventure forces Jovan to lea- was sometimes hard to get them to gry I was with my father. I blamed ve his overprotected cocoon. Much go home after we finished filming at the whole thing on him, but when he more than just an adventure or a the end of the day. watch trailer got serious with another woman I re- game, this is his big step into the member channelling all of that anger world. It has been a long time since we Contact: Pluto Film, info@plutofilm. towards her, and sort of putting my Miljkovic: It’s a double lesson for him. saw a Serbian children’s film (alt- de; www.plutofilm.de dad in the back seat. We based a lot One, he learns that there are people hough meanwhile another Serbian of Milica’s character on my younger around him worth letting in, those title has gone into pre-production: sister: her boyish charisma, relentless who will accept him for whom he is. HOW I LEARNED TO FLY, based on spirit and damn hard-headedness. Of If you have someone around who is a a book by Jasminka Petrović, who course a lot of the final result had to “yes you can” person, everything be- also wrote THE WITCH HUNTERS). do with Silma Mahmuti, playing Milica, comes possible. Tacky but true. The Miljkovic: In fact, we were fortunate who took her role very seriously. other lesson is more intertwined with enough to get funding as debutan- his own world of fantasy. He learns tes first in our country, and then Jovan and Milica are an odd couple, that he can rather use all his imagina- from Creative Europe and the Mace- overcoming the initial physical di- tion to help him overcome the stuff donian Film Agency. For a long time stance between them. Throughout that gets him down in the real world. there were no children‘s movies in Producer Jovana Karaulic & director Ras- the film that physicality grows more It’s important for all of us to never let Serbia, but we understand this is ko Miljkovic and more natural. Was that a pro- go of the fantasy world within us, but not just a local, but rather a global

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Promise

Right in the heart of Cologne lies dings. “Look at this!” Promise demands, Hotel Mado. Once a private four-star as he zooms in and out of pictures he hotel, it has now opened its doors to made of other hotel guests. “He holds a serve as a refuge for asylum seekers. newspaper in front of him. He didn’t want The hotel is home to the main prot- me to take his picture.” While Promise’s agonist Promise, his three-year-old awareness of his environment is astoun- twin sisters and his mother. Still a kid ding, all interactions remain playful. himself, Promise not only has to take care of the household, but functions Musullu’s film offers an important view as a father figure for his sisters as into the world of a young child in re- well. The camera follows him as he fugee accommodation, his approach struggles to find his place in this new depicting the humanity of this excep- reality, trying to understand this bi- tionally demanding situation. The film zarre new world. not only provides insights into the boy’s everyday life but, occasionally, the focus Director Bünyamin Musullu’s immersive shifts to the struggles of other guests film style reflects not only Promise’s staying at the hotel, offering glimpses conflict of finding his place as a refugee, into the refugees’ efforts to overcome but also portrays him as the child he is. personal loss and cultural barriers. PROMISE by Bünyamin Musullu, 20’, The Doxspot column is published We see a 10-year-old boy fooling around Germany, 2018. Producer: Charly Hoff- with the help of the doxs! festi- with siblings or completely immersed PROMISE will be screened within this mann; Production & Distribution: Inter- val for children & youth docu- in playing with a small electronic heli- year’s doxs! Ruhr opening ceremony, national Film School Cologne. mentaries (Duisburg, Germany), copter or a Gameboy. Like all children, taking place on 5th November in Gel- www.do-xs.de. Promise is curious. He roams around the senkirchen, and is one of ten films nomi- Contact: [email protected] common area of Hotel Mado, a digital nated for the ECFA Documentary Award camera at hand, capturing his surroun- at the doxs! festival in Duisburg.

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THE WEBSTERS, a TV series by Katarína Kerekesová “Mirroring yourself in creatures so often disliked”

Whatever your personal relation is with family and friends, connecting us with spiders – you might love or hate them our past and ancestors. – the animated series THE WEBSTERS, made for Slovak television RTVS, is I see several reasons for not choosing more about smiling understandingly spiders as main characters. Like a) than about shivering with fear. The they scare the hell out of people. Websters are a charming, optimis- Kerekesová: Mirroring yourself in crea- tic spider family living in an elevator tures so often disliked, is a perfect trai- shaft. Youngest daughter Lili, about six ning for your emotions. seasons old, is the main heroine. Like most of the characters, she has a spe- And b) it can’t be easy to animate why wouldn’t it be for a little spider girl? Most stories show a strong solidari- cial talent for always seeing the sunny eight limbs instead of four. ty within one family. side of life. Director, producer and wri- Kerekesová: That was only one of the One episode deals explicitly with con- Kerekesová: The strongest network is ter Katarína Kerekesová (MIMI & LISA): many challenges this project confron- sumerism. the family network. Maybe the Webs- “You only have one lifetime to spend, ted us with. Animators had to rethink Kerekesová: In THE WEBSTERS I wan- ter family seems a bit traditional, a so why fill it with negativity?” their entire concept of movement. ted to approach the young audience stable conception, with dad working in Katarína Kerekesová: Every time when with topics that are closely connected a distribution centre for canned flies, cleaning and hoovering my house, I kept The episodes deal with all sorts of to their everyday life. Consumerism is mum looking after the house, and thinking what hardworking animals spi- themes. One theme is ‘fear’. something we’re facing every day when grandparents keeping some of their ders are, and how they never give up, Kerekesová: Lili is taking important shopping, advertisements at every childishness alive. Each of them has its weaving cobwebs in every corner, be- steps in life. It’s not only about learning street corner, in our own materialistic own worries, but at the end of the day, hind every cupboard. I imagined their to read or weaving her first thread. Be- dreams. Since they get access to this they support each other. If this would world very similar to ours: everyone hind all that is her ability to make the materialism so easily, children should be possible within every primary unit interconnected by the net, not as a mo- right decisions and to believe in herself. know about real values. such as a family, the world today could bile, online network, but as a network of It’s an everyday problem for all of us, so look a completely different place.

