yearbook 2010/11 - The European Film College

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Fi n a lCu t 2011|| [ 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:
02
|| The film industry awaits you
- and your talent
06 || Principal’s goodbye
10 || It all began at European Film College…
16 || Doing what fiction can’t
- a take on documentary
20 || The birth of a green screen
28 || Guest Teachers
40 || Neorealism
- take the film into the streets
44 || Life as an actor at European Film College
48 || Storyboard ´Tales of the West`
62 || A Japanese film apprentice in Europe
82 || The Board
84 || Staff
86 || Teachers
90
|| Students

ThE FILm INDuSTry AWAITS you
– AND your TALENT
By Bo Ehrhardt, board chairman

Hopefully the 8 ½ months that you spent at European Film College helped you dig out your own
special talents, and the question now arises: how do I use them to achieve what I want?
Some of you will bring your talents into other areas than film, and the stay at EFC will be a fond
memory of a creative and playful time. But a lot of you, I’m sure, have realised that filmmaking is
the path you want to pursue, and you’re already placing the first stepping-stones on your way to
fulfilment.
The film industry is not the same as it was 5, even 3 years ago.
A new generAtion of filmmAkers is rising from the Ashes of the finAnciAl crisis, And
everything is chAnging
As the old business models are falling apart and the established production and distribution
companies are under severe pressure, new possibilities are occurring everywhere. HD consumer
hardware makes film making possible for almost everybody and new ways of distributing film
pop up in the shape of social media and other online opportunities.
As a part of the so-called Facebook generation you have the gift to manoeuvre in this landscape
better than anyone. And so you have the chance to not only take advantage of the radical change
of the film industry, but to BE that change – and thereby create your own future.
#3
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 2011

#4
You are all gifted and talented in your own way. But you must never rely on your talent
alone; hard work and perseverance are equally essential keys to the film industry. And it
is crucial that you surround yourself with others that share your passion and that hold
other talents than your own. EFC has taught you how to work in crews and to create
synergies of different skills, passions and talents. Now use that training – and your fellow
students – in the pursuit of your goal.
no mAtter where you go from here i hope you will keep nursing your AmAzing tAlents in
the future. mAke yourself And All of us proud!
All the best,
Bo
fi n a lCu t 2011||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
[ 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 2011

focus
embrAce
work
#6
fi n a lCu t 2011|| PrinCiPal’s g o o d b y e
PrinciPAl’s goodbye
The red seats of Big Bear were full of new faces. The air was about
to burst with great expectations. I was talking to you. Asking you to
take risks and make mistakes. To use the upcoming 8 ½ months as
an incubator, a laboratory, where you could discover unknown talents
and ideas. To look out on the world and inside yourself. To think of
yourselves as instruments. Instruments that were about to discover
the nature of their voices, about to find their rhythm and tune – and
join the band.
And whAt An orchestrA you turned out to be!
I remember the documentary director Janus Metz, your first guest
teacher, standing late at night in dining hall after five hours of discussing
his movie “Armadillo”. He was thrilled by meeting with you: You
had made it his most fulfilling experience touring with “Armadillo”, he
claimed. Because of your eagerness to discuss, reflect, and gain new
ideas. As the months went by that same reaction came from most
guest teachers.

You made an impression! - And you worked incredibly hArd.
The amount of 8 ½ films, small experiments and school projects has been
impressive, as have the ambitions you have put into them. You have searched the
limits in terms of production scale and technical possibilities, and some have had
courage to look deeper and create very personal stories or art. And some
have spent evenings in Writers Club, Photo Club, Theatre Society – using the
possibilities to the fullest.
But while you were hard working, ambitious and focused you were also helpful and
caring for each other. You have made the atmosphere of the school warm, cheerful
and focused. Just like in the best of families.
And now is the time for your next step, a new beginning. You will step into the
future as part of the worldwide EFC network.
Standing at the doorstep waving my goodbyes as you leave the premises I will lean
forward, shouting my last advise:
#7
PrinCiPal’s g o o d b y e ||fi n a lCu t 2011

#8
fi n a lCu t 2011|| PrinCiPal’s g o o d b y e
2010 2011
”it tAkes
”And you
”ooPs
Almost
forgot:
”And one

hard work, you know? There are no short cuts! Lots of odd jobs await you,
but don’t lose your focus!”
have to be courageous! It takes courage to follow a dream and confront
yourself. Put yourself out there. And be curious – that’s how you find
your stories, your projects and keep your material alive. Curious and
open. And disciplined.
remember that!”
If you are a writer: Write! If you are a photographer – take pictures!
If you are a director – direct! There’s no project unless it’s made. Maybe
you will only work in your spare time, your holidays or late nights
– but work”
”Uh, this is important too: Everything is relevant! Embrace the stories, images,
and experiences right in front of you. Exploit your borders, sink into the
big Masters, live. Take notice. Its all around you.”
last thing. this is the first step of a life long journey.
Don’t measure your successes and failures on a day-to-day basis.
You only just started your path – start walking… ”
And good luck… I WILL MISS YOU ALL!

