yearbook 2010/11 - The European Film College
yearbook 2010/11 - The European Film College
yearbook 2010/11 - The European Film College
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|denmark||<br />
|||finalcut|<strong>2010</strong>/<strong>11</strong>||||<br />
||the|european|film|college|<strong>yearbook</strong>||||
Fi n a lCu t 20<strong>11</strong>|| [ Di t t e an D e r s e n Bo h r ] - F o t o g r a F: niC o l a i lo k
Contents:<br />
02<br />
|| <strong>The</strong> film industry awaits you<br />
- and your talent<br />
06 || Principal’s goodbye<br />
10 || It all began at <strong>European</strong> <strong>Film</strong> <strong>College</strong>…<br />
16 || Doing what fiction can’t<br />
- a take on documentary<br />
20 || <strong>The</strong> birth of a green screen<br />
28 || Guest Teachers<br />
40 || Neorealism<br />
- take the film into the streets<br />
44 || Life as an actor at <strong>European</strong> <strong>Film</strong> <strong>College</strong><br />
48 || Storyboard ´Tales of the West`<br />
62 || A Japanese film apprentice in Europe<br />
82 || <strong>The</strong> Board<br />
84 || Staff<br />
86 || Teachers<br />
90<br />
|| Students
ThE FILm INDuSTry AWAITS you<br />
– AND your TALENT<br />
By Bo Ehrhardt, board chairman
Hopefully the 8 ½ months that you spent at <strong>European</strong> <strong>Film</strong> <strong>College</strong> helped you dig out your own<br />
special talents, and the question now arises: how do I use them to achieve what I want?<br />
Some of you will bring your talents into other areas than film, and the stay at EFC will be a fond<br />
memory of a creative and playful time. But a lot of you, I’m sure, have realised that filmmaking is<br />
the path you want to pursue, and you’re already placing the first stepping-stones on your way to<br />
fulfilment.<br />
<strong>The</strong> film industry is not the same as it was 5, even 3 years ago.<br />
A new generAtion of filmmAkers is rising from the Ashes of the finAnciAl crisis, And<br />
everything is chAnging<br />
As the old business models are falling apart and the established production and distribution<br />
companies are under severe pressure, new possibilities are occurring everywhere. HD consumer<br />
hardware makes film making possible for almost everybody and new ways of distributing film<br />
pop up in the shape of social media and other online opportunities.<br />
As a part of the so-called Facebook generation you have the gift to manoeuvre in this landscape<br />
better than anyone. And so you have the chance to not only take advantage of the radical change<br />
of the film industry, but to BE that change – and thereby create your own future.<br />
#3<br />
t h e filmindustry a w a i t s y o u - a n d y o u r t a l e n t||fi n a lCu t 20<strong>11</strong>
#4<br />
You are all gifted and talented in your own way. But you must never rely on your talent<br />
alone; hard work and perseverance are equally essential keys to the film industry. And it<br />
is crucial that you surround yourself with others that share your passion and that hold<br />
other talents than your own. EFC has taught you how to work in crews and to create<br />
synergies of different skills, passions and talents. Now use that training – and your fellow<br />
students – in the pursuit of your goal.<br />
no mAtter where you go from here i hope you will keep nursing your AmAzing tAlents in<br />
the future. mAke yourself And All of us proud!<br />
All the best,<br />
Bo<br />
fi n a lCu t 20<strong>11</strong>||th e filmindustry a w a i t s y o u - a n d y o u r t a l e n t
#5<br />
[ su n r i s e ] - Ph o t o g r a P h e r: niC o l a i lo k||f i n a lCu t 20<strong>11</strong>
focus<br />
embrAce<br />
work<br />
#6<br />
fi n a lCu t 20<strong>11</strong>|| PrinCiPal’s g o o d b y e<br />
PrinciPAl’s goodbye<br />
<strong>The</strong> red seats of Big Bear were full of new faces. <strong>The</strong> air was about<br />
to burst with great expectations. I was talking to you. Asking you to<br />
take risks and make mistakes. To use the upcoming 8 ½ months as<br />
an incubator, a laboratory, where you could discover unknown talents<br />
and ideas. To look out on the world and inside yourself. To think of<br />
yourselves as instruments. Instruments that were about to discover<br />
the nature of their voices, about to find their rhythm and tune – and<br />
join the band.<br />
And whAt An orchestrA you turned out to be!<br />
I remember the documentary director Janus Metz, your first guest<br />
teacher, standing late at night in dining hall after five hours of discussing<br />
his movie “Armadillo”. He was thrilled by meeting with you: You<br />
had made it his most fulfilling experience touring with “Armadillo”, he<br />
claimed. Because of your eagerness to discuss, reflect, and gain new<br />
ideas. As the months went by that same reaction came from most<br />
guest teachers.
You made an impression! - And you worked incredibly hArd.<br />
<strong>The</strong> amount of 8 ½ films, small experiments and school projects has been<br />
impressive, as have the ambitions you have put into them. You have searched the<br />
limits in terms of production scale and technical possibilities, and some have had<br />
courage to look deeper and create very personal stories or art. And some<br />
have spent evenings in Writers Club, Photo Club, <strong>The</strong>atre Society – using the<br />
possibilities to the fullest.<br />
But while you were hard working, ambitious and focused you were also helpful and<br />
caring for each other. You have made the atmosphere of the school warm, cheerful<br />
and focused. Just like in the best of families.<br />
And now is the time for your next step, a new beginning. You will step into the<br />
future as part of the worldwide EFC network.<br />
Standing at the doorstep waving my goodbyes as you leave the premises I will lean<br />
forward, shouting my last advise:<br />
#7<br />
PrinCiPal’s g o o d b y e ||fi n a lCu t 20<strong>11</strong>
#8<br />
fi n a lCu t 20<strong>11</strong>|| PrinCiPal’s g o o d b y e<br />
<strong>2010</strong> 20<strong>11</strong><br />
”it tAkes<br />
”And you<br />
”ooPs<br />
Almost<br />
forgot:<br />
”And one
hard work, you know? <strong>The</strong>re are no short cuts! Lots of odd jobs await you,<br />
but don’t lose your focus!”<br />
have to be courageous! It takes courage to follow a dream and confront<br />
yourself. Put yourself out there. And be curious – that’s how you find<br />
your stories, your projects and keep your material alive. Curious and<br />
open. And disciplined.<br />
remember that!”<br />
If you are a writer: Write! If you are a photographer – take pictures!<br />
If you are a director – direct! <strong>The</strong>re’s no project unless it’s made. Maybe<br />
you will only work in your spare time, your holidays or late nights<br />
– but work”<br />
”Uh, this is important too: Everything is relevant! Embrace the stories, images,<br />
and experiences right in front of you. Exploit your borders, sink into the<br />
big Masters, live. Take notice. Its all around you.”<br />
last thing. this is the first step of a life long journey.<br />
Don’t measure your successes and failures on a day-to-day basis.<br />
You only just started your path – start walking… ”<br />
And good luck… I WILL MISS YOU ALL!
#10<br />
fi n a lCu t 20<strong>11</strong>||it a l l b e g a n a t eur o P e a n fi l m Col l e g e…<br />
IT ALL BEGAN<br />
AT EuroPEAN FILm CoLLEGE…<br />
By Anne Nordenhof<br />
School year is ending, doors are opening, and the smell of <strong>The</strong> real World starts to<br />
ooze into the dining hall. So what do you do when the safe walls of the <strong>European</strong><br />
<strong>Film</strong> <strong>College</strong> can no longer protect you? you form creative alliances with your fellow<br />
students – alliances that may jumpstart your career and last you a lifetime.<br />
Towards the end of the <strong>2010</strong>/<strong>11</strong> class year, one question pops up in every mind<br />
wandering the student halls: “what now?” And to a lot of the students the even more<br />
important question is: “How do I wedge my way into the film industry?”<br />
Most of the EFC’s former students that are now working in the film industry say that the<br />
key words to success were the creative alliances and working friendships that were born<br />
during their stay at EFC. And the <strong>2010</strong>/<strong>11</strong> class is no exception it would seem. During<br />
the last 8 ½ months a lot of alliances have bloomed between the students as a natural<br />
result of the many film projects they create together during their stay.
Student Frederik Louis Hviid says:<br />
“I have worked a lot with the same guys during my stay here at this school. Producers, co-writers, co-directors<br />
and just people who provide good inspiration. And as we got closer to the end of the school year, we sat down<br />
during lunch and talked about what to do, when we get back to the ‘society’. Each of us have different interests,<br />
and different skill sets, but we all share a common interest and passion for film. Whether it’s the founding of a<br />
production company, arranging read-throughs and writers’ sessions, or having a sparring partner as a cinematographer,<br />
I think it’s very good to have someone around you who knows your particular way of working.”<br />
#<strong>11</strong><br />
it a l l b e g a n a t eur o P e a n fi l m Col l e g e…||fi n a lCu t 20<strong>11</strong>
#12<br />
fi n a lCu t 20<strong>11</strong>||it a l l b e g a n a t eur o P e a n fi l m Col l e g e…<br />
For student Andreas Sommer Kjærgaard the hope is to perhaps get a film project started<br />
with some of his fellow students just after leaving the EFC:<br />
“A lot of us hAve tAlked About getting together And Apply the film workshop<br />
(filmværkstedet) for support to do our projects. And besides thAt i cAn’t wAit<br />
to bump in to efc students in the future,”<br />
A small group of students have even created a small production company called 73<br />
Collective during their stay in hope of making it in the film business after school. One of<br />
them, Kamil Franko, says:<br />
“Throughout the time at EFC you slowly merge together with people that share the same<br />
visions and ideas, so it’s a slow and natural process. We haven’t seen our group/crew<br />
as a production company but a bond of friends, which of course makes all our projects<br />
more than just a production. What makes us a production company is as simple as the<br />
urge of making movies, and you slowly begin to adapt yourself into the preferences that<br />
are needed to complete a movie. <strong>The</strong> crew we’ve established means a lot to us, not only<br />
because of practical issues, but mainly because of unique friendships that provide us with<br />
inspiration, valuable experiences and most importantly, good times.”