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The stories close the gap between How easily will your target audience generations, with characters elegant- identify themselves with Lili? ly reaching out towards the younger/ Kerekesová: Lili has a strong imaginati- older generation. on, a deep desire to belong somewhere, Kerekesová: The aging process, with to be part of a family, and an urge to death as a final outcome, is a part of life know herself loved and appreciated. I that we tend to hide behind the walls hope girls will find her really cool. of nursing homes and hospitals, while we’re caught up in the rollercoaster of How would you describe Lili’s relati- life’s enormous daily responsibilities. onship with her older brother Hugo? Lili’s grandparents are a profound part Kerekesová: Many ideas came from my of her life. Getting old from a young own childhood memories. I have two ol- spider’s perspective was an issue I defi- der brothers, and although they might nitely wanted to tackle. have felt a bit annoyed by my presence from time to time, they were always supportive and helpful. I wanted the re- lationship between Hugo and Lili to feel similar. Hugo is definitely a charming on the artistic level, to stand out among episodes were broadcasted by Radio & character. Recently a colleague saw a the big studios. We’re combining in- Television Slovakia simultaneously on boy in a playground, swinging upside dustrial settings, like an elevator shaft, both RTVS channels. With more than a down on a rope, screaming “I am Hugo with everyday locations that humans million viewers, the results were mind Webster!” share with spiders: the cupboard is a blowing. In 2015 together with sales spiders‘ supermarket, the bathroom is agent PNA and distributor CPN we re- Grandma has the best line of the film: The team of creative designers did a a wellness centre, the toilet is a pool… leased a compilation of six episodes in “Only when you stop playing, that’s magnificent job in creating a universe, This fantasy world is full of well-known French cinemas, with a humble – around when you get old.” using objects and utensils from every- objects. 80,000 viewers – but interesting result. Kerekesová: She is my favourite charac- day life. Your previous series MIMI & LISA did MIMI & LISA was later released in Belgi- ter, the catalyst of numerous humorous Kerekesová: The series were conceived well on the European market. Was it um and Luxembourg and sold as a TV situations. She’s our big baby, an ally of as puppet animation, until we decided sold as a TV-series or in the format of series to various countries. Now there Lili and Hugo, a bit selfish and lazy at that 3D technology fits much better to a compilation film? is European interest in MIMI & LISA’s times. Imagine, we’re preparing an epi- the production rhythm of a TV-series. Kerekesová: MIMI & LISA was the first new Christmas TV special, that again sode in which she’ll become a gaming We weren’t very experienced with that TV series in external co-production with will be released in French cinemas. But addict. technique. With our limited capacities, Slovak TV after decades. The respon- our biggest asset are the books. They’re we realized we had to make a difference se was very positive. In 2013 the first bestsellers in Slovakia, also published in

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dustry in general. We organise the big- Contact info: director & producer gest annual pitching forum for projects Katarína Kerekesová; from Central-Eastern Europe in Trebon, www.foolmoonfilm.com Czech Republic (from 2019 on re-named World Sales: Planet Nemo, as CEE Animation Forum). We’re striving www.planetnemoanimation.com for an increasing number of good pro- ductions, continuing the great animati- – on tradition in our region. Gert Hermans

watch trailer

Hungary and Czech Republic. of 2019. Hopefully, depending upon fi- nancial considerations, we’ll be able to A WEBSTERS compilation could work complete another 13 episodes, that are in a festival or in a distributional con- already in development. text? Kerekesová: THE WEBSTERS was pre- In 2013 THE WEBSTERS won the Best sented at many festivals. The first 13 TV Project Pitching Award at the Vise- episodes should be ready by the end grad Animation Forum. Could you exp- lain a bit about the market position of Central-European animation? Kerekesová: As one of the representati- ves of the Slovak Association of Produ- cers of Animated Film, we co-founded VAF some years ago with colleagues from Czech Republic, Slovenia, Katarína Kerekesová and in order to promote coope- ration and to fire up the animation in-

13 | Journal 03 | 2018 SHINTEORRTCUTVIEW

Dennis Gansel about adapting JIM BUTTON AND LUKE THE ENGINE DRIVER “The way we imagine the great unknown and the strangers who live there”

Together they convert Emma into a Young audiences – big budgets… the Dennis Gansel: For dramaturgical rea- Still I have the impression your ver- makeshift ship and sail off on an ad- two don’t go together too often. Alt- sons, we’ve skipped a few elements, sion is often more funny than the venturous journey that will finally hough producer Christian Becker (THE for instance demonstrating how original. take them to Dragon City, where the CROCODILES, AT EYE LEVEL) was not Emma is made seaworthy (which I per- Gansel: It is! The character of King Al- emperor’s daughter is held in capti- too timid to make JIM BUTTON AND sonally find a pity). Even if the barrels fonso for instance became much more vity. Along the way they cross paths LUKE THE ENGINE DRIVER his most installed underneath the locomotive comedic. And from Luke’s fistfight with the weirdest creatures, like the expensive film project ever. Adapt- made it waterproof, for reasons both I made a Bud Spencer tribute. Back courageous half-dragon Nepomuk, ing Michael Ende’s (remember THE budgetary and technical, there was then when I was listening to the radio and Mrs. Grindtooth, who chains child- NEVERENDING STORY) classic was a no water to sail on. Everything was play with Michael Ende reading the ren to their school desks. long-cherished dream to be fulfilled. recorded in front of a green screen. story, I was also influenced by those Director Dennis Gansel (THE WAVE) Furthermore not much was deleted Bud Spencer movies. I choreographed combines old-school storytelling with from the book, on the contrary. When the fight with the Mandala Palace Gu- state of the art technique. The result working on the script, script writer ard for my own eight-year-old child, resembles classic film colossuses Dirk Ahner and I added some extra and I was happy to see that today’s from another cinema era. scenes, which got all cut out again la- eight-year-old kids also enjoyed it on ter. We showed the movie to a test au- the sly. In the early 60’s Ende’s book was ad- dience and the parts that they didn’t apted as a puppet show for German like, were exactly the scenes that we Many have seen in JIM BUTTON a television. This made an entire gene- added. So in the end, Ende became counter-balance to the Nazi world- ration of kids familiar with Luke, who pure Ende again. Which simply speaks view. What’s so special about this Even if your film stands close to the drives his locomotive ‘Emma’ around for the quality of his stories, that are story? original story by Michael Ende, so- a tiny island called Morrowland, and told in a very cinematic way. Gansel: The constellation of a black mewhere there must be differences Jim, a black boy washing up one day, boy and a real ‚50s working class type. between book and film. who gets adopted by the islanders. Then there’s Jim‘s quest for his iden-

