Industry Forum Report

2018

CINEKID FORUM REPORT

O REP T R RT OR EP E T R RT PO R O RE T P R O T R R E P T O P R OR REPO T RE RT R ORT EPO REP T RE RT POR R PO RE T R O REP FORUM T R R T O CINEKID REPORT P R O E T T R P E P R O R R E T R O E P R E R PO RE T R RT O P T R R O E R E T T O O REP T R RT P R R E P O P R analysisPof trendsRandE concernsTwithin the children’s The forT Cinekid’s annual P Rformat R O R O E E P RE RTaudiovisual industry may have been different to past years, but the experience was Oand inR P much richer.

R Rtalking heads O agreed) E T R E P O T P (it was generallyR Out went panels and came R O T withOparticipants, E T Pall withinRaEformatR(15Ttables OR P P R bespoke presentations and dialogueP E R E Othat enabled E R byRallTpresent with Rx 5 sessions) E P R RT x 15 themes wide engagement each subject.

O P R O E T R E T P O P R RT O R O E R E P O T P R R E P T moderator for the day was Stephanie Afrifa, a curator and presenter with a passionO E T RThe P R O E T R R E P O Pfashion, R R R for innovation in art, cultural sciences and well-being. is about dialogue,” R “Today O E T R E P O T P R R Eby thoseTwith FOMO R PO underlined suffered T and theOsense of trepidation Rto everybody, P PO REshe R R E T (fear of missing out) was assuaged by Stephanie’s calm overview of the R workings of the O RE P O T R R E P T O P R room and timeR for everyoneT (but get to the tables early), they wereE told.

OThereRis E R Pday.

P R O T R R O E T O E P R P Rtheme ofRtheTMedia Jungle R PO underlined E this year’s Tdirector O R Cinekid O REP T Floor van Spaendonck T R R E P T O P Rhow Cinekid T underlining and especially the “child R as creator” vibe, is reachingE out to E P R O T R R OR REPO E T R O audiences who may not be ableO come so easily to the event, such as kids in refugee camps P R T Owent EP R R areasPwithin Dutch E T R or other less privileged cities. TheT festival teamR subsequently O R R E P T O T P R R O E T R R P to conduct and animation workshops within these areas.

E media training P more deprived R O T R R E T R O E P R ONienkeRPoelsma T team, Creative Rher dedicated R topper E T R O REP T R P R O T Cinekid for Professionals’ thanked R E P T O Europe,EthePNetherlands O R allPfestival partners, E as wellT Tco-host Mediawijzer, R Film Fund, as the R E O P R R E T R O E P R 15 hosts and the 45 speakers at the forum, and she urged everybody to “have fun, explore, O T R R E T P TR O P R O E R and get fuelled up for the year to come.”

E P T R ORTget inspired O P E T R OR R RT OR EP E P R T R R P Forum sessions O a general overview of all the Cinekid clickT here. Read onR for R P R E RE RT For O O P E R OreportsRofEfive of theTday’s T O R key sessions.

P P in-depth P R P R E O E E T T TR P R PO REP T R E R R E R O R E O R RT O R RT P R EP T R E O O P R T O RE T R RT O P PO P R R P E E E T P T TR O R R E EPO E R P R O T R R E T O OR P P R T TR O R P E E R O P E R R R R RT O P PO P TR R E T E T P OR REPO T RE RT R OR RT R T RE REPO POR ORT P PO E EP R O E R T R O T P R O O R P R E T E R E T TR O REP T R EP EPO OR RT R R R O OR T TR P R T R O T P R E R O P E EP R P T TR O OR E R O R P E R P PO R E EP T TR R R E T R O R R O T PO R RT P E EP R R E T R O T TR P PO E EPO OR RT E R R E R R T R O P R RT E EP T TR E EPO OR RT R O R P OR ORT T R REP EPO ORT RT R T RE EPO POR P POR RT T R REP PO OR RT R RE EP E E EP R RE O OR T TR T R O P R R P PO E EP T TR R RT E T R O R R O R P E T R O R P E

O REP T R RT OR EP E T R RT PO R O RE T P R O T R R E P T O P R OR REPO T RE RT R ORT EPO REP T RE RT POR R PO RE T R O REP TEUROPE T R R T CREATIVE MEDIA O P R O E T R P E P R O R R E T R O E P R O R E R RT O R BEST E P T R P PRACTICES R O E T R E T T O O REP T R RT P R R E P O P R P E(Norway, P Ttopic - O O R E T R R E P RE RT R Session Case Study: Los Bando feature film) O REP T R RT OR EPO RE T R P O Eproduced

by Nicholas P basedRin Lillehammer, Ofrom Filmbin T OR EP P R Sando E T R E P R O T R R E Best P R RT Norway.

The filmP was in Cinekid’s Children’s Film Competition 2018 O R R O E T R E P O T P R R O E TAward. R PO TLion forOBest Children’s R Golden P FilmRAudience R E T the EP T REandRwon P R PO RE O T R E O P R O FourRheadstrong E T T call O R teenagers R Synopsis: E P R P R R O E Norwegian themselves Los Bando Immortale.

T O E P R O T to takeO P R Prock band,Rand E so theyTrunRaway fromRhome P Tto become R They R want the best ever O E E P T O P R R rock championship. isn’t easy, as they even E have Oin a national Tgetting there Rlaw in thisRBut R Ppart E P R O T R O E T R to elude the long arm of the crazy musical road movie.

O E P R P P R RT OR EPO RE T R RT PO E T O T P R R P O E T R R E R O T P R R O RE T R RT O E T P R PO R R E O P R O RT POR REP T RE RT R ORT EPO REP T RE RT E T P R PO R O T R R E R O P R E T P T OR EPO RE T R RT PO R E P R PO RE T R RT OR E T R E O R T R ORT EPO REP T RE RT POR EPO REP RT R P R PO RE T R RT PO T R R E O R E R RT O O O P E R R RT O P P E P R P E O E T R E T T TR P R PO REP T R E R R E R O R E O R RT O R RT P R EP T R E O O P R T O RE T R RT O P PO P R R P E E E T P T TR O R R E EPO E R P R O T R R E T O OR P P R T TR O R P E E R O P E R R R R RT O P PO P TR R E T E T P OR REPO T RE RT R OR RT R T RE REPO POR ORT P PO E EP R O E R T R O T P R O O R P R E T E R E T TR O REP T R EP EPO OR RT R R R O OR T TR P R T R O T P R E R O P E EP R P T TR O OR E R O R P E R P PO R E EP T TR R R E T R O R R O T PO R RT P E EP R R E T R O T TR P PO E EPO OR RT E R R E R R T R O P R RT E EP T TR E EPO OR RT R O R P OR ORT T R REP EPO ORT RT R T RE EPO POR P POR RT T R REP PO OR RT R RE EP E E EP R RE O OR T TR T R O P R R P PO E EP T TR R RT E T R O R R O R P E T R O R P E The session was hosted by Andrea Posthuma of Creative

The production further Norwegian regional funding and

Europe, the subsidy programme of Europe Union which

Nicholas applied for Creative Europe single project funding

helps the development and distribution of European

before pitching the project at Malmö in Sweden in March

audiovisual works.

2016. The pitch was ok, but not spectacular, although they picked up a Swedish co-producer there.

Nicholas spoke about the production and release of the Norwegian children’s film Los Bando which received Creative

In April/May 2016 they got the message that their Creative

Europe support in 2016. The project was the brainchild of

Europe application was successful - €50,000 in develop-

scriptwriter Arild Tryggestad and director Christian Lo who,

ment funding, which was a massive boost to the production.

in 2014, devised the idea for a film about “the shortest cover

They decided to use the money for two things, to find a cast

band on earth”.

(and, of course, teach them to play musical instruments) and shoot a pilot, which was screened at Cinekid Junior

Nicholas liked the idea and applied, with a synopsis, to the Norwegian Film Institute that was launching a program

to create new original stories for kids and youth, with pro-

fessional consultations, and valued at €20,000 per project.

Co-production Market in 2016.