#13<br />
Ph o t o g r a P h e r: ko r a Ch r i s t e n s e n||f i n a lCu t 20<strong>11</strong>
#14<br />
fi n a lCu t 20<strong>11</strong>|| [ man o n C h a i r ] - Ph o t o g r a P h e r: niC o l a i lo k
#15<br />
[th e bur q u a - C l a d ad v e n t u r e r] - f i l m g r a b ||fi n a lCu t 20<strong>11</strong>
[ it m a d e m e re a l i z e i m p o r t a n t<br />
t hing s in perspec tive to t he<br />
s tereot ypic al vie w on fiction ]<br />
#16<br />
fi n a lCu t 20<strong>11</strong>||doi n g w h a t f i C t i o n C a n ’t<br />
DoING WhAT FICTIoN CAN’T<br />
– A TAkE oN DoCumENTAry<br />
By Anders Ingemann, EFC 10/<strong>11</strong><br />
<strong>Film</strong> is fiction – this can’t be argued against. No matter what, a film will never<br />
portray reality, but only depict an individual’s take on a given theme, job, person,<br />
type or situation. Even movies that are based on true events or true stories will get<br />
some fictional aspects added, or at least be re-constructed in perspective to a given<br />
model of proper story structure.<br />
Don’t get me wrong though – this is not a bad thing, I just can’t imagine why or how film<br />
would intend not to be fiction. One of the few things that filmmakers tend to realize<br />
on an early stage, such as the stage that <strong>The</strong> <strong>European</strong> <strong>Film</strong> <strong>College</strong> (EFC) represents,<br />
is that reality is mostly damn boring – and the world in general tends to be boring too.<br />
This can, however, easily be saved through fiction, by adding fiction to aspects of reality<br />
and in that way create an escape route from the daily life or simply make something pure<br />
fictional and entertaining. And thereby we’ve unfolded one of films greatest tasks and the<br />
reason why people love film so much – it helps them escape or at least experience their<br />
dull world with a great amount of fictional flavor.
But keeping this glorious description in mind, how should one cope<br />
with a genre which greatest task is to picture reality and aspects of it as<br />
true and fiction-less as possible?<br />
As mostly all new students at the EFC I never considered myself as one<br />
with any interest in the documentary genre. For some it might even have<br />
been a surprise that directing of documentaries would be part of the<br />
available courses. Nevertheless documentary was the first subject to<br />
be lectured on, which turned out to be an experience that would both<br />
change and renew mostly all pre-existing opinions about the genre.<br />
Personally I found documentaries boring – therefore my small<br />
interest in it.<br />
Lecturer Janus Metz presented us to his fairly new documentary<br />
“Armadillo” – an inside-look on the Danish military forces in the<br />
Afghan province Helmand. <strong>The</strong> lecture turned out as a fine jump-off<br />
point for heavy discussions and general debate – surprisingly not that<br />
much about Armadillo’s subject, but the whole genre and the construction<br />
of a documentary in general. I personally found it extremely<br />
fascinating that just one single lecture with a related screening could<br />
cause so many constructive conversations. <strong>The</strong> students didn’t just<br />
Photo: Lars Skree
#18<br />
fi n a lCu t 20<strong>11</strong>||doi n g w h a t f i C t i o n C a n ’t<br />
manage to build up various opinions but also to learn a lot through debate, which for<br />
me personal woke an interest for the documentary genre, not only as a subject but also<br />
as a thing to work with. This made me apply for the “directing documentary” course<br />
– a 3-week course involving both building an understanding for documentaries and<br />
afterwards the making of them.<br />
<strong>The</strong> lecture on documentaries in general and the genre’s different issues with<br />
reality and fiction did, as previously mentioned, wake an interest for documentaries, but<br />
learning to love and adore it as a genre took a deeper look into it. I attended the “directing<br />
documentary” course with an open mind – and it paid off. I must say that EFC has done<br />
many good things for me, but teaching me to understand the value of documentaries is<br />
without a doubt the greatest.<br />
wh at t he w ork w i t h a nd s t ud y of doc ume n t a rie s let y ou do freely is to e x p l ore t he t hin bridge be t ween fiction a nd re a l i t y. pe r s on a l ly t hi s<br />
h a s gi v e n m e a n alternative vie w on film in general – a nd it m a d e m e re a l i z e i m p o r t a n t t hing s in perspec tive to t he s tereot ypic al vie w on<br />
fiction t h at i presented a s in t ro to t hi s a r t icl e.<br />
<strong>The</strong> typical filmmaker will run around the world and look for the good stories so he can<br />
get inspired to write fiction – and this is the right way to work, since the world in all its<br />
boredom IS full of stories, and film and fiction can’t live without the world to interpret.<br />
But it doesn’t work the same way for documentaries – since the less the fiction the bet-
ter the doc. What I have ended up realizing is that the world might seem boring and<br />
dull, and the art of the documentary is not to interpret it, but to find the actual raw and<br />
exciting stories, themes and people, and show the world exiting, scary, thrilling and funny<br />
parts of the actual world we live in. I have come to realize that characters aren’t humans,<br />
but humans are definitely characters. Only through documentaries I’ve managed to be<br />
fully entertained for 1.5 hours by two total originals fighting about the world record in<br />
Donkey Kong, an activist trying to film dolphins, a semi-deluded graffiti-painter with a<br />
handy-cam or simply two poor women living in a remote Portuguese town.<br />
<strong>The</strong> normally undiscovered power of reality shines through when it’s treated with<br />
patience and the skill to be at the right place at the right time, and at the same time<br />
having the guts to spend several years infiltrating an unseen part of society, a family’s<br />
private life or simply an entire country.<br />
I have through the documentary work at EFC learned to respect the genre more than<br />
anything else in the film media, and for way more reasons than actually necessary. What<br />
I was most afraid to admit in the end is actually that making a documentary takes the<br />
exact same things and skills as a regular feature film, and a bit more than that.<br />
That is just one of the reasons that I ended up taking the course twice, and enjoying<br />
it equally both times.<br />
#19<br />
do i n g w h a t f i C t i o n C a n ’t||fi n a lCu t 20<strong>11</strong>
[ f oo t p rin t s a nd e x p e n s i v e green<br />
pa in t don’t go w e l l t oge t he r. ]<br />
#20<br />
fi n a lCu t 20<strong>11</strong>||th e b i r t h o f a g r e e n s C r e e n<br />
ThE BIrTh oF A GrEEN SCrEEN<br />
By Tuan Minh Tran, EFC <strong>2010</strong>/<strong>11</strong><br />
<strong>The</strong> story of <strong>European</strong> <strong>Film</strong> <strong>College</strong>’s brand new green screen is the story of two<br />
heroes, their craftsmanship and a lot of green paint.<br />
Last November, EFC rolled into motion as the school entered the music video<br />
production phase, in which students were assigned to make 15 music videos for artists<br />
from outside. Overall, the projects went through pretty well, in spite of some incidents<br />
that would undoubtedly become part of the EFC lore, particularly one that involves<br />
a certain diva.<br />
However, it also reveals the elephant in the room that many a director or cameraman<br />
has thought about but couldn’t figure out what to do with: EFC didn’t have a green<br />
screen. Yes, the famed and venerable <strong>European</strong> <strong>Film</strong> <strong>College</strong> didn’t have a proper<br />
green screen setup after 17 years of operation. It was about time; someone had to<br />
do something.<br />
So Peter Bruus and Jens Wulff entered the picture. A pair of smart and resourceful<br />
tinkerers who previously constructed a homemade camera crane using disco<br />
equipment, they managed to get official approval and funding from EFC after a
#21<br />
th e b i r t h o f a g r e e n s C r e e n||fi n a lCu t 20<strong>11</strong>
#22<br />
fi n a lCu t 20<strong>11</strong>||th e b i r t h o f a g r e e n s C r e e n
successful plan that involved copious amounts of alcohol, smooth talking and correct<br />
timing during the Christmas party.<br />
Now, the readers may be tempted to ask: How did EFC people cope with<br />
this problem before and what do Peter and Jens bring to the table this time?<br />
<strong>The</strong> usual EFC solution for a green screen shoot was either hanging a green<br />
piece of cloth on the wall or using pointing green-colored lights at the wall. <strong>The</strong><br />
former is a quick and dirty solution, easy to set up and use but also a headache in<br />
post-production if the cloth was not properly straightened and stretched, which<br />
is often the case. <strong>The</strong> latter gives a more consistent texture to the background for<br />
keying but requires extra high-power lights, which is a hotly contested resource<br />
during production periods.<br />
So it was left to Peter and Jens to come up with the idea of setting up a permanent<br />
green screen rig for the upcoming final round productions and of course for future<br />
EFC generations.<br />
<strong>The</strong> idea couldn’t have been more elegant: three green-painted smooth plywood walls<br />
with rounded corners, a set of overhead lights and some mountaineering cables just in case<br />
a superhero or fantasy movie need a flying sequence. Within a period of roughly two<br />
#23<br />
th e b i r t h o f a g r e e n s C r e e n||fi n a lCu t 20<strong>11</strong>
#24<br />
fi n a lCu t 20<strong>11</strong>||th e b i r t h o f a g r e e n s C r e e n<br />
months (worthy of an epic montage synchronized to Eye of the Tiger), Peter and Jens built<br />
up the plywood walls, went through 50 different types of green paint to decide on the<br />
ultimate true shade of green, rigged the lights and made a lot of test shots.<br />
<strong>The</strong> finishing touch is an alarm system, which was thought up by Peter during<br />
a serendipitous moment of seeing an 80% discount at Kvickly, designed to prevent<br />
people from stepping in the set without supervision because, well, footprints and<br />
expensive green paint don’t go well together. After nine weeks of hard work and 6,000<br />
kroner well spent, there stands the green screen in the EFC studio, huge and proud.<br />
<strong>The</strong> first movie to use it was a Norwegian-Danish coproduction named ‘<strong>The</strong> Burqa-clad<br />
Adventurer’ in which the keying/compositing process was handled by the writer of<br />
this article himself, and he admits he has nothing but praise for the well-built green<br />
screen. And so, dear fellow EFC students, that is the tale of how two men stood up to<br />
the challenge and left behind a lasting legacy for us all.<br />
Jens Wulff and Peter Bruus would also like to thank the following for helping with<br />
the green screen:<br />
ras mu s ko r n e r u p -nie l s e n, ra s mu s Jørge n s e n a n d fr e d e r i k ma n f o r d -ch r i s t i a n s e n.