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Sleeve we recognise the typical Eng- deeply! Bewildering! The same happe- that?“ - €15,000! Then there were all lish gentleman with bowler hat and ned when casting Ping Pong and Li Si. those locations that didn’t exist until umbrella, and the English mother in They’re all fantastic – and all three are we built them first, Morrowland, the Mrs. Waas. There is the monarchy of Londoners. volcanoes, Mandala… Yes, Ende’s the wise, a somewhat foolish Edwar- fantasy world is a very expensive one. dian king, the working class, repre- sented by Luke, and a black child, all Those who financed the film, are living together peacefully. The ques- they convinced by this first part? tion ‘why am I black and you are not’ Gates: Undisputedly - they are very seems to puzzle nobody but Jim. satisfied and clearly realise how the much too warm weather has had a tity, and a heroic journey with multi- You actually thought about making great impact, missing out on at least ple challenges. Such elements should the film in English. half a million extra visitors. Other- sound familiar to Harry Potter fans, as Gansel: Yes, with Shirley MacLaine as wise we might have topped the two J. K. Rowling was a big Michael Ende Mrs. Grindtooth. She loved the pro- With a €25 million budget, this million. As a consequence, we’ll have fan. There are so many aspects that ject. We recorded some scenes with children‘s film is one of the most ex- less money at our disposal for the still affect us as grown-ups today – her to model her face on the dra- pensive German productions ever. second episode LUKE AND THE WILD when your home ground feels too gon. When it was decided to shoot What made it so expensive? 13. We’ll have to split every single small, you should roam, out into the in German, we already had our Jim. I Gansel: Seven and a half million went penny, while the story is even more world, discover yourself and finally re- thought of Jim as a German-speaking to visual effects and six to equipment. fully-scaled. A continentally-scaled alise that the place where you come black boy next door, just a normal kid, The technical advances in visual ef- story, so to speak. from is actually pretty nice. And of maybe from Mannheim. But we just fects and 3D characters such as Ne- course, the way we imagine the great couldn’t find him. We did a casting in pomuk and Mrs. Grindtooth made How much do you need, at least, for unknown and the strangers who live the UK, and I was amazed. In Germany the film 1/3 cheaper than 14 years that sequel? there. we have great casting offices and play ago when Christian Becker first plan- Gates: 19 Million! areas and jelly babies and no idea how ned it. Nepomuk for example, whom Where is Morrowland actually? we’re spoiling those kids, and their in fact doesn’t exist at all except by watch trailer Gansel: I believe, and there is trust- acting is okay. Then you find your- Michael Herbig’s voice, is comple- worthy secondary literature confir- self in a mini-alcove in Soho, where tely assembled in a computer. Just – ming this assumption, that Morrow- the entire agency is crammed on ten like Mrs. Grindtooth. To make these Uta Beth land is a Channel Island. We notice a square meters, because office space figures look alive, every shot – from World Sales: Timeless Films, info@ very British architecture in the dra- is so terribly expensive, and you sit cut to cut – costs about €7000. If timelessfilms.co.uk; www.timeless- wings by Franz Josef Tripp, that were face to face with a little boy, alone wi- Nepomuk says: „Oh, that’s what you films.co.uk Festival contact: Renate made in close consultation with Ende thout even a co-actor, looking straight mean!“ - €7000! When he says „What?“ Zylla, [email protected] - the two were lifelong friends. In Mr. into the camera and he touches me - two cuts forward - „Can you really fix

15 | Journal 03 | 2018 Films on the Horizon

New European films for children or Brillebjørn på bondegården World Sales: Studio Filmowe Rabarbar Help, I Shrunk My Parents young people which are ready to be Phone: ++48 66 074 69 96 discovered for your programmes. [email protected] More information and more films can be found at www.ecfaweb.org/ The Falcons european-childrens-film-network/ Feature Film, Iceland, 2018 feature-films. Producers, distributors Director: Bragi Thor Hinriksson and sales agents are kindly invited to Prod.: Saga Film inform us of their new releases. World Sales: LevelK Feature Film, Norway, 2018 Phone: ++45 48 44 30 72 L‘Animale Director: Maiken Marstrander [email protected] Feature Film, Germany, , 2018 Prod. & World Sales: Spark www.levelk.dk Director: Tim Trageser [email protected] Prod.: Blue eyes Fiction, Mini Film, www.sparkmedia.no Fight Girl Deutsche Columbia Pictures Filmprod. Feature Film, The Netherlands, World Sales: ARRI Media Int. Brothers Belgium, 2018 Phone: ++49 89 38 09 12 88 Director: Johann Timmers [email protected] Prod.: The Film Kitchen, A Private www.arrimedia.de/international Feature Film, Austria, 2018 View Director: Katharina Mückstein World Sales: Attraction Distribution I Am Not a Witch Prod.: NGF Geyrhalterfilm Phone: ++1 514 846 12 22 World Sales: Films Boutique [email protected] Phone: ++49 30 695 378 50 Feature Film, The Netherlands, 2018 www.attractiondistribution.ca [email protected] Director: Bram Schouw www.filmsboutique.com Prod.: Baldr Film Heinz, the Cat from www.lanimale.com World Sales: Wide Management Amsterdam Phone: ++33 1 53 95 04 64 Animation, The Netherlands, 2018 Feature Film, , UK, Germany, Backstage [email protected] Directors: Piet Kroon 2017 Feature Film, Slovak & Czech www.widemanagement.com/brot- Prod.: Bos Bros., Submarine, Fabrique Director: Nyoni, Rungano Republic, 2018 hers Fantastique Prod.: Clandestine Films, Thunderbird Director: Andrea Sedlackova World Sales: Attraction Distribution Releasing, Unafilm Prod.: Arina, Frame100, Bontonfilm Day of Chocolate Phone: ++1 514 846 12 22 World Sales: Kinology World Sales: Frame100 Feature Film, Poland, 2018 [email protected] Phone: ++33 9 51 47 43 44 Phone: ++420 230 234 313 Director: Jacek Piotr Blawut www.attractiondistribution.ca [email protected] [email protected] Prod.: Aura Film, Studio Filmowe www.heinzdefilm.nl www.kinology.eu www.frame100r.com Rabarbar, Silesia Film, DI Factory