O REP T R RT OR EP E T R RT PO R O RE T P R O T R R E P T O P R OR REPO T RE RT R ORT EPO REP T RE RT POR O REP T R RT OR EPO RE T R R T P O R P E T P R O T R R E R O E P R E R PO RE T R RT O P T R R O E R E T T O O REP T R RT P R R E P O P R RE RT R ORT EPO REP T RE RT POR EPO REP O REP T R RT OR EPO RE T R RT P P RE RT OR EPO REP T R RT POR EPO RE O REP T R RT OR EPO RE T R RT PO P E T P R PO RE O T R R E O P R E T R PO RE T R RT O P R R O E O E P R O P E T R RT PO P R RT OR EP E R T O P R R E T R PO RE T R RT O P R R O E O E P R P P R RT OR EPO RE T R RT PO E T O T P R R P O E T R R E R O T P R R O RE T R RT O E T P R PO R R E O P R O RT POR REP T RE RT R ORT EPO REP T RE RT E T P R PO R O T R R E R O P R E T P T OR EPO RE T R RT PO R E P R PO RE T R RT OR E T R E O R T R ORT EPO REP T RE RT POR EPO REP RT R P R PO RE T R RT PO T R R E O R E R RT O O O P E R R RT O P P E P R P E O E T R E T T TR P R PO REP T R E R R E R O R E O R RT O R RT P R EP T R E O O P R T O RE T R RT O P PO P R R P E E E T P T TR O R R E EPO E R P R O T R R E T O OR P P R T TR O R P E E R O P E R R R R RT O P PO P TR R E T E T P OR REPO T RE RT R OR RT R T RE REPO POR ORT P PO E EP R O E R T R O T P R O O R P R E T E R E T TR O REP T R EP EPO OR RT R R R O OR T TR P R T R O T P R E R O P E EP R P T TR O OR E R O R P E R P PO R E EP T TR R R E T R O R R O T PO R RT P E EP R R E T R O T TR P PO E EPO OR RT E R R E R R T R O P R RT E EP T TR E EPO OR RT R O R P OR ORT T R REP EPO ORT RT R T RE EPO POR P POR RT T R REP PO OR RT R RE EP E E EP R RE O OR T TR T R O P R R P PO E EP T TR R RT E T R O R R O R P E T R O R P E “We used four days to shoot this pilot, we filmed with a full-

“We had to cut between 10 and 12 pages of the script.

size crew with all the equipment and we actually ended up

For the director and the scriptwriter it was hell…but we

using some of the material from the pilot in the in the final

in the end I actually think that the scenes we cut made the

film,” Nicholas said. “At Cinekid the response to the pilot

film more efficient and it tells the story in a more effective

was amazing. People really felt they saw what the film was

and maybe a better way, but the financing was really a strug-

going to be, and really liked it because they really loved our

gle. It cost 1.3 million euros but I think the screen value

cast. It is essential to have something to [at a pitch]. It’s not

of the film is really really good.”

the same if you are just on stage talking about the project showing some stills (like at Malmö). We are producing

The film had its Norwegian premiere in February 2018, its

audio-visual content so we had to show something, and

international premiere at Berlinale and was in competition

that’s really really important.”

at Cinekid and it has sold to 17 countries already. “That’s the best we ever did, we’re happy with that. For us Cinekid was

The results were immediate. They signed up German broad-

actually the most important venue to be, and then Malmö

caster NDR on first meeting and three sales agents were

as a second because at intimate festivals we can meet and

vying to come on board (eventually Sola Media), as well

have a beer with some colleagues. It’s much easier to meet

as a handful of other interested co-pro partners.

people here and I see the same faces every year. I know

we are going to have a beer with him and talk about the next

So, what was the secret of their pitch? “With the pilot we

project - just a great venue and a great place to be so. (The

were able to stand on stage and say ‘this is the cast, this

next day Nicholas pitched Free, written by Anniken Fjesme

is the story, it is a universal story about the locally played

and to be directed by Guro Ekornholmen, at the Junior

music’. And it’s a universal story about friendship because

Co-production Market.)

all the characters are dealing with their own problems,

and we as a production company always tell the story from

He described the business of Creative Europe application:

the eye height of the children. The adults are always side

“It’s quite terrifying when you open it up, but when you have

characters who don’t always follow their mindset of the kids.

actually done the first half, that’s mostly graphic text,

I think that was what hooked the eventual financiers.”

it’s actually quite easy which you can reuse for another

application. We used the Norwegian Media desk for help.

Nicholas spoke about his director: “Christian’s final film

That’s really really good and free help.”

at film school was a short for children. And that was when

he realized he has a really had a talent for directing for chil-

Creative Europe’s Andrea added: “I get the feedback many

dren. That’s when we found this as a niche. Children are the

times from companies saying it’s like writing my own

most honest viewers, and the greatest experience you have

business plan. It really helped me out. Even when they

seeing a film you have as a kid, so we want to bring new

didn’t get the support. And what is important within the

and original stories for that target audience - that is really

application is you have the so-called European added value

important to us.”

which means it has International potential.”

Despite all this preliminary success, the Norwegian Film

“And also if you want to attend just one workshop, I can real-

Institute failed to stump up the much needed €250,000

ly recommend one called EAVE’s marketing and distribution

in production support, which meant that two weeks before

workshop,” continued Nicholas. “I went there a couple of

principal photography, a crucial decision had to be taken.

years back and I met this trailer editor from England who

Do they continue or was it just too risky? Nicholas

has won several prizes so we contacted him. I wanted him

decided the latter but was outvoted by his company

to make a trailer as well. We had editors’ assistants here

partners. Thankfully.

and he as international editor was 20% cheaper than an assistant in Norway.”

O REP T R RT OR EP E T R RT PO R O RE T P R O T R R E P T O P R OR REPO T RE RT R ORT EPO REP T RE RT POR O REP T R RT OR EPO RE T R R T P O R P E T P R O T R R E R O E P R E R PO RE T R RT O P T R R O E R E T T O O REP T R RT P R R E P O P R RE RT R ORT EPO REP T RE RT POR EPO REP O REP T R RT OR EPO RE T R RT P P RE RT OR EPO REP T R RT POR EPO RE O REP T R RT OR EPO RE T R RT PO P E T P R PO RE O T R R E O P R E T R PO RE T R RT O P R R O E O E P R O P E T R RT PO P R RT OR EP E R T O P R R E T R PO RE T R RT O P R R O E O E P R P P R RT OR EPO RE T R RT PO E T O T P R R P O E T R R E R O T P R R O RE T R RT O E T P R PO R R E O P R O RT POR REP T RE RT R ORT EPO REP T RE RT E T P R PO R O T R R E R O P R E T P T OR EPO RE T R RT PO R E P R PO RE T R RT OR E T R E O R T R ORT EPO REP T RE RT POR EPO REP RT R P R PO RE T R RT PO T R R E O R E R RT O O O P E R R RT O P P E P R P E O E T R E T T TR P R PO REP T R E R R E R O R E O R RT O R RT P R EP T R E O O P R T O RE T R RT O P PO P R R P E E E T P T TR O R R E EPO E R P R O T R R E T O OR P P R T TR O R P E E R O P E R R R R RT O P PO P TR R E T E T P OR REPO T RE RT R OR RT R T RE REPO POR ORT P PO E EP R O E R T R O T P R O O R P R E T E R E T TR O REP T R EP EPO OR RT R R R O OR T TR P R T R O T P R E R O P E EP R P T TR O OR E R O R P E R P PO R E EP T TR R R E T R O R R O T PO R RT P E EP R R E T R O T TR P PO E EPO OR RT E R R E R R T R O P R RT E EP T TR E EPO OR RT R O R P OR ORT T R REP EPO ORT RT R T RE EPO POR P POR RT T R REP PO OR RT R RE EP E E EP R RE O OR T TR T R O P R R P PO E EP T TR R RT E T R O R R O R P E T R O R P E “The great thing was that we had a pair of fresh eyes.

“Yeah, so that was really cool. There was this whole buzz

We had the final film and we didn’t want to give him any

around the film and that was what really helps you because

instructions. So what you see here is like his hundred

you feel yourself struggling against the wind all the time,

percent vision of the film and we actually loved it.”

and when you we get feedback it’s really worth it. Later

on the actors came to us to say ‘we have to make a sequel’ -

Nicholas also pointed out that many of Norway’s leading

one rock guy even pitched the story. In the sequel he is like

rock musicians so much wanted to be part of the Los Bando

a cool old grumpy former rock artist who makes a return

experience - and have their music represented in the film

with Los Bando as his support band on a tour of Germany!”

– that they were prepared to reduce the price for the music rights to a fraction of their value. “There is a lot of famous Norwegian bands and they were accepting the minimum because they read the script and they remember being a kid playing in the band.”

O REP T R RT OR EP E T R RT PO R O RE T P R O T R R E P T O P R OR REPO T RE RT R ORT EPO REP T RE RT POR P R PO RE T R O RWELCOME T R R E T TO O P R O E T T R P E P R O R R E T R O E P R O REJUNGLE E R RT O R P P T R THE R O E T R E T T O O REP T R RT P R R E P O P R P Ediscussed P T LabOartist O R E T R R E P RE RTInRwhich Media Philip Schütte his work ‘Body’ O REP T R RT OR EPO RE T R P O E Tlives and works P at Random R P Oand leadRcreative T P R Studio R as an artist Philip Schütte in Amster-O E R E P R O E T R E Academy P R RT dam. HeOstudied artEP at Gerrit Rietveld and KABK R and psychology at Amsterdam O R E T R P O P R RT O R University andR Columbia University.