#25<br />
th e b i r t h o f a g r e e n s C r e e n||fi n a lCu t 20<strong>11</strong>
#26<br />
fi n a lCu t 20<strong>11</strong>|| [ Ch r i s t m a s -C a r d <strong>2010</strong> ] - Ph o t o g r a P h e r: niC o l a i lo k
#27<br />
[ 8,5 m i n t u t e s f i l m ] - Ph o t o g r a P h e r: niC o l a i lo k||fi n a lCu t 20<strong>11</strong>
#28<br />
fi n a lCu t 20<strong>11</strong>||g u e s t te a C h e r s<br />
Janus Metz<br />
Documentarist<br />
Peter Gantzler<br />
actor - Director - writer<br />
Dagur Kari<br />
writer - Director - musician
Rasmus HeisteRbeRg<br />
screenwriter<br />
Nikolaj arcel<br />
Director - screenwriter<br />
#29<br />
gue s t te a C h e r s||fi n a lCu t 20<strong>11</strong>
#30<br />
Darin MercaDo<br />
screenwriter - Dramaturgist<br />
fi n a lCu t 20<strong>11</strong>||g u e s t te a C h e r s<br />
Clement Kjersgaard<br />
Political journalist<br />
Gustavo Constantini<br />
sounD Designer - musician
Jan Harlan<br />
stanley KubricK’s executive ProDucer - lecturer<br />
Eva Novrup rEdvall<br />
PhD in film stuDies - film critic<br />
Mads EgMont<br />
Director - ProDucer<br />
#31<br />
gue s t te a C h e r s||fi n a lCu t 20<strong>11</strong>
#32<br />
Martin de thurah<br />
fi n a lCu t 20<strong>11</strong>||g u e s t te a C h e r s<br />
music viDeo - film Director<br />
Peter HjortH<br />
visual effects artist<br />
Tom CroCker<br />
heaD of aviD eDucation DePartment
Keld Haaning ibsen<br />
Dechen RoDeR<br />
film music comPoser<br />
Documentary Director - ProDucer - scriPtwriter<br />
RichaRd Raskin<br />
associate Professor - writer<br />
#33<br />
gue s t te a C h e r s||fi n a lCu t 20<strong>11</strong>
Karin Grand<br />
writer - Director<br />
Rick Senat<br />
former heaD of warner brothers business affairs<br />
Martin Barnewitz<br />
Director<br />
#34<br />
fi n a lCu t 20<strong>11</strong>||g u e s t te a C h e r s
Charles MCDonalD<br />
founDing Partner of the film anD Pr comPany - mcDonalD & rutter<br />
Caroline SaSCha Cogez<br />
writer - Director<br />
molly stensgaard<br />
eDitor for lars von trier - film consultant<br />
#35<br />
gue s t te a C h e r s||fi n a lCu t 20<strong>11</strong>
thomas vinterberg<br />
#36<br />
fi n a lCu t 20<strong>11</strong>||g u e s t te a C h e r s<br />
Director<br />
Jan Weincke<br />
cinematograPher<br />
Thure MunkholM<br />
heaD of Programme - coPenhagen Pix
MaMoun Hassan<br />
eDitor - british film guru<br />
Annette WernblAd<br />
lecturer - owner of the comPany catharsis<br />
Lars Munk<br />
illustrator anD storyboarDing<br />
#37<br />
gue s t te a C h e r s||fi n a lCu t 20<strong>11</strong>
Christina rosendahl<br />
Lea Korsgaard<br />
#38<br />
fi n a lCu t 20<strong>11</strong>||g u e s t te a C h e r s<br />
sounD Designer<br />
Director<br />
Marie Schultz<br />
animation Director
Charlotte Bruus<br />
cinematograPher<br />
Stefan Mørk<br />
sounD Designer anD musician<br />
#39<br />
gue s t te a C h e r s||fi n a lCu t 20<strong>11</strong>
#40<br />
fi n a lCu t 20<strong>11</strong>||neo r e a l i s m – ta k e t h e f i l m i n t o t h e s t r e e t s<br />
NEorEALISm<br />
– TAkE ThE FILm INTo ThE STrEETS<br />
Infamous for his breakdowns on film classics like <strong>The</strong> Battle of Algiers, <strong>The</strong><br />
Conversation and <strong>The</strong> Bicycle Thief. An acclaimed teacher and former head of<br />
postproduction at <strong>The</strong> National <strong>Film</strong> and Television School in England and <strong>The</strong><br />
International <strong>Film</strong> School in Cuba, as well as former head of production at <strong>The</strong><br />
British <strong>Film</strong> Institute. mamoun hassan is a top name in the international film<br />
world, and during his stay at EFC he analyzed masterpieces - and student films.<br />
We met him for a talk about Italian neorealism and why young filmmakers shouldn’t<br />
ignore it.<br />
What are the principles for neorealism?<br />
<strong>The</strong>y’re a sliding scale of the essentials of neorealism, one of them being: the film takes<br />
you into the streets and into the locations of ordinary people.<br />
Neorealistic films are about a class that is normally never focused on in normal<br />
fiction. A film that had all the elements of neorealism, which is “Toni” made in 1936<br />
by Jean Renoir, was a film about migrant workers who were Italian and who went<br />
to France, grape picking and so on… Most of the people in the film were actually<br />
migrant workers. <strong>The</strong> story was set amongst them, the dramas was the kind of dramas<br />
that arise out of the ordinary life of the people who where in that place and of that time.
So the use of non-actors is another principle?<br />
Yes, it’s very essential that it’s mostly non-actors. Because what the people, who promulgated the<br />
ideas of neorealism, said is that the studio bound films and the fiction films at the time tended to<br />
focus on people who looked a certain way, spoke a certain way, which was artificial. So that we<br />
never got the pulse of real life, the rhythm of normal speech – the attitudes, the gestures, the way<br />
that ordinary people behaved. That was kind of excluded – it was a world that was removed from<br />
the real world.<br />
But the essentials of neorealism is not that you have a small story, quite the contrary<br />
– you have a big story. In “Bicycle Thieves” it sort of spreads from the small story of a man,<br />
who’s been out of work for a long time and who’s bicycle is the mean of his livelihood – to the<br />
story of that whole society, to Rome at that point, just before 1948 when it was recovering from<br />
the devastation of war.<br />
It’s about society. <strong>The</strong> thing about neorealism is that it’s always about the one in the many. <strong>The</strong>y<br />
focus on the one, but in order to tell you something about the many. So they’re all epic.<br />
Did neorealism ever spread to other parts of the world?<br />
<strong>The</strong>re was an attempt in America to import it, but it never quite worked. <strong>The</strong> American model<br />
never really quite worked, all though there are films that we would talk about as neorealistic.<br />
#41<br />
neo r e a l i s m – ta k e t h e f i l m i n t o t h e s t r e e t s||fi n a lCu t 20<strong>11</strong>
[ to see ne ore a l i s m a s a t o ta l<br />
a n s w e r is limiting. to see it a s<br />
a c oun t e r to w h a t t he indu s t r y<br />
p rop o s e s a nd prefers to s ho w is<br />
v er y ne c e s s a r y. ]<br />
#42<br />
fi n a lCu t 20<strong>11</strong>||neo r e a l i s m – ta k e t h e f i l m i n t o t h e s t r e e t s<br />
But it did work in the rest of Europe – later. It’s as if the seeds drifted on the winds to<br />
Britain where we had Free Cinema, which in many ways echoed the aims of neorealism.<br />
Ken Loach is a neorealist through and through. He looks at the working class life, of the<br />
disadvantaged, the poor and the oppressed, and he insists on doing that, simply because<br />
no one else is doing it. He thinks the society militates against the lives of ordinary people<br />
– that the society is quite destructive towards the lives of ordinary people.<br />
What is the difference between neorealism and social realism?<br />
<strong>The</strong> thing about neorealism is that at no point, unlike social realism – social realism<br />
always at some point, directly or indirectly seem to suggest a solution. You know, if<br />
we become socialists, if we do this or we do that, or if we have a better society or a<br />
less corrupt leadership…problems will be solved. At no point does neorealism do that.<br />
Obviously it becomes clear to the viewers that society could be better – but it’s only<br />
shown in a very general way. It doesn’t go into details in the way that social realism does,<br />
it doesn’t show a solution.<br />
How can the EFC students – these young filmmakers – take advantage a discipline<br />
like neorealism?<br />
I think there’s always a journey, a travel between the streets and the studio. <strong>The</strong> reality<br />
is not only to be found in the lives of the working people. But there is a kind of
eality, which is to be found in the lives of ordinary people, and which is excluded from<br />
ordinary drama. And every once in a while you have to have a neorealistic movement<br />
to bring that in, because for many reasons most writers, distributors and investors<br />
don’t want to tell about the working people’s lives, because you don’t leave<br />
the cinema feeling happy – because, you know…life is hard. We like<br />
to avoid those kinds of stories, we want to talk about dramas,<br />
falling in and out of love and jealousy…which is not to be excluded<br />
either. But it has excluded, by the very nature of the way the business<br />
works, the stories about very ordinary people, because it’s the thought<br />
that ordinary peoples lives are boring.<br />
To see neorealism as a total answer is limiting. To see it as a counter<br />
to what the industry proposes and prefers to show is very necessary.<br />