16 | Journal 03 | 2018 Films on the Horizon

Kikoriki. Deja Vu The Motorbike Director: Deborah Heywood World Sales: EastWest Filmdistr. Feature Film, Bulgaria, 2017 Prod.: Quark Films Phone: ++43 1 5 24 93 10 Director: Valentin Goshev World Sales: Stray Dogs [email protected] Prod.: ARS Digital Studio Phone: ++33 1 82 28 42 15 www.eastwest-distribution.com World Sales: Novokino [email protected] Phone: ++35 988 63 95 408 www.stray-dogs.biz Super Teacher [email protected] Animation, Russia, 2018 www.novokino.com Director: Denis Chernov The Sentries Prod.: Petersburg Animation Studio Old Boys Feature Film, Romania, 2018 World Sales: Riki Group Director: Liviu Marghidan Phone: ++7 -812-777-77-88 Prod. &World Sales: Scharf Film [email protected] Phone: ++40 722 304 788 www.riki-group.com [email protected] www.scharfilm.ro Little Tito and the Aliens Feature Film, The Netherlands, 2018 The Silent Revolution Director: Martijn Smits Prod. & World Sales: PV Pictures Feature Film, Sweden, UK, 2018 Phone: ++31 35 677 47 76 Directors: Toby MacDonald [email protected] Prod.: Momac, Film4 www.pvpictures.nl World Sales: West End Films Phone: ++44 207 494 83 00 We [email protected] Feature Film, The Netherlands, 2018 www.westendfilms.com Director: Rene Eller Feature Film, Italy, 2018 Feature Film, Germany, 2018 Production: New Amsterdam Film Director: Paola Randi Pin Cushion Director: Lars Kraume Company Prod.: BiBi Film TV, Rai Cinema, Prod.: Akzente Film World Sales: Wide Management MiBACT World Sales: Studiocanal Phone: ++33 1 53 95 04 64 World Sales: True Colours - Glorious Phone: ++33 1 71 35 35 35 [email protected] Films [email protected] www.widemanagement.com/brothers Phone: ++39 06 37 35 23 34 [email protected] Super Furball More information on all these films you www.truecolours.it Feature Film, Finland, 2018 will find on our website: Director: Joona Tena www.ecfaweb.org/european-childrens- Feature Film, UK, 2017 Production: Yellow Film & TV film-network/feature-films

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At this year’s Mo&Friese Childrens father as main trustee, which should Shortfilm Festival the Youth Jury be considered normal in a film dated Bending gender awarded the Dutch film SIRENE (Zara 2018, but still isn’t. Dwinger) for the Freischwimmer roles in current Award. The film offers a quick peek Pump iron into the world of 15-year-old Kay, We’re grateful for the many films, shortfilm defined by masculine rituals and roa- especially short fiction, tackling gen- ring motocross bikes. When the en- der issues but not as a main topic, chanting Melody comes sailing into Iron Hands As already stated many times, short- not even very striking at first glance. his life on a big boat, their flourishing film is – due to its shorter production Films spreading their messages in friendship lures him towards dormant period and smaller budget – predesti- more subtle ways. feelings that will change his life. The ned to react swiftly to socio-political film does not only treat its actors with trends and tendencies. Especially in When Rikke in HVALAGAPET (Liss- congenial photography, but also ma- the last 12 months, a wide range of Anett Steinskog) actively chases and nages to surprise without cheesy sen- films popped up dealing with the to- then ditches her dream boy after a sationalism. pic of gender roles and gender iden- disappointing first kiss, this can be tity, in heterogenic ways. We can only considered an alternative to the ide- Female doctor Neko No Hi reveal to you the tip of the iceberg, alised “first-kiss-scene” we all know from so many mainstream titles. Or but we recommend a closer look on The topic of being different in gene- we see girls wrestling (BROTTAS, Julia every title mentioned here and a lot ral lends itself perfectly for young The Short Cut column is pu- Thelin), or pump Iron (IRON HANDS, of great films not yet mentioned! audience films. An excellent example blished with the help of the Johnson Cheng) for a hobby, without is Jon Frickey’s strange but beautiful Mo&Friese KinderKurzFilmFes- making a big deal of it. Strikingly The first title coming to one’s mind animation NEKO NO HI. A little boy is tival, dedicated to short films. enough, it seems we’re still lacking is the extraordinary powerful JUCK feeling sick, so his father takes him to As a part of the Hamburg Short similar titles containing alternative (Olivia Kastebring, Julia Gumpert and see a doctor. Although the diagnose Film Agency, the festival aims roles for boys. There’s a challenge for Ulrika Bandeira) that in 2018 won the sounds harmless, the event shakes to present documentaries and 2019! Special Prize for Best Short Film at his identity to the core. In a particu- experimental films in addition – the Berlinale’s Generation 14plus. The lar aesthetic style influenced by Ja- to animation and short films as International Jury put it like this: “This panese art, the film delivers a strong well as to arouse film jumped from the screen and owned message about accepting differences. the curiosity of the auditorium as if it said ‘I am in this Almost like a fable, the interesting children and to place right now and it’s mine’. (...) The- thing about NEKO NO HI is not only stimulate se women are creating new languages its obvious message ‘Be whatever you their of femininity through unbridled perfor- want to be’ but also the seemingly imagination. mance in public spaces.” minor details: a female doctor and a Brottas