O E T E P O T P R R E P T O E T RRandomRStudio is P P R O E T R E P OcreateRdigital R R a team of visual artists, developers and RengineersPthat O E T R R E O T P R E theTphysical andR PO which between art, design T O R blur theRboundaries P and technology, PO REproducts R E T the nonphysical.

P R PO RE O T R R E T O P R O RE T R RT O E T R PBODY P R R O E is an active code that mirrors our body with images from a database of hundreds O E P R O from P R doesTour counterpart Rimages,Pscraped E T of online R of thousands O REP T the web. As we move, so R O T R R E P T O P RanimatingPour reflection Eusing T Tper second, in the digital image pool, Rat 60 images E R O R R OR REPO E T R O whatever image pops up from the vast landscape of online photos.

P R R PO RE T R RT O P T R O E R E P T O T P R R O E T R R P E T P R O T R R E R O E P R R PO RE T R RT O P T R R O E R E P T O O T P R R E T E T R R PO P P R RT OR E E R E O T R R T R ORT EPO REP T RE RT POR EPO REP RT R P R PO RE T R RT PO T R R E O R E R RT O O O P E R R RT O P P E P R P E O E T R E T T TR P R PO REP T R E R R E R O R E O R RT O R RT P R EP T R E O O P R T O RE T R RT O P PO P R R P E E E T P T TR O R R E EPO E R P R O T R R E T O OR P P R T TR O R P E E R O P E R R R R RT O P PO P TR R E T E T P OR REPO T RE RT R OR RT R T RE REPO POR ORT P PO E EP R O E R T R O T P R O O R P R E T E R E T TR O REP T R EP EPO OR RT R R R O OR T TR P R T R O T P R E R O P E EP R P T TR O OR E R O R P E R P PO R E EP T TR R R E T R O R R O T PO R RT P E EP R R E T R O T TR P PO E EPO OR RT E R R E R R T R O P R RT E EP T TR E EPO OR RT R O R P OR ORT T R REP EPO ORT RT R T RE EPO POR P POR RT T R REP PO OR RT R RE EP E E EP R RE O OR T TR T R O P R R P PO E EP T TR R RT E T R O R R O R P E T R O R P E Philip kicked off by explaining how he doesn’t work

that you can move the sun with a rubber ball.

exclusively for kids, “but I try to work toward the kids

The only person who didn’t like it was a priest who said

in grown-ups as I think there is a huge overlap. Kids for

it was blasphemous and walked out. But in the main people

me is just another word for curious and no bullshit, at least

were very happy.”

when I look at my own two kids who are merciless critics of me and my work.”

He talked about his work within the context of the contemporary art scene. “I have a lot of problems with it. The art

Philip tries to come up with novel ways of storytelling and

scene is the cultural echo chamber of the worst kind. It is

cross media installations, whether creating for television or

very secluded. I don’t know how to behave in there or how

fashion brands, sometimes for the like of Calvin Klein, other

to be in there and I don’t think it is where stuff is happening

times for such as GM. “It is a weird mix but I love it because

that is relevant or interesting right now - so I try to stay away

there is an underlying thread there that plays to the kid that

from that…”

wants to experience something interesting and novel.”

He then spoke about his Media Lab installation Body, which

“I work on art, on this mediation, this negotiation between

entails mapping points on the body to find reflected and

technology and us, where do we start, where do we end and

complementary images from a vast pool of internet images

what is in-between,” he underlined.

(400,000 in total). On the internet right now we have to go

through this long range of disassociation. I wanted to estab-

Philip spoke about some of his projects (not just Body) and

lish a relation between content that is available worldwide

articulated the dilemma of new technology. “There is no

and the structures that support that, and the thing that

room for error in code, but what we strive to do, my latest

people relate to primarily are images. If you can write an

mission statement after reading a book by a Spanish writer

interface that allows people to use their own physical bodies

about the ambition of a writer to write like jazz. I would love

to search for images you are presented with images of

to find a way to do technology like jazz so there is a space

people in the same body position as you.”

for weird moments and improvisation.”

The starting point was a Caravaggio painting (Deposition

He kicked off with Sun, an interactive installation that

from the Cross) and Philip was determined to find random

enables the user to follow the sun on the horizon. It was

or coincidental online images that reflected the postures,

supported by the Mondrian Foundation – “they saved my

the attitudes and the shapes within the work, especially the

ass by supporting me for a year” - and it was selected for

body forms.

Venice Biennale. “It speaks to the kid in you, the realisation

O REP T R RT OR EP E T R RT PO R O RE T P R O T R R E P T O P R OR REPO T RE RT R ORT EPO REP T RE RT POR O REP T R RT OR EPO RE T R R T P O R P E T P R O T R R E R O E P R E R PO RE T R RT O P T R R O E R E T T O O REP T R RT P R R E P O P R RE RT R ORT EPO REP T RE RT POR EPO REP O REP T R RT OR EPO RE T R RT P P RE RT OR EPO REP T R RT POR EPO RE O REP T R RT OR EPO RE T R RT PO P E T P R PO RE O T R R E O P R E T R PO RE T R RT O P R R O E O E P R O P E T R RT PO P R RT OR EP E R T O P R R E T R PO RE T R RT O P R R O E O E P R P P R RT OR EPO RE T R RT PO E T O T P R R P O E T R R E R O T P R R O RE T R RT O E T P R PO R R E O P R O RT POR REP T RE RT R ORT EPO REP T RE RT E T P R PO R O T R R E R O P R E T P T OR EPO RE T R RT PO R E P R PO RE T R RT OR E T R E O R T R ORT EPO REP T RE RT POR EPO REP RT R P R PO RE T R RT PO T R R E O R E R RT O O O P E R R RT O P P E P R P E O E T R E T T TR P R PO REP T R E R R E R O R E O R RT O R RT P R EP T R E O O P R T O RE T R RT O P PO P R R P E E E T P T TR O R R E EPO E R P R O T R R E T O OR P P R T TR O R P E E R O P E R R R R RT O P PO P TR R E T E T P OR REPO T RE RT R OR RT R T RE REPO POR ORT P PO E EP R O E R T R O T P R O O R P R E T E R E T TR O REP T R EP EPO OR RT R R R O OR T TR P R T R O T P R E R O P E EP R P T TR O OR E R O R P E R P PO R E EP T TR R R E T R O R R O T PO R RT P E EP R R E T R O T TR P PO E EPO OR RT E R R E R R T R O P R RT E EP T TR E EPO OR RT R O R P OR ORT T R REP EPO ORT RT R T RE EPO POR P POR RT T R REP PO OR RT R RE EP E E EP R RE O OR T TR T R O P R R P PO E EP T TR R RT E T R O R R O R P E T R O R P E We saw the tracking on Philip’s body and the images were

In the end, he brought it all back to kids. What can children

retrieved based on his own physical position/shape.

get out of techno-based innovation and what is there to fear

“Little by little it becomes a more feeling-based installation,

from it all? Nothing, he concluded. “It all goes back to this:

a dialogue between the algorithm and the person that uses

technology looks like the black monolith from 2001 A Space

it. It is nice to understand technology a bit better on a feel-

Odyssey. It is like a holy stone and you cannot penetrate

ing basis because the algorithm doesn’t give a damn about

it and you cannot break it or open it - there is no way of

anything because it is [dispassionate] mathematics, even

understanding what is going on. Basically what I want to

though it is using all this loaded data or content - and our

invite [kids] to understand on an intuitive level is that

privacy. That is something that I wanted to establish with

technology is a man-made thing, and not a holy thing.”

this personal imagery, that kids can also relate to it, and it is presented in a way that is very nice initially, but also has a tiny edge to it.”

What is the driver for all of this, Philip was asked. “My own curiosity. I always try to investigate what technology does to us and what we do to technology.

There is so much new potential especially in new media for novel visual storytelling, and I always like to challenge the status quo. Trying to find ways into structures, that drives me, the curiosity of finding and communicating a novel connection in your brain that is what I love.”

He also talked about his hilarious and inventive roller-coaster for the display of art works/statements and a phonebased App which records the volume levels (and level

of swearing) within a domestic argument before settling on a winner.