It’s very necessary to go back into the streets and into the lives of<br />
ordinary people.<br />
#43<br />
neo r e a l i s m – ta k e t h e f i l m i n t o t h e s t r e e t s||fi n a lCu t 20<strong>11</strong>
#44<br />
fi n a lCu t 20<strong>11</strong>||li f e a s a n a C t o r a t eur o P e a n fi l m Col l e g e<br />
LIFE AS AN ACTor<br />
AT EuroPEAN FILm CoLLEGE<br />
By Micki Stoltt Nielsen, EFC <strong>2010</strong>/<strong>11</strong><br />
To act. It can’t be that hard, just act out some emotions and you will do<br />
just fine in a movie.<br />
That was what I said to myself before joining the EFC. But before I knew<br />
it, there were methods, techniques and exercises, developed by many<br />
different people I had never heard of before. Stanislavski and<br />
Meisner suddenly became daily topics in class as well as the<br />
camera. <strong>The</strong> camera was the group’s first real challenge – to<br />
be able to perform in front of it, just as well as without it.<br />
And at first it really was a challenge for most of us, but<br />
eventually the camera became a friend that also helped<br />
you, and you started to enjoy watching yourself on the<br />
screen. But again it created a challenge – a psychological<br />
challenge; to be evaluated by your classmates and your
teacher. Soon you found out that praise raises your self-esteem, and criticism makes you<br />
try harder to achieve your goal.<br />
A combination of fun and work was what you could expect when you went to class.<br />
Suddenly a hobby became much more serious, when you became aware of what you<br />
needed to do to make a performance as truthful as possible. You became aware of your<br />
body language. You became aware of how much you really needed to be aware. And<br />
suddenly you realized that your thoughts, emotions and objectives needed to be your<br />
character’s, if you wanted to bring the story alive.<br />
<strong>The</strong> best thing about the EFC is that it gives you a chance to get as close as possible to<br />
a real film environment. Before you get to know everyone at the EFC, you get thrown<br />
into exercises that contain a complete crew. Directors, cameramen, PMs, sound guys<br />
and co-actors. You discover that for each film crew you become a part of, you create a<br />
special relationship with the people in that crew. And you will never again have the same<br />
prejudices and thoughts that you had about a film person.<br />
Many people want to experience a lot in their life. My advice to those people would<br />
be to act.<br />
#45<br />
li f e a s a n a C t o r a t eur o P e a n fi l m Col l e g e||fi n a lCu t 20<strong>11</strong>
#46<br />
fi n a lCu t 20<strong>11</strong>||li f e a s a n a C t o r a t eur o P e a n fi l m Col l e g e<br />
[ i hAve been stAnding in situAtions i wouldn’t hAve dreAmed of,<br />
if it wAsn’t for my fellow students´ ideAs ]<br />
I have been standing only wearing a shirt in a blizzard.<br />
I smoked for the first time.<br />
I have been covered in theater blood. I have been standing on<br />
top of a cross with a noose around my neck. Besides that I have<br />
been a psychopath, a gambler, a prisoner, a rock dude, the cool<br />
guy, the fun guy and I’m not even done at the school yet.<br />
It was hell to wait outside in the cold, freezing. But none<br />
of the things I have done, or the hours I have spent,<br />
I regret. Because the feeling you get afterwards,<br />
is better than after any workout you could<br />
imagine. And I can truly sense that acting has<br />
become a need and a habit in my life, and<br />
I don’t think that I will ever be able to<br />
stop doing it.
#47<br />
[ tv-P r o d u C t i o n ] - Ph o t o g r a P h e r: niC o l a i lo k ||fi n a lCu t 20<strong>11</strong>
#49<br />
[ ta l e s o f t h e we s t ] - Ph o t o g r a P h e r: Pe ta r ra t k o v iC||f i n a lCu t 20<strong>11</strong>
TALES oF ThE WEST<br />
#50<br />
fi n a lCu t 20<strong>11</strong>||s t o r y b o a r d - ’ta l e s o f t h e we s t ’
#51<br />
sto r y b o a r d - ’ta l e s o f t h e we s t ’ ||fi n a lCu t 20<strong>11</strong>
#52<br />
fi n a lCu t 20<strong>11</strong>||s t o r y b o a r d - ’ta l e s o f t h e we s t ’
#53<br />
sto r y b o a r d - ’ta l e s o f t h e we s t ’ ||fi n a lCu t 20<strong>11</strong>
#54<br />
fi n a lCu t 20<strong>11</strong>||s t o r y b o a r d - ’ta l e s o f t h e we s t ’
#55<br />
sto r y b o a r d - ’ta l e s o f t h e we s t ’ ||fi n a lCu t 20<strong>11</strong>
#56<br />
fi n a lCu t 20<strong>11</strong>||s t o r y b o a r d - ’ta l e s o f t h e we s t ’
#57<br />
sto r y b o a r d - ’ta l e s o f t h e we s t ’ ||fi n a lCu t 20<strong>11</strong>
#58<br />
fi n a lCu t 20<strong>11</strong>||s t o r y b o a r d - ’ta l e s o f t h e we s t ’
#59<br />
sto r y b o a r d - ’ta l e s o f t h e we s t ’ ||fi n a lCu t 20<strong>11</strong>
#61<br />
sto r y b o a r d - ’ta l e s o f t h e we s t ’ ||fi n a lCu t 20<strong>11</strong>
[ i didn’t imagine<br />
t h at e di t ing w a s<br />
s uc h f un w ork! ]<br />
#62<br />
fi n a lCu t 20<strong>11</strong>||a Ja P a n e s e f i l m a P P r e n t i C e in eur o P e<br />
A JAPANESE FILm APPrENTICE<br />
IN EuroPE<br />
From osaka in Japan to <strong>European</strong> <strong>Film</strong> <strong>College</strong> in Ebeltoft, Denmark. Japanese<br />
EFC student Shiori hashimoto talks about culture clashes, language barriers and<br />
her surprising limited knowledge of Japanese film.<br />
What was the most difficult challenge of being Japanese at <strong>European</strong> <strong>Film</strong> <strong>College</strong>?<br />
It may sound weird, but I’m not very familiar with Japanese film, especially not the<br />
classics, horror or animation films. So it was hard every time someone who had just<br />
watched Japanese film wanted to talk to me about it, and I hadn’t watched the film!<br />
It was a shame that I didn’t watch more famous Japanese films.<br />
How did you manage the language barrier at first? Was it hard?<br />
At first, after introducing myself and just chatting with people, I said to myself: ”It’s<br />
easier than I thought!” But during my first course, the Directing course, it was very<br />
difficult for me to keep up with the class. <strong>The</strong> only thing I could do was to use filmlanguage<br />
instead, I guess. In that point, it was a good opportunity to get such an<br />
experience, which is helpful even now.
Can you describe one or two episodes, where the cultural differences between you and your fellow<br />
students became really obvious?<br />
One is when I was working on the music video project. Our crew was making a kind of<br />
stop-motion animation with clay, and the background was collage of pictures and drawings.<br />
<strong>The</strong> story was about an escape of Black Heart to some other universe. When we were building a<br />
story, I suggested the Heart would feel loneliness when he wandered through ”a big, lonely and<br />
depressing city”. <strong>The</strong>y agreed with me and started searching pictures from the Internet. After<br />
the pictures were printed, I realized it was really different from the image in my head! My image<br />
was like London in old days with dirty pubs and homeless people and dogs on the dark street.<br />
<strong>The</strong>ir image was a modern city in 21st century, full of electricity, just like Tokyo! I said ”it’s not<br />
lonely, it looks interesting!” and they said ”no, it is a lonely city”. I understood how different<br />
backgrounds we had.<br />
#63<br />
a Ja P a n e s e f i l m a P P r e n t i C e in eur o P e||fi n a lCu t 20<strong>11</strong>
#64<br />
fi n a lCu t 20<strong>11</strong>||a Ja P a n e s e f i l m a P P r e n t i C e in eur o P e<br />
Another is when I was making a ”breakdown sheet” with two more students in PM<br />
class. We were discussing about what we needed as props, according to the script. It was<br />
a story in a high school and many students appeared, so I said ”we need many school<br />
uniforms, don’t we?” I didn’t know that in Denmark they don’t wear uniforms at school!<br />
I think this is a very Japanese way of thinking. If you see Japanese Manga (comics and<br />
animations), many of the stories are in high school and they wear uniforms, like Sailor<br />
Moon. It’s a very common thing.<br />
What do you think is a major difference between Japanese and western film?<br />
Actually I don’t know. . .but I feel that Japanese films tend to have more<br />
happy-endings, compared to <strong>European</strong> films.<br />
In what way have you changed as a filmmaker during your stay at the EFC? What have you<br />
learned?<br />
I didn’t imagine that editing was such a fun work! And I learned that if you really<br />
want to put your own strong and firm image into film and make it a masterpiece,<br />
you have thousands of things that you can’t miss, and it may be too much stress on<br />
you. But if you want it to be interesting and exciting work, you can enjoy filmmaking<br />
with relying on crew possibilities and ”chemical reaction”. And for some reason,<br />
most masterpieces were made through such a process. This is what I got through EFC.