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Art Parkinson about ZOO fess most of the attention went to nice about this film. Anything with an the elephant… How do you cope elephant that wasn’t CGI, was shot “Not enough acting to stop washing dishes” with that? in Canada. Nelly lived in a big enclo- Parkinson: I’m so jealous now!?! No, I sure in Hamilton, outside of Toronto, was very close to her. When I first met where animals are treated very well. It’s 1941 and bombers are flying over Nelly, the young calf playing Buster, There was a horde of elephants, living Belfast. What 12-year-old Tom wor- she was skittish and nervous. On the on 500 acres of orchard. For them it ries about the most is not the well- first day we had a photoshoot. I drop- was like: shake a tree… voila, there’s being of his fellow citizens, but the ped an apple in her mouth, and she breakfast! Every time we drove in, situation of Buster, a baby elephant swallowed my entire arm. Elephants elephants came running towards us, in the Belfast zoo. Accompanying his have teeth further back in their thro- sticking their trunks right through the veterinarian dad, he visits the zoo al- at – I could feel them, that was scary. car. First the producers were offered most every day. During the air raids, But she turned out very nice. To see to buy an elephant, but that was so- the animals can be viewed as a risk to something so pure, innocent and na- mething we couldn’t justify. Absolute- public safety. Tom has no option left elephant – at the Zlin festival. tural… I spent three weeks with Nelly, ly not! Animal welfare should be top but to move Buster to a safe location, every single day holding and hugging priority for humans. You can’t sugar- with the help of his misfits friends. The story is set in Belfast. What her, being around all the time, making pot it. With Buster’s life at stake, it’s time does that city mean to you? Nelly feel more comfortable, which in for some improvising… Art Parkinson: I’m from Donegal, turn made me feel more comfortable. The story was inspired by true about 2 hours from Belfast. But when I loved that elephant. events, but how much of it is ‘true’? Colin McIvor’s ZOO is a very acces- I lived there for six months while Parkinson: Large parts. Basically it sible movie, inspired by true events, shooting , the city I’m afraid zoo’s in 1941 looked a bit was Mrs. Austin (a character appea- depicting Belfast in numerous colours became a second home to me. Also different from what we see in the ring in the movie) who stole the ele- brown and green. And even supported was shot there, film, probably much more depres- phant. But the authors changed the by a team of skilled actors, including in which I had a little part - although I sing places for animals to live. story and wrote us in. the now 17- year-old Art Parkinson was very young, it was an unforgetta- Parkinson: I suppose so. That was so (I KILL GIANTS, GAME OF THRONES, ble experience. And the pilot of the DRACULA UNTOLD) and Toby Jones series was shot in Belfast. It was never (CAPTAIN AMERICA, THE HUNGER released, but had a huge impact on GAMES, HARRY POTTER AND THE the city. Belfast used to be a harbour CHAMBER OF SECRETS,…) still most town, nowadays it’s all about TV and of the attention goes to Buster, the film industry. endearing baby elephant. When Tom first lays eyes on her, he whispers: “It’s Officially you might be the main perfect”. We meet the boy – not the character in ZOO, but I have to con-

19 | Journal 03 | 2018 SHINTEORRTCUTVIEW

feeling has very much gone, lost. And religion has always been strong Collecting the glamour takes people there. But what defines Ireland best away from the actual art and crafts- is that it has always been under op- manship. pression, for many centuries. This new state was only formed after the You don’t seem much like the gla- end of World War I. Ireland had a lot mourous type. to go through but that made it such a Parkinson: My parents own a café, in strong country. the weekends I wash dishes and wipe tables. Acting for me is the interesting Nowadays there’s more animal ac- experience of escaping from life and tivism than ever before. 75 years You have a bizar relationship with morphing into another person. If you after 1941, and still activism is a ne- Charlie, the zoo’s security guard, can tell a story that means something cessary thing. played by Toby Jones. What’s on his to yourself and to other people, that Parkinson: The line between law and mind? feels very special. My mother was an morals might sometimes fade, but I Parkinson: He’s very much a symbol actress so I was often on sets with think the law side does truly influence of authority. Charlie is a vague, rather her and got little parts, and carrying the way people think. I don’t see why unpleasant character at first, but on like that, it kind of snowballed. But only humans should have the right to eventually ends up helping them, gi- not enough yet to save me from wa- this planet. Animals live here and it’s Art Parkinson ving them the keys. And above all, he shing dishes every weekend. their world too. There’s a lot of peop- sacrifices, he loses his job. That’s one le ready to raise their voice, and that’s Not so much on your welfare? of the main points of ZOO: everybody brilliant. Did you hear about Steve-O Parkinson: Nobody cared about me. I sacrifices, but it doesn’t matter be- from JACKASS, climbing a crane to could do whatever! cause it’s all for the greater good. protest against SeaWorld keeping killer whales and other sea animals – How was it to work with Toby Jones? in captivity? He got in a lot of trouble Gert Hermans Parkinson: Lovely, just like Penelope but raised a lot of attention, and plan- Wilton. It was amazing to work with ted a seed in the minds of many peo- Contact info: Metro Int. Entertain- people who have spent decades on ple who now refuse to visit SeaWorld. ment, michael.yates@metro-films. film sets. They had a very different The film shows a familiar image of That was one of the main things about com approach towards the film industry Ireland: there’s alcoholism, there’s ZOO as a production: the focus was compared to how we look at it today. the church and there’s street figh- always on animal welfare and how to For them acting was all about the art ting. develop it. watch trailer form, so pure. They started acting be- Parkinson: In those days Ireland was cause they loved it; these days that an outspoken industrial country.