#10
fi n a lCu t 2011||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…
IT ALL BEGAN
AT EuroPEAN FILm CoLLEGE…
By Anne Nordenhof
School year is ending, doors are opening, and the smell of The real World starts to
ooze into the dining hall. So what do you do when the safe walls of the European
Film College can no longer protect you? you form creative alliances with your fellow
students – alliances that may jumpstart your career and last you a lifetime.
Towards the end of the 2010/11 class year, one question pops up in every mind
wandering the student halls: “what now?” And to a lot of the students the even more
important question is: “How do I wedge my way into the film industry?”
Most of the EFC’s former students that are now working in the film industry say that the
key words to success were the creative alliances and working friendships that were born
during their stay at EFC. And the 2010/11 class is no exception it would seem. During
the last 8 ½ months a lot of alliances have bloomed between the students as a natural
result of the many film projects they create together during their stay.

Student Frederik Louis Hviid says:
“I have worked a lot with the same guys during my stay here at this school. Producers, co-writers, co-directors
and just people who provide good inspiration. And as we got closer to the end of the school year, we sat down
during lunch and talked about what to do, when we get back to the ‘society’. Each of us have different interests,
and different skill sets, but we all share a common interest and passion for film. Whether it’s the founding of a
production company, arranging read-throughs and writers’ sessions, or having a sparring partner as a cinematographer,
I think it’s very good to have someone around you who knows your particular way of working.”
#11
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 2011

#12
fi n a lCu t 2011||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…
For student Andreas Sommer Kjærgaard the hope is to perhaps get a film project started
with some of his fellow students just after leaving the EFC:
“A lot of us hAve tAlked About getting together And Apply the film workshop
(filmværkstedet) for support to do our projects. And besides thAt i cAn’t wAit
to bump in to efc students in the future,”
A small group of students have even created a small production company called 73
Collective during their stay in hope of making it in the film business after school. One of
them, Kamil Franko, says:
“Throughout the time at EFC you slowly merge together with people that share the same
visions and ideas, so it’s a slow and natural process. We haven’t seen our group/crew
as a production company but a bond of friends, which of course makes all our projects
more than just a production. What makes us a production company is as simple as the
urge of making movies, and you slowly begin to adapt yourself into the preferences that
are needed to complete a movie. The crew we’ve established means a lot to us, not only
because of practical issues, but mainly because of unique friendships that provide us with
inspiration, valuable experiences and most importantly, good times.”

#13
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 2011

#14
fi n a lCu t 2011|| [ 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
[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 2011

[ 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 fiction ]
#16
fi n a lCu t 2011||doi n g w h a t f i C t i o n C a n ’t
DoING WhAT FICTIoN CAN’T
– A TAkE oN DoCumENTAry
By Anders Ingemann, EFC 10/11
Film is fiction – this can’t be argued against. No matter what, a film will never
portray reality, but only depict an individual’s take on a given theme, job, person,
type or situation. Even movies that are based on true events or true stories will get
some fictional aspects added, or at least be re-constructed in perspective to a given
model of proper story structure.
Don’t get me wrong though – this is not a bad thing, I just can’t imagine why or how film
would intend not to be fiction. One of the few things that filmmakers tend to realize
on an early stage, such as the stage that The European Film College (EFC) represents,
is that reality is mostly damn boring – and the world in general tends to be boring too.
This can, however, easily be saved through fiction, by adding fiction to aspects of reality
and in that way create an escape route from the daily life or simply make something pure
fictional and entertaining. And thereby we’ve unfolded one of films greatest tasks and the
reason why people love film so much – it helps them escape or at least experience their
dull world with a great amount of fictional flavor.