#65<br />
[ Pol i C e st a t i o n ] - Ph o t o g r a P h e r: mar t i n bo d i l s e n||f i n a lCu t 20<strong>11</strong>
#66<br />
fi n a lCu t 20<strong>11</strong>|| [ mus i C v i d e o ]-Ph o t o g r a P h e r: niC o l a i lo k
#67<br />
[ fr o m a f i l m s e t ] - Ph o t o g r a P h e r: Jen swu l f f ||fi n a l-<br />
Cu t 20<strong>11</strong>
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150<br />
Ebeltoft<br />
www.hos-walter.dk
158<br />
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#79<br />
Ph o t o g r a P h e r: Jen s wu l f f||fi n a lCu t 20<strong>11</strong>
#80<br />
fi n a lCu t 20<strong>11</strong>|| [ an d r e a s /s o u n d ]-Ph o t o g r a P h e r: niC o l a i lo k
#81<br />
Ph o t o g r a P h e r: niC o l a i lo k||fi n a lCu t 20<strong>11</strong>
#82<br />
Th e b o a r d<br />
cha irm a n of t he bo a rd<br />
bo a rd m e m b e r<br />
bo a rd m e m b e r<br />
bo a rd m e m b e r<br />
fi n a lCu t 20<strong>11</strong>||b o a r d<br />
Bo Ehrhardt<br />
Co-founder and Head of Production at Nimbus <strong>Film</strong><br />
My advice to the students:<br />
<strong>The</strong>re’s always something, you’re good at - you just have to<br />
figure out what it is (from the danish film ”Gummi Tarzan”)<br />
tuE BysKov BøtKJær<br />
Vice-President, HR & Communications<br />
at FOSS Analytical A/S<br />
My advice to the students:<br />
Live life, enjoy it, and remember to always create results<br />
that you will be pleased with, also in the long run<br />
JEns PEtEr rumlE hammErich<br />
<strong>Film</strong> director, writer and producer<br />
My advice to the students:<br />
You are the stories of the future.<br />
tina sørEnsEn<br />
Head of the Training Department at<br />
the National <strong>Film</strong> School of Denmark<br />
My advice to the students:<br />
Frank Capra once gave following advice to young filmmakers:<br />
Don’t follow trends, start them!<br />
bo a rd m e m b e r<br />
bo a rd m e m b e r<br />
bo a rd m e m b e r<br />
alternate bo a rd m e m b e r<br />
svEnd aBrahamsEn<br />
Educational manager at the National <strong>Film</strong><br />
School of Denmark<br />
JohannEs FlEnstEd-JEnsEn<br />
Former vice-president at Central Denmark Region and<br />
vice chairman of the board at Aarhus <strong>The</strong>atre<br />
My advice to the students:<br />
If you feel for it - go for it!<br />
Klavs K von lowzow<br />
Barrister at law and senior partner in his own law firm<br />
My advice to the students:<br />
Keep on playing - in the creative universe.<br />
ronniE FridthJoF<br />
Founder and owner of Fridthjof <strong>Film</strong><br />
My advice to the students:<br />
Show it, don’t tell! And that’s not only in storytelling,<br />
but in your career as well.
#83<br />
[ ka m i l ] - Ph o t o g r a P h e r: niC o l a i lo k||fi n a lCu t 20<strong>11</strong>
#84<br />
Me t t e Da M g a a r D -SørenSen<br />
Principal<br />
[Den m a r k]<br />
Stay curious and courageous<br />
St een Bo n D r o p<br />
Teacher, sound<br />
[Den m a r k]<br />
Keep learning, burning and yearning. Keep<br />
being humble, friendly and easy to talk to<br />
fi n a lCu t 20<strong>11</strong>||te a C h e r s<br />
JiM Fe r n a l D<br />
Teacher, script writing<br />
[Usa]<br />
Get to the zone. Write on!<br />
Th e Te a c h e r s<br />
eva MaD S e n<br />
Teacher, PM and TV production<br />
[Den m a r k]<br />
<strong>The</strong> best way to predict the future is to invent<br />
it – be brave out there…<br />
to M vi l h e lM JenSen<br />
Teacher, directing fiction<br />
[Den m a r k]<br />
Talent without craft is like fuel without engine.<br />
It burns widely but accomplishes nothing.<br />
al l a n Ka r t i n<br />
Teacher, editing<br />
[Den m a r k]<br />
Whatever role you like to play in the film<br />
industry, it all comes together in editing.
So p h i e ha r p e r<br />
Teacher, directing documentary<br />
pe t r u Mai e r<br />
Teacher, cinematography<br />
Mi c h a e l Mo r g a n<br />
Teacher, acting<br />
[aU s t r a lia]<br />
Very often, footage that you have shot develops its own dynamic, it’s own<br />
life (…) there is a child growing and developing and moving in a direction that<br />
isn’t expected. Accept it as it is and let it develop its own life (Herzog)<br />
Be good parents (Harper)<br />
[Den m a r k/rU m a ni a]<br />
As you rumble on through life brother, whatever<br />
be your goal, keep your eyes upon the<br />
doughnut, not upon the hole...<br />
[Uk]<br />
You brought the talents and we gave you the<br />
techniques. You have a responsibility to use both –<br />
whatever you end up doing in life, work or play.<br />
#85<br />
te a C h e r s||fi n a lCu t 20<strong>11</strong>
#86<br />
Je t t e chriS t enSen<br />
Kitchen manager<br />
Mi c h a e l en g ly S t<br />
IT supervisor<br />
Ja n Fo l D a g e r<br />
Chef<br />
leiF Fr i tS D a l<br />
Course administrator<br />
[Den m a r k] [Den m a r k]<br />
<strong>The</strong>re has to be enough for everyone Kill your darlings<br />
[Den m a r k]<br />
Why computers can do more work than people:<br />
they never have to stop and answer the phone<br />
fi n a lCu t 20<strong>11</strong>||s ta f f<br />
[Den m a r k]<br />
I haven’t hidden any mugs<br />
Th e s Ta f f<br />
Su S a n n e gJ ø S K e pe t e r S e n<br />
Book keeper<br />
[Den m a r k]<br />
Thank you for the creative energy that you<br />
bring to the school<br />
liS e Ko c h go M M e S e n<br />
Projectionist<br />
[Den m a r k]<br />
Oh my god! <strong>The</strong>y’re done shooting on time!
ca t h r i n e ha M M o n D<br />
<strong>College</strong> Assistant<br />
ole in g i lD S e n<br />
Caretaker<br />
riK K e SJ ø g r e n iv e r S e n<br />
Chef<br />
Ja n JenSen<br />
Caretaker<br />
[Den m a r k]<br />
You started out breaking the rules, at least now<br />
[Den m a r k]<br />
you’re breaking them with style No problem, try again<br />
[Den m a r k]<br />
No problem, try again<br />
[Den m a r k]<br />
Place it there<br />
el S B e t h pe t e r S e n<br />
Office assistant<br />
[Den m a r k]<br />
lo u iS e Ma t h i lD e Jo h n S e n<br />
<strong>College</strong> assistant<br />
[Den m a r k]<br />
Lie and deny…especially to students<br />
#87<br />
sta f f||fi n a lCu t 20<strong>11</strong>
#88<br />
fi n a lCu t 20<strong>11</strong>||s ta f f<br />
iB aa M a n n Kv iS t<br />
<strong>College</strong> administrator<br />
[Den m a r k]<br />
What can I do for you?<br />
Se v e r i n Me S S e n B r i nK<br />
<strong>College</strong> assistant<br />
[Ger m a n y]<br />
<strong>The</strong>re ain’t such a thing we<br />
couldn’t figure out!<br />
ra y M u n D Mø l l e r<br />
Chef<br />
[Den m a r k]<br />
No, that’s NOT the smell of cake<br />
Th e s Ta f f<br />
Su S a n n e Br a n D t no n B o<br />
Student manager<br />
[Den m a r k]<br />
I see you all as a part of my big,<br />
extended family<br />
an n e no r D e n h o F<br />
PR & Communication<br />
[Den m a r k]<br />
I’m sorry for always nagging you for articles,<br />
photos and evaluations<br />
Je S p e r Za r t pa p i l i o<br />
Chef<br />
[Den m a r k]<br />
Breakfast ended an hour ago
lo n e pa u l S e n<br />
Matron<br />