20 | Journal 03 | 2018 INTERVIEW

Alejandro Bachmann about the educational role of film museums

Film museums were the cradle of film Langlois (Cinémathèque Française). education. But are they still? Alejand- The latter is said to have held actual ro Bachmann from the Austrian Film seminars in the cinema in the 1940s, Museum reflects. putting together excerpts from film prints and commenting on them. How does film education fit in the I don’t think so much has changed. mission of film museums? Film museums still have this archive of films and — this would be the second Institutions such as film museums, ci- aspect — they also have a certain Austrian Film museum nematheques etc. were seminal in es- knowledge about film: about the his- tablishing an infrastructure on top of tory of prints, the materiality of the seems to suggest that these differen- teenagers ranging 5 - 18 years. But which film education could take place. medium, its technological mutations. ces do not matter and are a matter of in our “Summer School“ we invite In the 1930s places such as the BFI I would argue that their role becomes the past. To be sure: This is not to say teachers and other people interes- (British Film Institute) or the MoMA even more precisely defined in a digi- that film education should convince ted in teaching film. And through the Film Library started collecting prints tal world: On the one hand their ar- youngsters that analogue film is the seminars I have been teaching at the which were deemed useless by an in- chives can make young people aware best and being inside a cinema is the Department of Theatre, Film & Media dustry. Without these collection acti- that there is far more to the history only way to see a film, but rather to Studies at the University of Vienna, vities much of the film history before of the medium than they yet had the think about the differences and how I’m trying to bring a curatorial per- 1930 would have been lost and I can- chance to see. There is a discourse they shape our feelings and thoughts, spective into the academic discourse. not think of a reasonable approach to suggesting that everything is availa- our social interaction and the aesthe- film education without establishing ble on the net nowadays, but that is tic experience. Our educational programs for child- the medium’s past and relating it to not the case. On the other hand these ren are visited by approx. 5,000 pu- the present. From the start, places places have the obligation - more than Are young people a primordial tar- pils each year. It took us a while to such as MoMA understood that their ever - to sensitize people for the dif- get audience for film museums? reach these numbers, but once they task was not only to preserve those ferences in materiality (16mm, 35mm have been here, most teachers tend prints but to curate programs and or DCP) as well as the context of pre- We try to address a number of au- to come again. There are classes who make prints available. Often this was sentation (a tablet, a mobile phone, a diences. Our educational programs have visited us so often that we now connected to individual personalities television or a cinema). They can work „Schools in Cinema“ and „Focus can easily talk about a film by Howard such as Iris Barry (MoMA) or Henry against a commercial culture that on Film“ are aimed at children and Hawks or Francois Truffaut or even

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we discuss how cinema shapes how re. We can still reflect on the expe- others build installations. Ideally, this we perceive time. In “The Cinema as rience afterwards, but allowing the project could develop a series of edu- a Political Space“ we reflect on what film to touch you, to seduce you, to cational approaches addressing very it means to be inside a cinema. What take you somewhere comes first. The different contexts. we try to do, I guess, is to connect the ideology that surrounds us is one of aesthetic part of film education with permanent activity, of filter bubbles, – all the other spheres that film also of constantly having to state who you Alejandro Bachmann is connected to — the technical side, are, who you disagree with etc. Wat- Austrian Film Museum the role it plays in society, its history. ching a film in the cinema, I feel, is the opposite of all this. Has the role of cinemas as political places changed under influence of How would you, as member of ECFA, Stan Brakhage and they will immedi- new media usage? position yourself internationally? ately delve right into it. Once those young people are in our Absolutely. The very concept of a A couple of weeks ago the Creative cinema, we try to establish an atmos- place where you sit in silence, where Europe program of the EU has confir- phere where everyone feels invited you do not constantly communicate, med support of an international pro- to talk about what we all have in com- where it’s not you who decides what ject led by EYE in which the Austrian mon - the experience of the film or ex- to watch, where you sit closely to Film Museum will participate. „CINE- cerpt we have just seen. What we aim someone you don’t know becomes a MINI, love at first sight“ is a coopera- for is to create a sense of community special thing nowadays. There is a cer- tion of museums such as the Austrian where what we say and think about tain “passivity” people agree to when Film Museum, the German Film Muse- cinema is a joint effort just as seeing going to the cinema that is very dif- um in Frankfurt (DIF) and EYE in Ams- the film was. ferent from the way the world func- terdam with Kinodvor in Ljubljana and tions outside of it. There is something Taartrovers in the Netherlands. The What are your specific educational very enriching in this passivity. In the idea is to identify a selection of films focusses? apparatus theory of the 1970s passi- for the age group between three Alejandro Bachmann vity was regarded to be the problem and six years, make them available A lot of the seminars that me and with cinema. The cinema space forced digitally, and to develop educational my colleague Stefan Huber have de- you into a certain position that would formats to work with them. The nice veloped, focus on the specificity of make it easier for the bourgeois ideo- thing about the project is that all the analogue medium as well as the logy of films to infiltrate you. But no- partners have different possibilities specificity of the cinema space. In a wadays I feel that allowing yourself to and experiences how to work with seminar entitled “Time Machine: Ci- be passive, produces a state of being children and film: Some work inside a nema and the Experience of Time“ we aren’t really familiar with anymo- cinema, some have exhibition spaces,