O REP T R RT OR EP E T R RT PO R O RE T P R O T R R E P T O P R OR REPO T RE RT R ORT EPO REP T RE RT POR R PO RE T R O REP T R FANTASY T R T CREATING O P R O E T R P E P R O R R E T R O E P R E R RT O R POWORLDS E P T R R O E T R R E T T O O REP T R RT P R R E P O P R P E Wainaina P O R O E T R E P RE RT R ORTSupa Modo directed by Likarion P R PO RE T R T R E O P R O E Russian-born T andOdelving into E T Rcreating R Ptheir idiosyncrasies, T OR EP P R Passionate about new worldsP E R E R O T R R E got hisTstart as a theatre P R RT KenyanOFilmmaker,ELikarion Wainaina actor/director and has O P R R E R P O T P R R worked his way into filmmaking with a keen eye for detail.

He left a historic mark on his O E T R oneRofThis first films, O E Tby having P R O R E P Between the Lines (2013), screened on an IMAX O EP T Rhometown P R film BAIT O theRfirstE film to ever E Rdo so andRhisTsubsequentOshort R in Kenya,Pbeing P R projection O E T R E P R O T P R O E screen at theR Cannes FilmT Festival 2016.R O E P R O P E T R RT PO P R RT OR EP E R T O P R R an imaginative and superheroes.

O Jo, E T T girl, lovesOaction movies Rnine-year-old R PSynopsis: E P R R R O E T R They help her forget that she is very sick.

Most of all, she’d like to play the main role R O E P T O P R Rherself. InPthisOcheerfulRand E touching P T movie R in aRsuperhero experience,R her mother, her O E T E P T O T P R Rto makePher wish come O E older sisterE and everyoneR in the villageT do all they can true.

R R O T P R R O RE T R RT O E T P R PO R R E O P R O RT POR REP T RE RT R ORT EPO REP T RE RT E T P R PO R O T R R E R O P R E T P T OR EPO RE T R RT PO R E P R PO RE T R RT OR E T R E O R T R ORT EPO REP T RE RT POR EPO REP RT R P R PO RE T R RT PO T R R E O R E R RT O O O P E R R RT O P P E P R P E O E T R E T T TR P R PO REP T R E R R E R O R E O R RT O R RT P R EP T R E O O P R T O RE T R RT O P PO P R R P E E E T P T TR O R R E EPO E R P R O T R R E T O OR P P R T TR O R P E E R O P E R R R R RT O P PO P TR R E T E T P OR REPO T RE RT R OR RT R T RE REPO POR ORT P PO E EP R O E R T R O T P R O O R P R E T E R E T TR O REP T R EP EPO OR RT R R R O OR T TR P R T R O T P R E R O P E EP R P T TR O OR E R O R P E R P PO R E EP T TR R R E T R O R R O T PO R RT P E EP R R E T R O T TR P PO E EPO OR RT E R R E R R T R O P R RT E EP T TR E EPO OR RT R O R P OR ORT T R REP EPO ORT RT R T RE EPO POR P POR RT T R REP PO OR RT R RE EP E E EP R RE O OR T TR T R O P R R P PO E EP T TR R RT E T R O R R O R P E T R O R P E The session was moderated by Fay Breeman of the Hubert

Likarion told how he wanted to tell a story about his love

Bals Fund.

for comics, for making movies and for his family. In Kenya it was very difficult to raise funds for the project, being

Supa Modo is submitted as the Kenyan entry for foreign-

rejected 4 or 5 times. “In Kenya right now we do not have

language Academy Award and was a One Fine Day film

a film industry. Up until this year we used to make a film

project, an initiative started by German filmmaker Tom

every 3-4 years. But this year alone we have made 6,

Tykwer with the intention of equipping African filmmakers

so things are changing.”

to make the films that they want in their own way and own language. It was the sixth film from this programme.

The director was told that he could not make a superhero film without money, “but the more they said it, the more I wanted to make it. Fantasy can be for anyone,” he

underlined.

O REP T R RT OR EP E T R RT PO R O RE T P R O T R R E P T O P R OR REPO T RE RT R ORT EPO REP T RE RT POR O REP T R RT OR EPO RE T R R T P O R P E T P R O T R R E R O E P R E R PO RE T R RT O P T R R O E R E T T O O REP T R RT P R R E P O P R RE RT R ORT EPO REP T RE RT POR EPO REP O REP T R RT OR EPO RE T R RT P P RE RT OR EPO REP T R RT POR EPO RE O REP T R RT OR EPO RE T R RT PO P E T P R PO RE O T R R E O P R E T R PO RE T R RT O P R R O E O E P R O P E T R RT PO P R RT OR EP E R T O P R R E T R PO RE T R RT O P R R O E O E P R P P R RT OR EPO RE T R RT PO E T O T P R R P O E T R R E R O T P R R O RE T R RT O E T P R PO R R E O P R O RT POR REP T RE RT R ORT EPO REP T RE RT E T P R PO R O T R R E R O P R E T P T OR EPO RE T R RT PO R E P R PO RE T R RT OR E T R E O R T R ORT EPO REP T RE RT POR EPO REP RT R P R PO RE T R RT PO T R R E O R E R RT O O O P E R R RT O P P E P R P E O E T R E T T TR P R PO REP T R E R R E R O R E O R RT O R RT P R EP T R E O O P R T O RE T R RT O P PO P R R P E E E T P T TR O R R E EPO E R P R O T R R E T O OR P P R T TR O R P E E R O P E R R R R RT O P PO P TR R E T E T P OR REPO T RE RT R OR RT R T RE REPO POR ORT P PO E EP R O E R T R O T P R O O R P R E T E R E T TR O REP T R EP EPO OR RT R R R O OR T TR P R T R O T P R E R O P E EP R P T TR O OR E R O R P E R P PO R E EP T TR R R E T R O R R O T PO R RT P E EP R R E T R O T TR P PO E EPO OR RT E R R E R R T R O P R RT E EP T TR E EPO OR RT R O R P OR ORT T R REP EPO ORT RT R T RE EPO POR P POR RT T R REP PO OR RT R RE EP E E EP R RE O OR T TR T R O P R R P PO E EP T TR R RT E T R O R R O R P E T R O R P E Originally the idea was not about the sick kids at all, it was

The film was written and made but then came the date

about the parents and what they are going through.

of release, the same week as Black Panther. They did all

“The story is about a 9-year-old girl who suffers from

they could to avoid the clash, but nevertheless something

a terminal illness and who wants to be a super hero,

miraculous happened. “After the release of Supa Modo in

and the family and community decide they are going to

Kenya everyone changed, and everybody came to our film

make her dream possible… And we were doing the same

more than Black Panther. Yes, Black Panther was one of the

thing, to make a superhero film with nothing and make

highest grossing films, but we got more recurring people

it our own way.”

coming to the film, and the secret was that we could showcase deeper themes from our own culture.”

After he wrote two drafts of the screenplay it was all too dark, so he decided to visit the hospital for inspiration.

The film eventually went on to 60 film festivals, won 27

But when he got there things seemed even worse. “Parents

awards, and received the nod as official Kenyan entry to

who have a child with cancer are shunned out of society.

the Oscars.

They are told they did something wrong and that is why the children are how they are. So they have such heavy hearts

Fay asked if the film was developed first for the local market

and darkness inside them and the sessions were full

or did Likarion have an international audience in mind,

of tears.”

and what were the differences in terms of reception to it?

He decided therefore to go and see the kids themselves,

“First of all for Kenyans,” he replied, “which the producer

if only for 10 minutes, and the decision proved transfor-

didn’t agree with because when you make a film with

mative. “It was the brightest room ever. It was full of colour

funding from abroad it has to cater to certain markets.”

and saturation and at that point everything changed for me.

The €200,000 budget was made up of German money

I did not want to make a kids film but it was the kids who

(Ministry of Economic Development, Arri Media, the DW

convinced me to do it. I learned so much more from the kids

Academy). “There was nothing from Kenya [in terms of

than from adults. They have the secret to enjoying life and

finance] But it has made more people interested in cinema.

that touched me so much.”

It catered for everyone because we stuck to our own culture, we stuck to our own languages, 3 official and one unofficial language (a slang mix of Swahili that differs from street to street).”