Take a look in our room and see if there is<br />
something you can use for your film<br />
[Den m a r k] [Den m a r k]<br />
Da n i e l ro S e n<br />
<strong>College</strong> Assistant<br />
[C a n a D a]<br />
Keep making mistakes.<br />
<strong>The</strong>y’re fun and you learn from ’em<br />
co n n i e St een<br />
Matron<br />
[Den m a r k]<br />
Tidy up your room and clean your bathroom<br />
– we’ll be back.<br />
ale x Kr o g h SørenSen<br />
Technician<br />
I’m very nice and friendly, as long as you<br />
return the equipment on time.<br />
#89<br />
sta f f||fi n a lCu t 20<strong>11</strong>
||William|Bryan|allaire||<br />
|France||<br />
||[amBiTion|is|<strong>The</strong>|paTh||<br />
|To|success,|persisTence||<br />
||is|<strong>The</strong>|vehicle||<br />
||you|arrive|in]|||<br />
efc<strong>2010</strong>/<strong>11</strong><br />
||Tyler|armsTrong||<br />
|usa||<br />
||[and|<strong>The</strong>|TurTles|oF|course,||<br />
|||all|<strong>The</strong>|TurTles|are|Free,|<br />
|||as|TurTles|and|mayBe||||<br />
|||all|american|should|Be]||<br />
||||(dr.|seuss)||||<br />
||annie||Kilde||BajWa||<br />
|denmarK||<br />
||[This|is|<strong>The</strong>|WorsT||<br />
|||||Food|day|ever]||
|||signe|cecilie|Balslev|<br />
jørgensen|FasTing<br />
|denmarK||<br />
|||[Fusion]|||||||<br />
||chrisTian|<br />
BengTson|nielsen||<br />
|denmarK||<br />
||[Today|is|<strong>The</strong>|FirsT|day||<br />
|||oF|<strong>The</strong>|resT|oF|my|liFe]||<br />
efc<strong>2010</strong>/<strong>11</strong><br />
||vicTor|alexander||<br />
||||Berg||||||<br />
|denmarK||<br />
||[i|alWays|Tell|<strong>The</strong>|TruTh.<br />
|||even|When|i|lie]|||<br />
#91<br />
st u d e n t s o f <strong>2010</strong>/<strong>11</strong>||fi n a lCu t 20<strong>11</strong>
||soFie|<strong>The</strong>rese|<br />
|aKse|Bjørneng||<br />
||||norWay||||<br />
||[i|used|To|ThinK|as|i|looKed||<br />
||<strong>The</strong>re|musT|Be|Thousands|oF|||<br />
||dreaming|oF|Becoming|a|<br />
||movie|sTar.|BuT|i’m|noT|going||<br />
|||To|Worry|aBouT|<strong>The</strong>m.|<br />
|i’m|dreaming|<strong>The</strong>|hardesT]|||<br />
#92<br />
|aT|<strong>The</strong>|hollyWood|nighT:|||<br />
||girls|siTTing|alone|liKe|me,||<br />
fi n a lCu t 20<strong>11</strong>||s t u d e n t s o f <strong>2010</strong>/<strong>11</strong><br />
efc<strong>2010</strong>/<strong>11</strong><br />
||emil|BlichFeldT<br />
|sørensen||<br />
||[i|jusT|had|a|dream||<br />
|aBouT|shooTing|a|||<br />
|denmarK||<br />
|dWarF|in|<strong>The</strong>|Face|WiTh||<br />
||a|Tranquilizer|gun]||<br />
||diTTe|andersen|<br />
|||||Bohr||<br />
||[Buuurp!|ThaT|Was|me!|<br />
|||||..|sorry|Frida]|||<br />
|denmarK||
||alexander|BoecKx|<br />
||Belgium||<br />
|||[omega-drei]|||<br />
||[gi’|mig|nu|Bare||<br />
||marTin|jarssKov|<br />
|||Bodilsen|||<br />
|denmarK||<br />
|||eT|regnearK”|||<br />
|(jusT|give|me|<br />
an|excelsheeT)]||<br />
efc<strong>2010</strong>/<strong>11</strong><br />
||marcus|lindgaard|<br />
|||||BreiTensTein||||<br />
||[<strong>The</strong>re|can|Be|no||<br />
||siTuaTion|in|liFe|in||<br />
||Which|<strong>The</strong>|conversaTion|<br />
||oF|my|dear|sisTer|Will||<br />
|noT|adminisTer|some||<br />
||iTaly/denmarK||<br />
||||comForT|To|me]|||||
|||[liFe|is|TWo-riFFic||<br />
||WiTh|TWins]|||||<br />
||iTaly/denmarK||<br />
||maria|lindgaard||<br />
|||BreiTensTein||<br />
#94<br />
fi n a lCu t 20<strong>11</strong>||s t u d e n t s o f <strong>2010</strong>/<strong>11</strong><br />
|||marie|louise|||<br />
|rouTh|hersKind|||<br />
||[i’m|your|p.m.,||<br />
|denmarK||<br />
||i’m|Tellin’|ya’,|||<br />
||eaT|soup]||<br />
||peTer|Bruus||<br />
||[hey|guys,|i|BuilT|<br />
|denmarK||<br />
||a|green|screen]|||<br />
|
|Kasper|vegeBerg||<br />
|||chrisTiansen||<br />
|denmarK||<br />
||[my|quoTe|is|<strong>The</strong>|same||<br />
||as|soFie’s]||<br />
||[no|money,|<br />
|||no|help.|||<br />
||i’m|noT|god!]||<br />
||porTugal||<br />
||joao|casTro|e|melo|<br />
||saraiva|caldeira||<br />
||morTen|Win<strong>The</strong>r|<br />
chrisTensen||<br />
|denmarK||<br />
||[øøh,|<strong>The</strong>re’s|no||sound]||
||nis|Fredslund||<br />
|||chrisTiansen||<br />
|denmarK||<br />
||[Fuglsang|Beer|rocKs!]||<br />
efc<strong>2010</strong>/<strong>11</strong><br />
|||johanne|marie||<br />
||danielsen|hansen|<br />
|denmarK||<br />
||[i|jusT|can’T|TaKe|<strong>The</strong>||<br />
|responsiBiliTy!”|reply:||<br />
|||responsiBiliTy?|<br />
||”<strong>The</strong>|hypo<strong>The</strong>Tical||<br />
||||responsiBiliTy!”]|||<br />
||dmiTri|vladimirovich||<br />
||douBrovsKi||<br />
|denmarK||<br />
||BuT|you|didn’T|have|any||| ||[mayBe|you||<br />
||should|direcT|<br />
||||||This?]|||
||james|anders|duncan||<br />
|denmarK||<br />
||[hoW|can|my|liTTle|hearT||<br />
|conTain|all|ThaT|pain||<br />
|–|your|eyes|are|even||<br />
||smaller|and|yeT|<strong>The</strong>y|<br />
||can|see|<strong>The</strong>|Whole|World]|||<br />
||BrigiT|dyhr|olesen||<br />
||[Bun|||||||||||]||<br />
aparTe|<br />
|denmarK||<br />
||||jaKoB|ehlers||||<br />
|denmarK||<br />
||[never|douBT|ThaT|a<br />
|small|group|oF||<br />
||ThoughTFul|commiTTed||<br />
||ciTizens|can|change||<br />
|<strong>The</strong>|World,|indeed|iT’s||<br />
|||<strong>The</strong>|only|Thing|<br />
|||||||ThaT|ever|has]||<br />
#97<br />
st u d e n t s o f <strong>2010</strong>/<strong>11</strong>||fi n a lCu t 20<strong>11</strong>
||oliver|eid|||<br />
|usa||<br />
||[everyThing|is|BeTTer||<br />
#98<br />
||in|america]||<br />
fi n a lCu t 20<strong>11</strong>||s t u d e n t s o f <strong>2010</strong>/<strong>11</strong><br />
||sarah|daisy||<br />
||ellersdorFer|||<br />
||[i|emBraced|my|||<br />
|germany||<br />
||inner|darKness]||<br />
|norWay||<br />
||KrisToFFer|endresen||<br />
||[no|one|rememBers||||<br />
||WhaT|i|say,|everyone||<br />
|||rememBers|WhaT|i|do?]||
||morTen|FlyTKjær||<br />
|nesse||<br />
||[damn|Those||<br />
||TalKing|chipmunKs!|||<br />
|damn|’em|To|hell]||<br />
|norWay||<br />
efc<strong>2010</strong>/<strong>11</strong><br />
||Kamil|dossar|FranKo||<br />
|denmarK||<br />
||[looK|aT|<strong>The</strong>|sKiiieess|man!]||<br />
||amnon|Friedman||<br />
||[all|This|poliTeness|||<br />
||is|Killing|me!]||<br />
|germany||<br />
#99<br />
st u d e n t s o f <strong>2010</strong>/<strong>11</strong>||fi n a lCu t 20<strong>11</strong>
|denmarK||<br />
||nicKlas|Frisch||<br />
||[omg…<br />
|||incepTion…|<br />
||Bam|Bam!]||<br />
efc<strong>2010</strong>/<strong>11</strong><br />
|||greece||||<br />
||arisTeides|georgiou||<br />
||[viTamin|c...|huh?|<br />
|||||hello,|hello,||<br />
||i’m|a|greeK|lover|||<br />
|and|i|love|you|so]||<br />
||Kora|helene|||<br />
|germany||<br />
||gerdes|chrisTensen|<br />
||[i’m|Boooooorrrrreeeed!...]||
||liselli|grunWal||<br />
||[jacKass!]||<br />
|||France|||<br />
||[oh!|i’m|so|happy]|||<br />
|[morning!]||<br />
||miKKel|BirKholm||<br />
|grønnemose||<br />
|denmarK||<br />
||[does|anyBody|WanT|<br />
||maThias|navneeT|gørup||<br />
|denmarK||<br />
||[horses|give|us||<br />
|||some|apple?]|| ||<strong>The</strong>|Wings|ThaT|We|lacK]||<br />
#101<br />
st u d e n t s o f <strong>2010</strong>/<strong>11</strong>||fi n a lCu t 20<strong>11</strong>