22 | Journal 03 | 2018 FESTIVAL much,” while the other one said: “That girl didn’t say a word – does she have an attitude or what? How many days do we have to spend together?‘ Naturally, that made me feel rather con- cerned, because if the girls couldn’t come across as natural friends, the entire film would fall apart. The most satisfying aspect of the filming was probably the moment, after rehearsals, film excerpts, students’ projects, ma- and ‘Docs for Kids’, complimented by when they both started working together, making that connection. That was a huge relief! (Meanwhile they’ve somehow lost touch with each other, but perhaps we’ll get them together Thessaloniki Film Festival nuals etc. – on how film can be linked interactive presentations about the again soon, when the film will enter the Italian theatres). The same can be said about the mother and father characters, it was lovely to see how well they worked together. Shooting in a to secondary education. issues raised by the films. gypsy settlementEmbracing was also exciting,independent even though we had little time. There was a wonderful, stimulating energy there that helped me finding ways to get the job done. cinema & films for the TFF’s General Director Élise Jalladeau How did you come up with the name for your and Michael King’s production company Perchenofilms? underlines: “Audience building is a real Vannucchi:young The name comes partly from a phrase, often attributed to Robert F. Kennedy: “There are those that look at things the way they are, and ask why? I dream of things that never challenge in the region and film educa- were, and ask why not?” tion is one of the most precious tools to about the city administration coming up with practical help in transport and logistics at crucial moments. “The local authorities are in our favour. In China, officials can decide their priorities achieve it. This is why the TFF is leading almost independently, and many civil servants spoke enthusiastically about the festival.“ And people are keen to learn. It is bizarre how every speech here starts with sincere apologies for Thessaloniki Film Festival (TFF), the Open air screenings at the Port these ambitious educational programs the fact that “this festival is not yet perfect”. largest film institution in Greece, has for years now. We would like to encou- been for six decades, a vigorous space with an annual participation of 27,000 rage the film industry and talents to In the open debates and panels, you can feel the involvement of the Chinese attendees, often film students and young producers. And there is an important role to play for local volun- for innovation, communication and children and adolescents. These pro- participate in this effort. TFF aims to Thessaloniki Film museum teers. Palmen: “Volunteers are a crucial element in setting the festival atmosphere. Some of them come from the nearby metropolis Xi‘an, eloquent students that get offered food, a place to participation for people of all ages grams familiarise participants with expand these programs with additional This year the TFF celebrates 20 years sleep, and a certificate, which looks good on their CV. Local volunteers from Hancheng are a different type, often connected to the party. In every event I have worked with volunteers, always who love cinema. The 59th edition of film language and culture via work- events such as storytelling performan- since its main theatre, the Olympion, with positive results. For our guests they are the gateway into China and vice versa: for the volunteers the festival offers a gateway to the outside world.” the Thessaloniki International Film shops and activities, while offering ces and Sunday educational activities became part of the organisation and Festival (November 1-11) invites the educators an alternative educational for children.” gives free admission to the theatres audience to discover the best films of tool. The programs focus on topics to all 20-year-old spectators for the global independent cinema, new sec- such as the process of making a film, whole year. “This is the future,”, Elise tions and tributes, the annual Greek the evolution of Greek cinema, the Jalladeau stresses, “and we invite you film production, the Agora Industry use of green screen and 3D technolo- to join us in this challenging journey.” and many parallel events. gy, but also the connection of cinema with social issues such as discriminati- Stay tuned and feel free to contact Based in Thessaloniki, Greece, in the- on, bullying and the refugee crisis. us: [email protected], papasotiri@ atres located at its trademark historic cinemuseum.gr building complex Olympion, as well as The EUforia project, an important ad- – at the Port, TFF presents a wide selec- dition to TFF’s educational programs, General Director Elise Jalladeau tion of films and programs for child- is supported by Creative Europe and ren and young people. designed to promote film education Every Sunday TFF organises the ‘Kids in schools, as a transnational partner- Love Cinema’ screenings with films Attracting a young audience and pre- ship between the TFF, SAN (Poland) suitable for children and adolescents. paring future generations of filmgo- and Laterna Magica (Hungary). One Also, TFF’s two annual festival edi- ers are two of TFF’s most important of the program’s outcomes is the Film tions –Thessaloniki IFF and Thessalo- goals, successfully fulfilled via the Vault platform, a digital learning en- niki Documentary Festival held each interactive educational programs or- vironment for students and teachers November and March respectively – Olympion Theatre ganized by TFF’s Cinema Museum, providing guidance and resources – present the sections ‘Youth Screen’

23 | Journal 03 | 2018 INTERVIEW

Pierre Greco about MISSION KATHMANDU: THE ADVENTURES OF NELLY & SIMON “Taking Harrison Ford to the Himalayas”

Quebec, 1956. Would-be private eye ture, but also mountaineering in ge- Nelly and anthropologist Simon are neral, and the peaks of the Himalayas. not exactly a match made in heaven, “I’ve never seen a yeti, but I do believe until circumstances force the impulsi- in its existence.” film noir, which works perfectly for speaking, she represents bad luck, ve detective and the methodical sci- an animated detective story. If we’d that might lead towards good luck entist on a mission together. They set I recognise a lot of Tintin in NELLY & decided to make it a live action film, later. off on an adventurous quest to the SIMON, is there a connection? I should have asked Harrison Ford and Himalayas, with only one goal in mind: Pierre Greco: I’m a huge fan of Hergé take him to the Himalayas. That would Like that striking phrase in the ope- to prove the existence of the Abomi- and his energetic storytelling style. have been expensive! ning scene: “good luck, bad luck, who nable Snowman. In their rucksack, be- But even more than that, I’m a fan can say?” Where does that come sides a multifunctional Swiss pocket of comics artist André Franquin. In a Nelly is so much more active and from? knife, is the coded diary of a missing Tintin story, adventure and humour energetic than Simon. That’s a nice Greco: China. In this film, coincidence explorer. With the help of young Sher- alternate nicely. Franquin knows how contraposition. plays an important role. I’m fed up pa guide Tensing Gombu, they’re rea- to mix adventure and humour perfect- Greco: In my life, I’m often surround- with children’s films about “believing dy to face the dangers awaiting them ly together. There is a lot of Hergé in ed by strong women, Nancy Florence in your dreams” – life is complex and in the heart of the Himalayas, looking this film, but there’s even more of Savard is one of them. In the first there’s nothing wrong telling a 10-ye- out for that legendary beast: the yeti. Franquin. version of the script, Nelly was but ar-old: in your life, you’ll meet good a muse, inspiring Simon in his quest. luck… and bad luck too. Don’t cry over “Sometimes when I say “I”, I actually The exciting opening scenes offer But when working on the storyboard, it, because bad luck might make you mean “we”, as I made this film together pure genre-cinema, with film noir her character developed and became who you are, and lead you where you with producer and co-director Nancy detective elements. a strong driving force. Many of the want to go. Florence Savard.” When facing the au- Greco: I’ve always been a cinema fan, people working on the movie fell in dience at the Zlin Festival, Pierre Gre- and one of my all-time favourites is love with Nelly. She’s got attitude. Did I notice a big admiration for Ed- co gets all excited when his favourite THE THIRD MAN. With our artistic di- And the nice thing is: Nelly isn’t even mund Hillary in you? topics are brought up. Not only the rector I discussed many references to always right. Very often she’s wrong, Greco: Enormous. I’m a hiker, and on making of his amusing animated fea- Orson Welles, Humphrey Bogart and or she acts too rashly. Metaphorically every mountain walk, Hillary walks