O REP T R RT OR EP E T R RT PO R O RE T P R O T R R E P T O P R OR REPO T RE RT R ORT EPO REP T RE RT POR O REP T R RT OR EPO RE T R R T P O R P E T P R O T R R E R O E P R E R PO RE T R RT O P T R R O E R E T T O O REP T R RT P R R E P O P R RE RT R ORT EPO REP T RE RT POR EPO REP O REP T R RT OR EPO RE T R RT P P RE RT OR EPO REP T R RT POR EPO RE O REP T R RT OR EPO RE T R RT PO P E T P R PO RE O T R R E O P R E T R PO RE T R RT O P R R O E O E P R O P E T R RT PO P R RT OR EP E R T O P R R E T R PO RE T R RT O P R R O E O E P R P P R RT OR EPO RE T R RT PO E T O T P R R P O E T R R E R O T P R R O RE T R RT O E T P R PO R R E O P R O RT POR REP T RE RT R ORT EPO REP T RE RT E T P R PO R O T R R E R O P R E T P T OR EPO RE T R RT PO R E P R PO RE T R RT OR E T R E O R T R ORT EPO REP T RE RT POR EPO REP RT R P R PO RE T R RT PO T R R E O R E R RT O O O P E R R RT O P P E P R P E O E T R E T T TR P R PO REP T R E R R E R O R E O R RT O R RT P R EP T R E O O P R T O RE T R RT O P PO P R R P E E E T P T TR O R R E EPO E R P R O T R R E T O OR P P R T TR O R P E E R O P E R R R R RT O P PO P TR R E T E T P OR REPO T RE RT R OR RT R T RE REPO POR ORT P PO E EP R O E R T R O T P R O O R P R E T E R E T TR O REP T R EP EPO OR RT R R R O OR T TR P R T R O T P R E R O P E EP R P T TR O OR E R O R P E R P PO R E EP T TR R R E T R O R R O T PO R RT P E EP R R E T R O T TR P PO E EPO OR RT E R R E R R T R O P R RT E EP T TR E EPO OR RT R O R P OR ORT T R REP EPO ORT RT R T RE EPO POR P POR RT T R REP PO OR RT R RE EP E E EP R RE O OR T TR T R O P R R P PO E EP T TR R RT E T R O R R O R P E T R O R P E “We introduced communities into it, and with communities

“The director (Wanuri Kahiu) is a very good friend of mine

come culture,” he added. “My reasoning is that whenever

and we work in tandem, at the same festivals and the same

I make a movie I want to understand where I come from,

circuits helping each other out. When the film was banned

you don’t want to go so deep that no-one understands what

we were there in the courts together and I am returning next

is happening but you also don’t want to lose yourself and

week for the final ruling. The ban is in effect once again after

cater to a market that is not your own, so we try and find

it was lifted for a week to qualify for consideration as an

a balance, and the balance [also] comes in the fact that

Oscar submission.”

we appreciate movies in the film as well, that we use movies as a tool of escapism, and for that it has found its ground

Likarion pointed out how he offered to withdraw his film

abroad.” He added how the film’s selection at 60 internation-

from the Oscar race for the sake of Rafiki. “For those seven

al film festivals was testimony to its international appeal.

days it became one of the highest grossing films, there was full house after full house.”

And what was it like working with Tom Tykwer? Likarion explained how Tykwer

With six films in the past year, why then is there such

came to Kenya about 20 years ago with his wife, who has

a sudden boost in production without official support

a project in Kenya in which she educates children through

or infrastructure? “I think it was persistence. We have

the arts. When Tom arrived he wanted to document his

a spirit of hard work. We say in Kenya that ‘you start to

wife’s work but found nobody who could operate the

walk and everybody will eventually join you”.

camera. “He felt so bad he raised funds in Germany to invest [in Kenyan production]. The scheme has done a lot and has

“Also because our cinemas are flooded by western media

kickstarted the industry and the careers of Kenyans in it,

and no African content reaches us, and we want to see

such as my own.”

more of ‘us’ on the big screen. The moment we see one film everyone goes to it and another filmmaker gets encourage-

A media school/talent factory has opened recently to teach

ment to make another one, and because of that people are

filmmaking “and to challenge the government,” Likarion

turning away from Western media and more towards our

stressed. “When they hear words like ‘Oscars’ and ‘60 film

own African culture.”

festivals’ they are a lot more interested. It is not even so

much the money that I need, it is the policies for change.

They don’t take film seriously as an industry. You can give me money to make a film but I can’t distribute the film, we have to distribute door to door. First I ask for policy change then I ask for money for my movie.”

Another Kenyan film, Rafiki, has been causing waves on the international circuit this year. The film is controversial in

that it deals with lesbianism, a very taboo subject in Kenya.

O REP T R RT OR EP E T R RT PO R O RE T P R O T R R E P T O P R OR REPO T RE RT R ORT EPO REP T RE RT POR R PO RE T R O REP T R RREALITY T R T O REFLECTING P O E T R P E P R O R R E T R O E P R O deRJeunesse E T & Intl.

R Intl.RPrize R P(Prix E P T R O R ZombieLars 2018 O E T R E T T O O REP T R RT P R R E P O P Youth Jury Prize),R createdPand written Seeberg E by Thomas P O R O E T R E P RE RT R ORTTorjussen P andRproduced R PO RE T R T

by Anne Bergseng.

E O P R O E T E T R RT PO P R P P R E R O E R O E T R R R RT Producer Anne graduated from theE Norwegian National film School and O worked as, EP P R R O T R E and T P O T O P R producer, line producer production manager of documentaries, feature films,R O E R E P R O T P R R E P T before joining in 2013.

O E T RTV seriesRand shortPfilms P Tordenfilm R O E T R E P R PO RE T R R O T R R E O P R E has worked Seeberg writer as Tseries creator/lead R Torjussen, P ofandZombieLars, R PO Ofilms, TV-series T PO REThomas R R E T a screenwriter and O director of feature stage productions.

He wrote O P R E T R R R for thePfeature filmRSons E P T theOscript O R and created/wrote/co-directed the 2011 drama series E T R E Pand won Norwegian R O T P R R O E NorwegianR Cozy, which T was nominated for an International Emmy O E P R O RScript T ThomasOalso EP P R R2012.

R E and T T awards R “Gullruten” for Best TVP Drama, Best Best Director in O R E Phe won R RT T O P R O E T directed the first 3 episodes of the NRK series Struggle for Life P season 2, for which R R E Rin 2016. PO RE T R RT O O REP a “Gullruten” T R award for Best Director O R E T T O O REP T R P R R R E P T O P E T R PO RE T R RT OR EP R R O E P R R PO RE T R RT O P T R R O E R E P T O O T P R R E T E T R R PO P P R RT OR E E R E O T R R T R ORT EPO REP T RE RT POR EPO REP RT R P R PO RE T R RT PO T R R E O R E R RT O O O P E R R RT O P P E P R P E O E T R E T T TR P R PO REP T R E R R E R O R E O R RT O R RT P R EP T R E O O P R T O RE T R RT O P PO P R R P E E E T P T TR O R R E EPO E R P R O T R R E T O OR P P R T TR O R P E E R O P E R R R R RT O P PO P TR R E T E T P OR REPO T RE RT R OR RT R T RE REPO POR ORT P PO E EP R O E R T R O T P R O O R P R E T E R E T TR O REP T R EP EPO OR RT R R R O OR T TR P R T R O T P R E R O P E EP R P T TR O OR E R O R P E R P PO R E EP T TR R R E T R O R R O T PO R RT P E EP R R E T R O T TR P PO E EPO OR RT E R R E R R T R O P R RT E EP T TR E EPO OR RT R O R P OR ORT T R REP EPO ORT RT R T RE EPO POR P POR RT T R REP PO OR RT R RE EP E E EP R RE O OR T TR T R O P R R P PO E EP T TR R RT E T R O R R O R P E T R O R P E The focus of the session was to study a production that

Director Thomas kicked off by explaining how ZombieLars

realistically reflects the lives of young people today through

is popular beyond wildest expectations in Norway, with

original storytelling. ZombieLars is the story of everyday

an audience much wider that its target group of 12-year

kids. One just happens to be a zombie, one a Ninja and third

old boys. He told how he had never written for his own

a witch. A fourth kid, ostensibly normal, will do anything

three boys but promised himself he would write something

not to be considered normal.

brilliant for them before they were too old. “I could see how children’s programmes were slipping away from them, they

The table was shown the first five minutes of the first

[the programmes] were too benign,” and so he tried to incor-

episode, which was both brutal and brilliant. The zombie

porate everything they love into this series (YouTube stuff,

kid really could come back to life (again and again) and his

zombies, games content), “and especially morbid humour

new schoolmates were determined to find new ways of

that boys really like.”

disposing of him, if only to experience anew (again and again) his powers of regeneration.