||jeppe|hansen||<br />
|denmarK||<br />
||[ronja,|are|you|sure||<br />
||you|should|have||<br />
||ano<strong>The</strong>r|piece|oF|caKe?]||<br />
#102<br />
fi n a lCu t 20<strong>11</strong>||s t u d e n t s o f <strong>2010</strong>/<strong>11</strong><br />
|denmarK||<br />
||rasmus|hejse|hansen||<br />
||[champ!]||||<br />
efc<strong>2010</strong>/<strong>11</strong><br />
|||||japan||||<br />
||shiori|hashimoTo||<br />
||[liKe|sand|Through|<br />
<strong>The</strong>||hour|glass,|<br />
so|are|<strong>The</strong>|days|oF|||<br />
||our|lives]||
||moriTz|hauThaler||<br />
||[my|counTry|looKs|<br />
||liKe||a|chicKen]||<br />
|||ausTria||<br />
||[mao]||<br />
|denmarK|| |denmarK||<br />
||pelle|hegelund||||joseFine|gervang|||<br />
||[iF|an|idea|is|<br />
||really|good,||<br />
||iT’s|on|<strong>The</strong>|verge|||<br />
|||||oF|Being|sTupid]||<br />
||heimBurger||<br />
||[he|ThaT|has|piTy|on||<br />
||<strong>The</strong>|poor,|lends|<br />
||To|<strong>The</strong>|lord]|||<br />
#103<br />
st u d e n t s o f <strong>2010</strong>/<strong>11</strong>||fi n a lCu t 20<strong>11</strong>
||Frida|sveen|hempel||<br />
||[...i|liKe|Women|||<br />
||BeTTer|When|<strong>The</strong>y||<br />
||are|oBjecTs...]||<br />
#104<br />
fi n a lCu t 20<strong>11</strong>||s t u d e n t s o f <strong>2010</strong>/<strong>11</strong><br />
|norWay||<br />
|denmarK||<br />
||charloTTe|naThalie|<br />
||BrodThagen||<br />
||[ThaT’s|so|aWKWard!]||<br />
||[don’T|judge|me||<br />
||BeFore|you|KnoW|me]||<br />
|norWay||<br />
||lasse|holdhus||
||[schiess|dem|FensTer]||<br />
||[mach|los]||<br />
||johanna|hueBner||<br />
efc<strong>2010</strong>/<strong>11</strong><br />
|germany||<br />
||[<strong>The</strong>y|call|him|Boss|...||<br />
||Boss|nigger!|]||<br />
|(Fred|Williamson|in||<br />
||”Boss|nigger”|(1975)||<br />
|denmarK||<br />
||FrederiK|louis|hviid||<br />
||[i|drinK,|<strong>The</strong>reFore|i|am]||<br />
|denmarK||<br />
||Benjamin|høgh||<br />
#105<br />
st u d e n t s o f <strong>2010</strong>/<strong>11</strong>||fi n a lCu t 20<strong>11</strong>
|denmarK||<br />
||anders|ingemann||<br />
||[my|liFe|is|a|siTcom]||<br />
efc<strong>2010</strong>/<strong>11</strong><br />
|denmarK||<br />
||mie|iversen||<br />
||[johanna,|||<br />
||you|Wanna||||<br />
||play|BacKgammon?]||<br />
||seBasTian|iversen|søgård|||<br />
||[inspiraTion|may|Be|a|Form||<br />
||BuT|i|am|sure|iT||<br />
||is|<strong>The</strong>|anTi-<strong>The</strong>sis|<br />
|norWay||<br />
||oF|super|consciousness|or||<br />
|perhaps|oF|suB-consciousness|<br />
|||ThoughT|-|i|Wouldn’T|KnoW.||<br />
|oF|selF-|consciousness]|||
|denmarK||<br />
||hasse|Bill|jensen||<br />
||[When|<strong>The</strong>|World||<br />
|says|”give|up”,|hope||<br />
|Whispers|”Try|again|<br />
|||one|more|Time”]||<br />
|denmarK||<br />
||ToBias|juhl|nielsen||<br />
||[i|hope|ThaT|When|i||<br />
||leave|This|room,||<br />
||people|Will|asK:|||<br />
||WhaT|did|he|say?]||<br />
|denmarK||<br />
||rasmus|jørgensen||<br />
||[i|KnoW|ThaT|human||<br />
||Beings|and|Fish||<br />
|can|co-exisT||<br />
|||peaceFully]||<br />
#107<br />
st u d e n t s o f <strong>2010</strong>/<strong>11</strong>||fi n a lCu t 20<strong>11</strong>
||david|Kaiser||<br />
||[you|can|Tell||<br />
|denmarK||<br />
||By|my|Tears,|i|Will||<br />
||rememBer|iT|all]|||<br />
#108<br />
fi n a lCu t 20<strong>11</strong>||s t u d e n t s o f <strong>2010</strong>/<strong>11</strong><br />
||rasmus||||<br />
||Kornerup-nielsen||<br />
|denmarK||<br />
||[david!||||<br />
||geT|ouT||<br />
||oF|my|Frame!]||<br />
||anders|havmøller|<br />
|denmarK||<br />
||[holy|jesus||||<br />
|||laursen|||<br />
|jumping|shiTBalls,||<br />
|WhaT|<strong>The</strong>|FucK|is|up|<br />
|WiTh|<strong>The</strong>se|people!?]||<br />
||[
|denmarK||<br />
||naTascha|ramloW||<br />
iF|We|do|iT,||<br />
|lerche-jensen|||<br />
|We|do|iT|all|<strong>The</strong>|Way]||<br />
||[Why|WalK|When|||<br />
||||you|can|run]|||<br />
efc<strong>2010</strong>/<strong>11</strong><br />
|denmarK||<br />
|||marie|limKilde|||<br />
||[i|liKe|TurTles!!]||<br />
|denmarK||<br />
|||andreas||<br />
||lindinger|saxild||<br />
||[liFe|is|Full|oF|BeauTy,|<br />
||noTice|iT,|<br />
||noTice|<strong>The</strong>|BumBle|Bee,|<br />
|||<strong>The</strong>|small|child,||<br />
|<strong>The</strong>|smiling|Faces,|||||<br />
|||||smell|<strong>The</strong>|rain|and||<br />
||Feel|<strong>The</strong>|Wind]||<br />
#109<br />
st u d e n t s o f <strong>2010</strong>/<strong>11</strong>||fi n a lCu t 20<strong>11</strong>
|denmarK|| |norWay||<br />
||nicolai|michael||<br />
||loK|hansen||<br />
#<strong>11</strong>0<br />
||[clicK!]|||<br />
fi n a lCu t 20<strong>11</strong>||s t u d e n t s o f <strong>2010</strong>/<strong>11</strong><br />
||øyvind|svanes|||<br />
||lunde||||<br />
|norWay||<br />
||[Who’re|you|gonna|call?||<br />
||plague|docTor|]||<br />
||haaKon|laasTad||<br />
||[hug!]|||<br />
|||[high|Five!]|||
||mario|macedo||<br />
|porTugal||<br />
||[For|real,|dude?|For|real?||<br />
||i|have|a|ToTal|menTal|<br />
||diarrhea|noW.]||<br />
||[FucKing|daavid|schWeeemer!!|<br />
||||For|real?]||||<br />
|denmarK||<br />
||FrederiK|severin|| ||david|roBerT|manu||<br />
||manFord-chrisTiansen||<br />
||[are|you|WaTching|closely]||<br />
efc<strong>2010</strong>/<strong>11</strong><br />
|ausTralia||<br />
||[TaK|For|sKo]||<br />
||[King|oF|<strong>The</strong>|Beach]||<br />
||[TomorroW|is|sT.|paTricK’s|day]||<br />
#<strong>11</strong>1<br />
st u d e n t s o f <strong>2010</strong>/<strong>11</strong>||fi n a lCu t 20<strong>11</strong>
||paTricK|marcher||<br />
||[iT’s|all|Been|said|||<br />
|denmarK||<br />
||and|done,|iT’s|real|and||<br />
||iT|has|Been|Fun]||<br />
efc<strong>2010</strong>/<strong>11</strong><br />
#<strong>11</strong>2<br />
fi n a lCu t 20<strong>11</strong>||s t u d e n t s o f <strong>2010</strong>/<strong>11</strong><br />
||niKlas||<br />
|denmarK||<br />
||morgensTjerne|<br />
|ploug|||<br />
||[yesTerday’s|Weirdness|<br />
||is|TomorroW’s|reason||<br />
||||Why.]||||<br />
|norWay||<br />
||Benjamin|mosli|||<br />
||[i|shoT|FirsT|Time||<br />
|||on|red|on|my|<br />
||18Th|BirThday.]|||
||[iT’s|nice!]|||<br />
|sWeden||<br />
||sophia|axelina|||<br />
||amalia|mörner||<br />
||per|alBin||<br />
||jonaThan|neugeBauer|<br />
||[i’ve|Been|called||<br />
|generaTion,|||<br />
||i’m|ThaT|good]|||<br />
|sWeden||<br />
|norWay||<br />
||maTs|andreas|nielsen|<br />
|<strong>The</strong>|songBird|oF|my||||[<strong>The</strong>|eagle|never||<br />
|losT|so|much|Time|as|<br />
|When|he|suBmiTTed|To|<br />
||learn|From|<strong>The</strong>|croW]||<br />
#<strong>11</strong>3<br />
st u d e n t s o f <strong>2010</strong>/<strong>11</strong>||fi n a lCu t 20<strong>11</strong>
|micKi|sTolTT|nielsen||<br />
||[iF|you|have|any|limiTs,|||<br />
#<strong>11</strong>4<br />
|BreaK|em’|doWn!]||<br />
fi n a lCu t 20<strong>11</strong>||s t u d e n t s o f <strong>2010</strong>/<strong>11</strong><br />
|denmarK||<br />
|denmarK||<br />
||mie-maj|nørgaard||<br />
||[dude!|ThaT’s|Weird!]||<br />
|greenland||<br />
|||ilannguaq||||<br />
||peTrussen|<br />
||[i|see|myselF]|
||Tim|pFeiFFer|||<br />
|||ausTria||<br />
||[deaTh|is|lemon|coloured||<br />