24 | Journal 03 | 2018 INTERVIEW with me. He’s a truly great man who Kathmandu. In the art direction, we has all my respect. He spent much of combine elements from different his life supporting humanitarian work locations in new settings. That trip among the Sherpas in the mountain also influenced the narratives. Af- villages, funding the construction of ter meeting Nepalese people, seve- schools and hospitals. Hillary was very ral elements in the script no longer disappointed about what happened worked. Like, when Nelly and Simon to Mount Everest. Already in 1956, visit the Gombu family in their home, three years after he reached the top, there was supposed to be a chase. We it looked like a junkyard. developed a scene in American foot- ball style, with people chasing a book, characters running up and down the stairs, throwing books at each other. Until we found out: Nepalese are zen, they don’t run. That scene had to be ‘only humans can laugh’ – “Le rire est DOODLE-DOO, with me as director rewritten. le propre de l’homme”. Making our yeti and Nancy as producer. NELLY & SI- laugh actually proves that he is ‘the MON was a big production we did to- You were flexible with the script. missing link’. That funny twist is inspi- gether. Nancy is good at finding mo- Greco: I always knew what the ending red by a hyena. With the art director, ney, convincing people and organising would be like, and from there on, I we studied pictures of hyenas with a things, but she also has a voice in the If there is a lot of Hillary in NELLY & was writing backwards, towards the laughing grin on their face. artistic process. We’re already thin- SIMON, is there also a lot of Tensing beginning. There’s a few elements in king about our next project, about in the Sherpa character? the script making me proud. In many On stage you sounded very passio- a genie that has been locked up in a Greco: Our character Tensing Gombu children’s films the ‘treasure map’ nate about the project. bottle for far too long. When he fi- is a mixture of Gombu – the most fa- is the ultimate element guiding the Greco: That’s how I am. Passion goes nally gets out, he doesn’t feel like bo- mous Nepalese Sherpa family – and heroes. In NELLY & SIMON, that gui- with frustration, as making movies is thering about people’s wishes, he just Tensing Norgay. Apparently Norgay de book is totally useless, except for difficult, with multiple obstacles to wants to throw parties and enjoy life. was a funny guy. That’s why his cha- lighting a fire. If they find the yeti, it overcome. You’d better ask Nancy. As racter seasons the film with subtle will be because of their bad luck, not a producer she had to fight on every – jokes. because of a code book. level to get this film made. Gert Hermans

In an action-driven movie, I was sur- The design of the yeti is remarkab- What is her role precisely? Contact: 10th Ave Productions, prised by the beauty of the decors. le: a creature resembling a good old Greco: In Canada, she was the first [email protected] Greco: The backgrounds, made in Monchichi doll. one in a long time to produce feature 2D, are inspired by our research. We Greco: The yeti’s appearance is unpre- animation. She directed THE LEGEND watch trailer went to Nepal and walked around dictable. There is a French saying that OF SARILA, then we made ROOSTER

25 | Journal 03 | 2018 COLOFON

ECFA Journal ECFA Journal No. 3- 2018 Published by ECFA European Children’s Film Association Contributors to this issue: Rue du Pavillon 3, B-1030 Bruxelles Gert Hermans (Editor) Phone: +32 (0)3 303 43 18 Reinhold Schöffel Email: [email protected] Felix Vanginderhuysen Website: www.ecfaweb.org Margret Albers Dimitris Spyrou Please send press releases, advertisements, questions & information to: Pantelis Panteloglou Gert Hermans, [email protected] Jaroslava Hynstova Gudrun Sommer ECFA’s goal is to support cinema for children and youth in its cultural, economical, Lisa Rölleke aesthetic, social, political and educational aspects. Since 1988 ECFA brings to- Katarína Kerekesová gether a wide range of European film professionals and associations, producers, Uta Beth directors, distributors. ECFA aims to set up a working structure in every European Laura Schubert country for films for children and young people, a structure adapted to Europe’s Lina Paulsen multicultural interests. Kyra Schiffers Xiaojuan Zhou For more information and memberships (€ 250 per year): Jovana Karaulic ECFA Alejandro Bachmann European Children’s Film Association Thessaloniki Film Festival Phone: +32 (0)475 55 02 97 Renate Zylla Email: [email protected] Alexandra Kolia Website: www.ecfaweb.org and Alice Goezu

The European Children’s Film Distribution Network: Proofreading: Adam Graham www.ecfaweb.org/european-childrens-film-network/network Design: Sam Geuens Databases on children’s film festivals, sales agents, distributors and ECFA website: Udo Lange & Sam Geuens TV-programmers interested in European films for children.

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