O REP T R RT OR EP E T R RT PO R O RE T P R O T R R E P T O P R OR REPO T RE RT R ORT EPO REP T RE RT POR O REP T R RT OR EPO RE T R R T P O R P E T P R O T R R E R O E P R E R PO RE T R RT O P T R R O E R E T T O O REP T R RT P R R E P O P R RE RT R ORT EPO REP T RE RT POR EPO REP O REP T R RT OR EPO RE T R RT P P RE RT OR EPO REP T R RT POR EPO RE O REP T R RT OR EPO RE T R RT PO P E T P R PO RE O T R R E O P R E T R PO RE T R RT O P R R O E O E P R O P E T R RT PO P R RT OR EP E R T O P R R E T R PO RE T R RT O P R R O E O E P R P P R RT OR EPO RE T R RT PO E T O T P R R P O E T R R E R O T P R R O RE T R RT O E T P R PO R R E O P R O RT POR REP T RE RT R ORT EPO REP T RE RT E T P R PO R O T R R E R O P R E T P T OR EPO RE T R RT PO R E P R PO RE T R RT OR E T R E O R T R ORT EPO REP T RE RT POR EPO REP RT R P R PO RE T R RT PO T R R E O R E R RT O O O P E R R RT O P P E P R P E O E T R E T T TR P R PO REP T R E R R E R O R E O R RT O R RT P R EP T R E O O P R T O RE T R RT O P PO P R R P E E E T P T TR O R R E EPO E R P R O T R R E T O OR P P R T TR O R P E E R O P E R R R R RT O P PO P TR R E T E T P OR REPO T RE RT R OR RT R T RE REPO POR ORT P PO E EP R O E R T R O T P R O O R P R E T E R E T TR O REP T R EP EPO OR RT R R R O OR T TR P R T R O T P R E R O P E EP R P T TR O OR E R O R P E R P PO R E EP T TR R R E T R O R R O T PO R RT P E EP R R E T R O T TR P PO E EPO OR RT E R R E R R T R O P R RT E EP T TR E EPO OR RT R O R P OR ORT T R REP EPO ORT RT R T RE EPO POR P POR RT T R REP PO OR RT R RE EP E E EP R RE O OR T TR T R O P R R P PO E EP T TR R RT E T R O R R O R P E T R O R P E Also, the boys he knew were into Game of Thrones and

The show was co-produced with broadcaster NRK Super.

Westworld, “so I knew we wanted something very brutal

International sales are handled by Global Screen.

from the beginning… And I read the Harry Potter books and Voldemort was always very scary, but what is really scary

The actual 8-12 target group for the programme

is when characters fall in love.”

numbers 240,000 (in Norwegian population terms)

but this is massively exceeded by actual viewing numbers

“So what we have had for 39 episodes is a love story

of 342,000 (season 1) and 242,000 so far (for season two).

between a zombie and a ninja, and that is a really scary

It is expected that season two will match or exceed first

part because you won’t get a boy at 12 to admit to liking

season. 90% of views are on VOD, but the programme

a romance, so we have to kill Lars once in a while to keep

is as easy to find on the grown-up VOD platform as the

them interested. The brutality is toned down, but once

kids’ platform.

in a while there is something.”

According to Anne, some people at NRK saw the first epi-

Together with the zombie, ninja, witch and normal kid

sode before it was aired and complained about its violent

there are also gnomes, dog people, trolls – genre-specific

content, hence they were “prepared for a shitstorm” that

characters that Thomas does whatever he wants with.

never materialised. Parents with kids and adults without

“We use these as metaphors that kids need and want to talk

children have embraced it.

about. The ninja is shyness who disappears. The witch has anger issues and compensates for being black inside by

ZombieLars may have won two Prix Jeunesses but it has

being extremely pink and false from the outside. Zombies

proved difficult to sell internationally. “When working with

are depressed unpopular, he knows he will have to move on,

edgy kids content you get a lot of enthusiasm from the

and trolls have ADHD. Gnomes have a feeling of inferiority.

acquisition guys but the problem is with the gatekeepers

They all have issues. It is a political series and is approach-

– the bosses, an older generation,” Thomas stressed again.

ing what we are seeing in the world, and we kind of mirror

“They seem afraid that kids will throw themselves out the

1930s Germany - in series 2 they are marked with an F

window. But [in reality] they are just going to go elsewhere

(for Stranger, Fremmed in Norwegian).”

and watch much more brutal stuff. It is a shame, especially with Germany. We share the same cultural story telling

The style isn’t fixed and regular. “If we want two episodes

background. I hope they will see that in Denmark that there

to stick together and be one story then we will do that.

isn’t any kids throwing themselves out of windows.”

We will have long arcs, we will have a solo episode in the

The show will air in the Netherlands on NPO 3/Zapp–

middle. If we are entertaining people we don’t really care.

the first big kids channel outside Scandinavia.

The structure can be anarchistic.”

The team experienced the nostalgia effect in the summer,

He has encountered resistance from older international

just as parents were trying to cope with kids and their ener-

commissioning editors who believe that the violent content

getic excesses. “We released one episode per week during

is not suitable for the young demographic. “I have a lot of

the summer, not the whole season at the same time, and it

trust and enthusiasm for a new generation of people

united the kids and parents like a novelty (a kind

ordering children’s content, as to what can and cannot

of delayed gratification). They watched it together which

be commissioned/acquired, and I really think the difference

made the parents very happy and nostalgic. That was a big

is in what generation is sitting around the table. If we don’t

part of the success.”

serve something on the edgy side, [kids] will go elsewhere.”

Thomas nailed his political colours to the mast in explaining

Producer Anne explained the production set-up so far.

the public’s understanding/appreciation of the storylines.

There have been two series with a third about to finish.

“There is no doubt that we are on the left, we believe that

All three have 13 episodes and each episode is 13 minutes.

we should co-exist, and there are lot of grown-ups who are

The total budget for all three was €8.3m, equating €14,000

scared of what is happening in Europe and the world, and

per minute.

I think that helps too.”

O REP T R RT OR EP E T R RT PO R O RE T P R O T R R E P T O P R OR REPO T RE RT R ORT EPO REP T RE RT POR O REP T R RT OR EPO RE T R R T P O R P E T P R O T R R E R O E P R E R PO RE T R RT O P T R R O E R E T T O O REP T R RT P R R E P O P R RE RT R ORT EPO REP T RE RT POR EPO REP O REP T R RT OR EPO RE T R RT P P RE RT OR EPO REP T R RT POR EPO RE O REP T R RT OR EPO RE T R RT PO P E T P R PO RE O T R R E O P R E T R PO RE T R RT O P R R O E O E P R O P E T R RT PO P R RT OR EP E R T O P R R E T R PO RE T R RT O P R R O E O E P R P P R RT OR EPO RE T R RT PO E T O T P R R P O E T R R E R O T P R R O RE T R RT O E T P R PO R R E O P R O RT POR REP T RE RT R ORT EPO REP T RE RT E T P R PO R O T R R E R O P R E T P T OR EPO RE T R RT PO R E P R PO RE T R RT OR E T R E O R T R ORT EPO REP T RE RT POR EPO REP RT R P R PO RE T R RT PO T R R E O R E R RT O O O P E R R RT O P P E P R P E O E T R E T T TR P R PO REP T R E R R E R O R E O R RT O R RT P R EP T R E O O P R T O RE T R RT O P PO P R R P E E E T P T TR O R R E EPO E R P R O T R R E T O OR P P R T TR O R P E E R O P E R R R R RT O P PO P TR R E T E T P OR REPO T RE RT R OR RT R T RE REPO POR ORT P PO E EP R O E R T R O T P R O O R P R E T E R E T TR O REP T R EP EPO OR RT R R R O OR T TR P R T R O T P R E R O P E EP R P T TR O OR E R O R P E R P PO R E EP T TR R R E T R O R R O T PO R RT P E EP R R E T R O T TR P PO E EPO OR RT E R R E R R T R O P R RT E EP T TR E EPO OR RT R O R P OR ORT T R REP EPO ORT RT R T RE EPO POR P POR RT T R REP PO OR RT R RE EP E E EP R RE O OR T TR T R O P R R P PO E EP T TR R RT E T R O R R O R P E T R O R P E “And for a Norwegian kid to have a zombie speaking Norwe-

Meanwhile, Anne appreciated the business and creative

gian, of course, is also cool. It feels close to Norwegian kids,

aesthetic at NRK Super: “I think it has to be said again,

their culture, their language,” he adds.

that it is thanks to NRK Super and their bravery (and their

superior research), that is why they are [the best] at making

NRK ordered two more series when the team was still

this type of content because they know that it will work and

editing the first season, but the team won’t continue with

what kids want.”

a fourth series. “I said early on after three seasons we are

ending it. Also, these kids are getting bigger and their voices

Adds Thomas: “It is an environment with a lot of self-

are deeper. I think they deserve a break. I as a writer, having

confidence… anxiety is always the enemy of any art, but

written 36 of the 39 episodes, I am kind of through for now,

at NRK you walk in to a room where people are proud

but I am thinking about telling a new story when they are

of their stuff for kids and are very edgy…and who take kids

17 and I can deal with sexuality and political stuff in a less

very seriously.”

generic way… But right now these actors need to go back and have a sane puberty.”

Thomas goes on to stress the sophistication within the youth audience: “From a writers’ perspective there are maybe

some things that are too complicated, maybe politically,

but there is no human emotion that is not present in a child.