But keeping this glorious description in mind, how should one cope
with a genre which greatest task is to picture reality and aspects of it as
true and fiction-less as possible?
As mostly all new students at the EFC I never considered myself as one
with any interest in the documentary genre. For some it might even have
been a surprise that directing of documentaries would be part of the
available courses. Nevertheless documentary was the first subject to
be lectured on, which turned out to be an experience that would both
change and renew mostly all pre-existing opinions about the genre.
Personally I found documentaries boring – therefore my small
interest in it.
Lecturer Janus Metz presented us to his fairly new documentary
“Armadillo” – an inside-look on the Danish military forces in the
Afghan province Helmand. The lecture turned out as a fine jump-off
point for heavy discussions and general debate – surprisingly not that
much about Armadillo’s subject, but the whole genre and the construction
of a documentary in general. I personally found it extremely
fascinating that just one single lecture with a related screening could
cause so many constructive conversations. The students didn’t just
Photo: Lars Skree

#18
fi n a lCu t 2011||doi n g w h a t f i C t i o n C a n ’t
manage to build up various opinions but also to learn a lot through debate, which for
me personal woke an interest for the documentary genre, not only as a subject but also
as a thing to work with. This made me apply for the “directing documentary” course
– a 3-week course involving both building an understanding for documentaries and
afterwards the making of them.
The lecture on documentaries in general and the genre’s different issues with
reality and fiction did, as previously mentioned, wake an interest for documentaries, but
learning to love and adore it as a genre took a deeper look into it. I attended the “directing
documentary” course with an open mind – and it paid off. I must say that EFC has done
many good things for me, but teaching me to understand the value of documentaries is
without a doubt the greatest.
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
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
fiction t h at i presented a s in t ro to t hi s a r t icl e.
The typical filmmaker will run around the world and look for the good stories so he can
get inspired to write fiction – and this is the right way to work, since the world in all its
boredom IS full of stories, and film and fiction can’t live without the world to interpret.
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
dull, and the art of the documentary is not to interpret it, but to find the actual raw and
exciting stories, themes and people, and show the world exiting, scary, thrilling and funny
parts of the actual world we live in. I have come to realize that characters aren’t humans,
but humans are definitely characters. Only through documentaries I’ve managed to be
fully entertained for 1.5 hours by two total originals fighting about the world record in
Donkey Kong, an activist trying to film dolphins, a semi-deluded graffiti-painter with a
handy-cam or simply two poor women living in a remote Portuguese town.
The normally undiscovered power of reality shines through when it’s treated with
patience and the skill to be at the right place at the right time, and at the same time
having the guts to spend several years infiltrating an unseen part of society, a family’s
private life or simply an entire country.
I have through the documentary work at EFC learned to respect the genre more than
anything else in the film media, and for way more reasons than actually necessary. What
I was most afraid to admit in the end is actually that making a documentary takes the
exact same things and skills as a regular feature film, and a bit more than that.
That is just one of the reasons that I ended up taking the course twice, and enjoying
it equally both times.
#19
do i n g w h a t f i C t i o n C a n ’t||fi n a lCu t 2011

[ f oo t p rin t s a nd e x p e n s i v e green
pa in t don’t go w e l l t oge t he r. ]
#20
fi n a lCu t 2011||th e b i r t h o f a g r e e n s C r e e n
ThE BIrTh oF A GrEEN SCrEEN
By Tuan Minh Tran, EFC 2010/11
The story of European Film College’s brand new green screen is the story of two
heroes, their craftsmanship and a lot of green paint.
Last November, EFC rolled into motion as the school entered the music video
production phase, in which students were assigned to make 15 music videos for artists
from outside. Overall, the projects went through pretty well, in spite of some incidents
that would undoubtedly become part of the EFC lore, particularly one that involves
a certain diva.
However, it also reveals the elephant in the room that many a director or cameraman
has thought about but couldn’t figure out what to do with: EFC didn’t have a green
screen. Yes, the famed and venerable European Film College didn’t have a proper
green screen setup after 17 years of operation. It was about time; someone had to
do something.
So Peter Bruus and Jens Wulff entered the picture. A pair of smart and resourceful
tinkerers who previously constructed a homemade camera crane using disco
equipment, they managed to get official approval and funding from EFC after a

#21
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 2011

#22
fi n a lCu t 2011||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
timing during the Christmas party.
Now, the readers may be tempted to ask: How did EFC people cope with
this problem before and what do Peter and Jens bring to the table this time?
The usual EFC solution for a green screen shoot was either hanging a green
piece of cloth on the wall or using pointing green-colored lights at the wall. The
former is a quick and dirty solution, easy to set up and use but also a headache in
post-production if the cloth was not properly straightened and stretched, which
is often the case. The latter gives a more consistent texture to the background for
keying but requires extra high-power lights, which is a hotly contested resource
during production periods.
So it was left to Peter and Jens to come up with the idea of setting up a permanent
green screen rig for the upcoming final round productions and of course for future
EFC generations.
The idea couldn’t have been more elegant: three green-painted smooth plywood walls
with rounded corners, a set of overhead lights and some mountaineering cables just in case
a superhero or fantasy movie need a flying sequence. Within a period of roughly two
#23
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 2011