||and|TasTes|oF|cream]||<br />
||(<strong>The</strong>|hairdresser’s|husBand)|<br />
efc<strong>2010</strong>/<strong>11</strong><br />
|sWeden||<br />
||jimmy|randrup||<br />
||[i’m|going|home||<br />
||This|WeeKend]||<br />
||[love|is|liKe|a|BuTTerFly,|<br />
|||hold|iT|Too|TighT||<br />
||and|iT|Will|die.|||<br />
|hold|iT|Too|loose||<br />
|and|iT|Will|Fly|aWay]|||<br />
|croaTia||<br />
|||peTar|raTKovic||<br />
#<strong>11</strong>5<br />
st u d e n t s o f <strong>2010</strong>/<strong>11</strong>||fi n a lCu t 20<strong>11</strong>
||jesse|riviere||<br />
||[sophie,||<br />
||your|Turns||<br />
#<strong>11</strong>6<br />
||Were|greaT]||<br />
fi n a lCu t 20<strong>11</strong>||s t u d e n t s o f <strong>2010</strong>/<strong>11</strong><br />
|canada||<br />
||[he|Was|a|sKaTer|Boy|<br />
||she|said|see|ya|laTer|Boy.|<br />
||he|Wasn’T|good|enough|For|<br />
||her.|she|had|a|preTTy|Face||<br />
||BuT|her|head|Was|up|in||<br />
||BacK|doWn|To|earTh.]||<br />
||space.|she|needed|To|come||<br />
||Filip|romac||<br />
|croaTia||<br />
||chrisTina|ruloFF||<br />
||[Tramps|liKe|us,|<br />
||BaBy|We|Were|Born||<br />
|To|run]||<br />
|sWiTzerland|<br />
|(Bruce|springsTeen)|
||sara|samsøe||<br />
||moghaddas||<br />
||[i|don’T|liKe|deFining||<br />
||myselF,|i|jusT|am]||<br />
efc<strong>2010</strong>/<strong>11</strong><br />
|denmarK||<br />
|japan||<br />
||KyoKo|saWada||<br />
||[<strong>The</strong>|inTerpreTaTion|oF||<br />
||dreams|is|<strong>The</strong>|royal|road|<br />
|To|a|KnoWledge|oF|<strong>The</strong>||<br />
|unconscious|acTiviTies|<br />
||||oF|<strong>The</strong>|mind]|||<br />
||ronja|elsa|lena||<br />
||schisTeK|<br />
|austria||<br />
||[Who|are|you|and|WhaT||<br />
||are|you|doing|here?]||<br />
#<strong>11</strong>7<br />
st u d e n t s o f <strong>2010</strong>/<strong>11</strong>||fi n a lCu t 20<strong>11</strong>
||alexander|schulTz||<br />
||[i|Feel|liKe|a|unicorn,|<br />
||hovering|aBove|my||<br />
||oWn|Body]||<br />
#<strong>11</strong>8<br />
|sWeden||<br />
fi n a lCu t 20<strong>11</strong>||s t u d e n t s o f <strong>2010</strong>/<strong>11</strong><br />
|josua|leo|severin||<br />
||[i|Feel|liKe||<br />
||a|hoT|poTaTo]||<br />
|denmarK||<br />
||hallKaWT|shariF||<br />
||[once|you|choose|hope,||<br />
||anyThing|is|possiBle]||<br />
|norWay||
|india||<br />
||aKshay|singh||<br />
||[i’m|a|playa|WiTh||<br />
|||a|gheTTo|Flava]||<br />
||pauline|vicToria||<br />
||hoFmann|sKalTs||<br />
||[iF|iT’s|noT|hard,|<br />
efc<strong>2010</strong>/<strong>11</strong><br />
|denmarK||<br />
||iT’s|noT|WorTh|doing]||<br />
||[Keep|aWay|From||<br />
|Those|Who|Will|Try|<br />
||To|BeliTTle|your||<br />
||amBiTions,|small|<br />
||people|alWays|<br />
||do|ThaT]||<br />
|denmarK||<br />
||FrederiK|sKov||<br />
#<strong>11</strong>9<br />
st u d e n t s o f <strong>2010</strong>/<strong>11</strong>||fi n a lCu t 20<strong>11</strong>
efc<strong>2010</strong>/<strong>11</strong><br />
|denmarK||<br />
||andreas|sommer||<br />
#120<br />
||||Kjærgaard||<br />
||[i’m|WorKing...]||<br />
fi n a lCu t 20<strong>11</strong>||s t u d e n t s o f <strong>2010</strong>/<strong>11</strong><br />
|denmarK||<br />
||marco|sTolTze||<br />
||[you|laugh|aT|me||<br />
|Because|i|am|diFFerenT,||<br />
|i|laugh|aT|you|Because||<br />
|you|are|all|<strong>The</strong>|same]||<br />
|norWay||<br />
||amalie|sunnBy||<br />
||[you|maKe|me|Wanna||<br />
|say|mean|Things,||<br />
||i’m|usually|nice]|||
||adrian|særsTen||<br />
||[halla|på|dæ]||<br />
|norWay||<br />
|denmarK||<br />
||cæcilie|KaTrine||<br />
||søndBerg|hollensen||<br />
||[BaBies|are|sWeeT||<br />
|||and|nice]|||<br />
|germany||<br />
||adrian|(johannes)||<br />
||TeTzlaFF|||<br />
||[i|am|a|<strong>Film</strong>maKer,||<br />
||i|don’T|have||<br />
|||any|imaginaTion!|]||<br />
#121<br />
st u d e n t s o f <strong>2010</strong>/<strong>11</strong>||fi n a lCu t 20<strong>11</strong>
||denmarK||<br />
||Tenna|<strong>The</strong>odorsen||<br />
||[plasTic|FanTasTic]||<br />
efc<strong>2010</strong>/<strong>11</strong><br />
#122<br />
fi n a lCu t 20<strong>11</strong>||s t u d e n t s o f <strong>2010</strong>/<strong>11</strong><br />
||vieTnam||<br />
||Tuan|minh|Tran||<br />
||[is|iT|in|Focus?]||<br />
|shira|(clara)|Tsuria<br />
||hungary/israel|<br />
||[WiThouT|order||<br />
|noThing|can|exisT|||<br />
|-|WiThouT|chaos||<br />
||noThing|can|evolve.]||
||denmarK||<br />
||[i’m|noT|BlacK!]||<br />
||adam|FlensBorg|<br />
||Tværgård||<br />
||sascha|valBjørn|nielsen||<br />
||denmarK||<br />
||”don’T|haTe|me|Because||<br />
||i’m|BeauTiFul,|haTe|me||<br />
||Because|your|BoyFriend||<br />
||ThinKs|i|am”||<br />
|norWay||<br />
efc<strong>2010</strong>/<strong>11</strong><br />
||[|leT’s|Build||<br />
||ThaT|shiT]||<br />
||KrisTian|vesTBy||<br />
#123<br />
st u d e n t s o f <strong>2010</strong>/<strong>11</strong>||fi n a lCu t 20<strong>11</strong>
||Tarjei|vågane|TandsTad||<br />
||norWay||<br />
||[science|may|have|Found||<br />
||a|cure|For|mosT|evils,|BuT||<br />
||iT|has|Found|no|remedy|For||<br />
||<strong>The</strong>|WorsT|oF|<strong>The</strong>m|all|-|<strong>The</strong>||<br />
||apaThy|oF|human|Beings]||<br />
||marTina|gunilla|WeiBull||<br />
||sWeden|||<br />
||[Where|are|my|oiled|||<br />
|in|grape|Boys?]||<br />
|lasse|Win<strong>The</strong>r|jensen||<br />
||denmarK||<br />
||[To|Be|and||<br />
||||noT|To|Be]||<br />
efc<strong>2010</strong>/<strong>11</strong>
||||jens|WulFF||<br />
||denmarK||<br />
||[KurWa]|||<br />
||georgi|yordanov||<br />
||Bulgaria||<br />
||[WiTh|my|Body|<br />
||and|your|Brain,||<br />
||We|can|succeed|in||<br />
|||To|hollyWood]||<br />
||simon|romano||<br />
||Wind|zamBiasi|||||<br />
||denmarK||<br />
||[reach|For|<strong>The</strong>|moon,||<br />
||iF|you|miss,|aTleasT|||<br />
||you|Will|Be|among||<br />
||<strong>The</strong>|sTars]|||||<br />
#125<br />
st u d e n t s o f <strong>2010</strong>/<strong>11</strong>||fi n a lCu t 20<strong>11</strong>
#126<br />
fi n a lCu t 20<strong>11</strong>|| [ 2 s e t s in s t u d i o ]-Ph o t o g r a P h e r: niC o l a i lo k
#127<br />
[st u d e n t t r i P t o am s t e r d a m ] - Ph o t o g r a P h e r: Jen s wu l f f||f i n a lCu t 20<strong>11</strong>
design and layout:<br />
Lotte holm jensen, Damborg Graphic<br />
www.damborg-graphic.dk<br />
Editor:<br />
Anne Nordenhof<br />
Coordinators of student portraits:<br />
Martina Gunilla Weibull<br />
Annie Kilde Bajwa<br />
Simon Zambiasi<br />
Kora Helene Gerdes Christensen<br />
Nicolai Lok Hansen<br />
Photographers:<br />
Nicolai Lok Hansen<br />
Martin Jarsskov Bodilsen<br />
Jens Wulff<br />
Kora Helene Gerdes Christensen<br />
Øyvind Svanes Lunde<br />
Petru Maier<br />
Petar Ratkovic<br />
<strong>European</strong> film college<br />
carl th. dreyers vej 1<br />
dk-8400 ebeltoft<br />
denmark<br />
Phone: +45 8634 0055<br />
Email: info@europeanfilmcollege.com<br />
www.europeanfilmcollege.com<br />
Print:<br />
Kolind Bogtryk, www.kbtryk.dk<br />
ISSn: 1395 2242
[ Ch r i s t i a n Ben g t s o n ] - F o t o g r a F: niC o l a i lo k ||Fi n a lCu t 20<strong>11</strong>
Th e eu r o p e a n Fi l m Co l l e g e y e a r b o o k - Fi n a l Cu T 20<strong>11</strong>