It is actually louder in a child. They know everything. [They] can be jealous and horny and ambiguous… but when they watch stuff they completely understand it is totally boring for them. They want this feeling that “there is something here I can’t quite understand”.

O REP T R RT OR EP E T R RT PO R O RE T P R O T R R E P T O P R OR REPO T RE RT R ORT EPO REP T RE RT POR P ITRSLOOOW...

R PO RE T R OTAKE T R E T O P R O E T T R R R P E P R O R E T R O E P R O a notch?

E T slowO R all about Rtake it down E P T R P R R Time to Learning media.

O E T R R E T T O O REP T R RT P R R E P O P E T P TDubit OR EP R Kleeman, O R E R R P RE RTDavid O R P speaker,RconnectorR— T R Rhas led thePchildren’s Oanalyst,Rauthor, E E O T P Strategist, David Kleeman media O E30 years.THe began R P T child-friendly E T sustainable, Pfor more than O P R R industry in developing practices E R E P RSenior VicePO RE O T R R E R RT this work as president of the American Center for Children and Media and is now O P R Oof Global E T R RT consultancy E P O P R President Trends forT Dubit, a strategy/research and digital studio.

O E R O E T P R O T R R E P O EP T RAnja P E R PO RE T R RT OR EP R Dinhopl, Facebook O R E P R O T P R R O E Anja Dinhopl’s research at Facebook focuses on understanding children and teens’ T R O E P R O T from theO P R herRPhD R E sheTreceived P T to digital R relationship technologies.

Prior to Facebook, P O E R R E P T O P R R for her studiesT on how young people integrate videoE and O RofEQueensland R R PUniversity P R O T R R O E T photo-taking during leisure experiences O E P R P P R RT OR EPO RE T R RT PO E T O T P R R P O E T Charlotte Bushell, BBC R R E R O T P R R O RE Charlotte RBushell isRaTproducer atOBBC Children’s with overR 10E years’ experience making P R PO R T E T O P R children’s programmes and specialising in pre-school content.

Charlotte has directed O T O R P Mr Bloom’s E NurseryTandRthe CBeebies PPigs and RE RT R E R RT POBafta-nominated balletP – The Three Little E Rslow TV. RT O R POfor CBeebies E T R E recently produced a first of itsO kind; Daydreams - pre-school T R R E T P O P R R O E R E P T R ORRobTJenkinson, O T P R R E T R R E BBC P O Tyears’ OR E P RobRJenkinson RHe has over E T E P R is a series/executive producer at BBC Children’s in the UK. 15 O T R R E T on a wide P TR O P R O E R working inE TV production and development range of genres both in P T R ORTexperience O P Rthe R R at the BBC,RRobEhas overseen T manyO Rwell as winning the E UK and USA. As commissions P T P R E T O OR R P R O T of multiple series both unscripted and R scripted, notably making The Furchester P R E RE RT production O P E EP R O T Hotel with SesameE Workshop andR Daydreams for CBeebies, which gained worldwide press.

P R O P R PO RE RT R ORT PO REP T RE RT T R REP E E T O OR R RT O P R T T R P E R O P E R O T R P EP T RE RT POR EPO REP RT R RE EPO POR T TR R PO RE T R RT PO E EP R R O E O R P T TR R RT OR EPO RE EP O R T R P PO P T R O R R R E E T R T TR O REP T R RT E EPO OR O R R P T OR EPO RE EPO OR RT T R REP PO R E T TR O REP T R EP EPO OR RT R R R O OR T TR P R T R O T P R E R O P E EP R P T TR O OR E R O R P E R P PO R E EP T TR R R E T R O R R O T PO R RT P E EP R R E T R O T TR P PO E EPO OR RT E R R E R R T R O P R RT E EP T TR E EPO OR RT R O R P OR ORT T R REP EPO ORT RT R T RE EPO POR P POR RT T R REP PO OR RT R RE EP E E EP R RE O OR T TR T R O P R R P PO E EP T TR R RT E T R O R R O R P E T R O R P E

O REP T R RT OR EP E T R RT PO R O RE T P R O T R R E P T O P R OR REPO T RE RT R ORT EPO REP T RE RT POR O REP T R RT OR EPO RE T R R T P O R P E T P R O T R R E R O E P R E R PO RE T R RT O P T R R O E R E T T O O REP T R RT P R R E P O P R RE RT R ORT EPO REP T RE RT POR EPO REP O REP T R RT OR EPO RE T R RT P P RE RT OR EPO REP T R RT POR EPO RE O REP T R RT OR EPO RE T R RT PO P E T P R PO RE O T R R E O P R E T R PO RE T R RT O P R R O E O E P R O P E T R RT PO P R RT OR EP E R T O P R R E T R PO RE T R RT O P R R O E O E P R P P R RT OR EPO RE T R RT PO E T O T P R R P O E T R R E R O T P R R O RE T R RT O E T P R PO R R E O P R O RT POR REP T RE RT R ORT EPO REP T RE RT E T P R PO R O T R R E R O P R E T P T OR EPO RE T R RT PO R E P R PO RE T R RT OR E T R E O R T R ORT EPO REP T RE RT POR EPO REP RT R P R PO RE T R RT PO T R R E O R E R RT O O O P E R R RT O P P E P R P E O E T R E T T TR P R PO REP T R E R R E R O R E O R RT O R RT P R EP T R E O O P R T O RE T R RT O P PO P R R P E E E T P T TR O R R E EPO E R P R O T R R E T O OR P P R T TR O R P E E R O P E R R R R RT O P PO P TR R E T E T P OR REPO T RE RT R OR RT R T RE REPO POR ORT P PO E EP R O E R T R O T P R O O R P R E T E R E T TR O REP T R EP EPO OR RT R R R O OR T TR P R T R O T P R E R O P E EP R P T TR O OR E R O R P E R P PO R E EP T TR R R E T R O R R O T PO R RT P E EP R R E T R O T TR P PO E EPO OR RT E R R E R R T R O P R RT E EP T TR E EPO OR RT R O R P OR ORT T R REP EPO ORT RT R T RE EPO POR P POR RT T R REP PO OR RT R RE EP E E EP R RE O OR T TR T R O P R R P PO E EP T TR R RT E T R O R R O R P E T R O R P E This was a general round-up debate on slow media following

The obvious question of mindfulness was introduced,

earlier presentations on CBeebies’ beautiful and meditative

but CBeebies’ Charlotte didn’t feel that Daydreams fell into

Daydreams and Facebook research on kids’ and teens’

this category. “I’m not an expert in mindfulness but with the

relationship to digital technologies.

piece that we made, we did make a conscious decision that the primary hook wouldn’t be mindfulness because

David kicked off the final session by explaining the need

we didn’t want it to be a narrow or niche piece.”

for slow media in the first place. “I was looking at the pace at which kids consume media and trying to figure out the

Added her colleague Rob: “Our thing was, instead of it being

motivations behind that, but also how we can use their

about mindfulness it is about displaying the beauty of the

motivations and their desires from media in ways that slow

world around them. And that’s everyday things whether

them down and get them to reflect, get them to go out and

it be leaves falling, or streams or just rocks … or rain.

look at the world in new ways using technology, get them

That’s what it’s about as opposed to it being directly for

to communicate with others, get them to have more iterative

mindfulness.”

dialogue with others ongoing things.”

Earlier, Rob and Charlotte outlined the core principles that

“Or just get them to slow the pace for a while. One of the

underpinned Daydreams, a one-hour slow media journey

things that my company has looked at is something that

through the classical elements, presented within both pas-

we call emotional scheduling that has to do with kids.

toral landscapes and urban cityscapes: No Story - instead a

In a world where they’re overwhelmed by the amount

journey, it had to be all about the detail of the world, rather

of media that’s out there they actually try to make sense

than the activity. No educating - instead it must celebrate

of it by scheduling themselves and by understanding their

what we know and to show the beauty of what a child

own moods and needs and choosing media and choosing

knows already. No questions - only experience; a question

technologies that suit that mood and that need at the time,

such as ‘what’s that sound?’ would be reframed as ‘listen to

and you can see remarkable patterns evolved over the

the wind’, so the viewer drifted along with the programme.

course of a day of what they choose, what platform they

Nothing abstract - unless a child can contextualise it and

choose what content they choose.”

experience it.

O REP T R RT OR EP E T R RT PO R O RE T P R O T R R E P T O P R OR REPO T RE RT R ORT EPO REP T RE RT POR O REP T R RT OR EPO RE T R R T P O R P E T P R O T R R E R O E P R E R PO RE T R RT O P T R R O E R E T T O O REP T R RT P R R E P O P R RE RT R ORT EPO REP T RE RT POR EPO REP O REP T R RT OR EPO RE T R RT P P RE RT OR EPO REP T R RT POR EPO RE O REP T R RT OR EPO RE T R RT PO P E T P R PO RE O T R R E O P R E T R PO RE T R RT O P R R O E O E P R O P E T R RT PO P R RT OR EP E R T O P R R E T R PO RE T R RT O P R R O E O E P R P P R RT OR EPO RE T R RT PO E T O T P R R P O E T R R E R O T P R R O RE T R RT O E T P R PO R R E O P R O RT POR REP T RE RT R ORT EPO REP T RE RT E T P R PO R O T R R E R O P R E T P T OR EPO RE T R RT PO R E P R PO RE T R RT OR E T R E O R T R ORT EPO REP T RE RT POR EPO REP RT R P R PO RE T R RT PO T R R E O R E R RT O O O P E R R RT O P P E P R P E O E T R E T T TR P R PO REP T R E R R E R O R E O R RT O R RT P R EP T R E O O P R T O RE T R RT O P PO P R R P E E E T P T TR O R R E EPO E R P R O T R R E T O OR P P R T TR O R P E E R O P E R R R R RT O P PO P TR R E T E T P OR REPO T RE RT R OR RT R T RE REPO POR ORT P PO E EP R O E R T R O T P R O O R P R E T E R E T TR O REP T R EP EPO OR RT R R R O OR T TR P R T R O T P R E R O P E EP R P T TR O OR E R O R P E R P PO R E EP T TR R R E T R O R R O T PO R RT P E EP R R E T R O T TR P PO E EPO OR RT E R R E R R T R O P R RT E EP T TR E EPO OR RT R O R P OR ORT T R REP EPO ORT RT R T RE EPO POR P POR RT T R REP PO OR RT R RE EP E E EP R RE O OR T TR T R O P R R P PO E EP T TR R RT E T R O R R O R P E T R O R P E David commented of the film (which is available in its

Facebook’s Anja gave her take on the mindfulness issue:

entirety on YouTube free of geoblock): “Often what we think

“We don’t use the term mindfulness. We talk about reflective

of as screens have become windows, and in fact some of

consumption and more understanding and deeper engage-

the best applications I have seen on smartphone or tablet

ment. So it’s more about being reflective about what you do.

is when it doesn’t stop at the screen. It doesn’t draw you

I guess you can interpret that as mindfulness but it’s more

onto the screen, but draws you through it and on to some-

about the social connectedness.”

where else in some ways.”

She further explained how she sees Facebook within slow

Added Rob: “We use children to get us into the detail. So it’s

media terms: “Teens are consuming content at much faster

not a story about what the children are doing. So you see the

speeds than adults, and one way [to address this] would

children maybe splashing in puddles, but then it will go into

be to change the mechanics of that and just sort of make

shots of the ripples from the puddles so you’re focusing on

it slower, but what we are really trying to understand better,

the details of the earth as opposed to the activity that we’re

and sort of facilitate better, is more reflective and deeper

doing.”

engagement with both the things that people see as well as the people they engage with and interact with.

One of the participants asked to what extent Rob and

Charlotte could assess the effectiveness/success of the

“That’s important for us because we think then it becomes

programme in terms of its stated purpose. Cbeebies has

less about mindfulness and more about collaboration and

an adult facing social media account on Facebook,

consumption. That’s something that we’ve identified - teens

on Instagram and Twitter, Rob explained. “And so the par-

have a fear of missing out on stuff. They have a fear of being

ents talk directly to us and tell us how they’re using it and

the last to know about things and not being up to speed and

how it’s going down in their house which is fantastic, as they

being the odd one out. So by facilitating and engaging with

are using it as intended.”

content in a way that is more social it makes it less about who sees it first, but the good thing is that we’re seeing it together.”

O REP T R RT OR EP E T R RT PO R O RE T P R O T R R E P T O P R OR REPO T RE RT R ORT EPO REP T RE RT POR O REP T R RT OR EPO RE T R R T P O R P E T P R O T R R E R O E P R E R PO RE T R RT O P T R R O E R E T T O O REP T R RT P R R E P O P R RE RT R ORT EPO REP T RE RT POR EPO REP O REP T R RT OR EPO RE T R RT P P RE RT OR EPO REP T R RT POR EPO RE O REP T R RT OR EPO RE T R RT PO P E T P R PO RE O T R R E O P R E T R PO RE T R RT O P R R O E O E P R O P E T R RT PO P R RT OR EP E R T O P R R E T R PO RE T R RT O P R R O E O E P R P P R RT OR EPO RE T R RT PO E T O T P R R P O E T R R E R O T P R R O RE T R RT O E T P R PO R R E O P R O RT POR REP T RE RT R ORT EPO REP T RE RT E T P R PO R O T R R E R O P R E T P T OR EPO RE T R RT PO R E P R PO RE T R RT OR E T R E O R T R ORT EPO REP T RE RT POR EPO REP RT R P R PO RE T R RT PO T R R E O R E R RT O O O P E R R RT O P P E P R P E O E T R E T T TR P R PO REP T R E R R E R O R E O R RT O R RT P R EP T R E O O P R T O RE T R RT O P PO P R R P E E E T P T TR O R R E EPO E R P R O T R R E T O OR P P R T TR O R P E E R O P E R R R R RT O P PO P TR R E T E T P OR REPO T RE RT R OR RT R T RE REPO POR ORT P PO E EP R O E R T R O T P R O O R P R E T E R E T TR O REP T R EP EPO OR RT R R R O OR T TR P R T R O T P R E R O P E EP R P T TR O OR E R O R P E R P PO R E EP T TR R R E T R O R R O T PO R RT P E EP R R E T R O T TR P PO E EPO OR RT E R R E R R T R O P R RT E EP T TR E EPO OR RT R O R P OR ORT T R REP EPO ORT RT R T RE EPO POR P POR RT T R REP PO OR RT R RE EP E E EP R RE O OR T TR T R O P R R P PO E EP T TR R RT E T R O R R O R P E T R O R P E Facebook innovations, she explained, include features

David picked up the point, commenting that one of the

built into Instagram that are designed to dismiss a looming

characteristics of ‘fast media’ is that it’s be made to play

sense of anxiety. They tell you when you have caught

anywhere and not to reflect any particular culture.

up with everything that you’ve seen, “so you don’t need to

“So one way of slowing it down is to ensure that it’s rooted.

keep scrolling - you’re all caught up”.

In Denmark, one of my mentors in this business was the

head of children’s programming for Danish public broad-

Another feature is an App for teens who have a natural mis-

casting for a very long time, and he used to say to his team,

trust of algorithms, so they can set ‘newsfeed preferences’

‘when a child wakes up in the morning and they turn on the

to see something first from someone they really want to see

television, I want them to know where they are’. So that

and trust. Another innovation is they can save a post for

to me an element in public broadcasting.”

later ‘deferred consumption’. “Those are sort of the mechanics that are in the product.”

A washing machine going around is slow media, but how

do we determine what is slow with a productive purpose?

In the summer Facebook introduced a feature called ‘watch

Lindsay Watson of CANUK explained how, “it’s like when

party’ where people can collectively watch videos and com-

people say ‘what’s my purpose in life?’ You have to have

ment on them and react. “So it’s not about who found the

something that is both satisfying and a risk...but obviously

video first, but it’s about ‘you are engaging in this together

there is a specific formula that feeds into our deep, human

and you can talk about if you can be active at the same time’.”

and unconscious needs.” A feeling of reward, Anja (Facebook) suggested.

Messenger Kids is a collaborative participation application for children aged six to twelve. “One of the games we have

David talked about the meditative potential of VR within

there is to build a sandwich or a hamburger together. You

the slow media experience. “Two years ago here at Cinekid

as the first person chooses what sort of bread you want and

in the Media Lab someone connected a VR set up with

a second person chooses whether they want mustard or

a heart monitor and you were swimming underwater…

ketchup, and then the other person chooses whether they

The more you controlled your heart rate and the slower

want salad or cheese until you build a full hamburger, but

your breathing, the better the experience became so more

you have to wait and take turns with the other person. So

[marine life] would approach you if you were more calm.

they’re learning turn-taking, they are learning you don’t

In this case the goal was to use biofeedback essentially to

have to be the one that creates something. You can have

change the experience based on your [level of ] relaxation…

everybody sort of do it together… It’s more about this playbased communication that the kids engage with.”

“You can only ride a roller coaster so many times before the

thrill disappears, but you can relax yourself as often, and as

David noted that if you give kids a sense of context then you

can have a longer exchange, which was expanded upon by a Norwegian delegate who explained how slow media can be rendered more effective through the use of environment as

a character, especially the beautiful settings of Scandinavia.

“One of our conditions for making content is that you shall see that this content comes from your part of the country.”

well, as you need.”

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