#24
fi n a lCu t 2011||th e b i r t h o f a g r e e n s C r e e n
months (worthy of an epic montage synchronized to Eye of the Tiger), Peter and Jens built
up the plywood walls, went through 50 different types of green paint to decide on the
ultimate true shade of green, rigged the lights and made a lot of test shots.
The finishing touch is an alarm system, which was thought up by Peter during
a serendipitous moment of seeing an 80% discount at Kvickly, designed to prevent
people from stepping in the set without supervision because, well, footprints and
expensive green paint don’t go well together. After nine weeks of hard work and 6,000
kroner well spent, there stands the green screen in the EFC studio, huge and proud.
The first movie to use it was a Norwegian-Danish coproduction named ‘The Burqa-clad
Adventurer’ in which the keying/compositing process was handled by the writer of
this article himself, and he admits he has nothing but praise for the well-built green
screen. And so, dear fellow EFC students, that is the tale of how two men stood up to
the challenge and left behind a lasting legacy for us all.
Jens Wulff and Peter Bruus would also like to thank the following for helping with
the green screen:
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
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 2011

#26
fi n a lCu t 2011|| [ Ch r i s t m a s -C a r d 2010 ] - Ph o t o g r a P h e r: niC o l a i lo k

#27
[ 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 2011

#28
fi n a lCu t 2011||g u e s t te a C h e r s
Janus Metz
Documentarist
Peter Gantzler
actor - Director - writer
Dagur Kari
writer - Director - musician

Rasmus HeisteRbeRg
screenwriter
Nikolaj arcel
Director - screenwriter
#29
gue s t te a C h e r s||fi n a lCu t 2011

#30
Darin MercaDo
screenwriter - Dramaturgist
fi n a lCu t 2011||g u e s t te a C h e r s
Clement Kjersgaard
Political journalist
Gustavo Constantini
sounD Designer - musician

Jan Harlan
stanley KubricK’s executive ProDucer - lecturer
Eva Novrup rEdvall
PhD in film stuDies - film critic
Mads EgMont
Director - ProDucer
#31
gue s t te a C h e r s||fi n a lCu t 2011

#32
Martin de thurah
fi n a lCu t 2011||g u e s t te a C h e r s
music viDeo - film Director
Peter HjortH
visual effects artist
Tom CroCker
heaD of aviD eDucation DePartment

Keld Haaning ibsen
Dechen RoDeR
film music comPoser
Documentary Director - ProDucer - scriPtwriter
RichaRd Raskin
associate Professor - writer
#33
gue s t te a C h e r s||fi n a lCu t 2011

Karin Grand
writer - Director
Rick Senat
former heaD of warner brothers business affairs
Martin Barnewitz
Director
#34
fi n a lCu t 2011||g u e s t te a C h e r s

Charles MCDonalD
founDing Partner of the film anD Pr comPany - mcDonalD & rutter
Caroline SaSCha Cogez
writer - Director
molly stensgaard
eDitor for lars von trier - film consultant
#35
gue s t te a C h e r s||fi n a lCu t 2011

thomas vinterberg
#36
fi n a lCu t 2011||g u e s t te a C h e r s
Director
Jan Weincke
cinematograPher
Thure MunkholM
heaD of Programme - coPenhagen Pix

MaMoun Hassan
eDitor - british film guru
Annette WernblAd
lecturer - owner of the comPany catharsis
Lars Munk
illustrator anD storyboarDing
#37
gue s t te a C h e r s||fi n a lCu t 2011

Christina rosendahl
Lea Korsgaard
#38
fi n a lCu t 2011||g u e s t te a C h e r s
sounD Designer
Director
Marie Schultz
animation Director

Charlotte Bruus
cinematograPher
Stefan Mørk
sounD Designer anD musician
#39
gue s t te a C h e r s||fi n a lCu t 2011

#40
fi n a lCu t 2011||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
NEorEALISm
– TAkE ThE FILm INTo ThE STrEETS
Infamous for his breakdowns on film classics like The Battle of Algiers, The
Conversation and The Bicycle Thief. An acclaimed teacher and former head of
postproduction at The National Film and Television School in England and The
International Film School in Cuba, as well as former head of production at The
British Film Institute. mamoun hassan is a top name in the international film
world, and during his stay at EFC he analyzed masterpieces - and student films.
We met him for a talk about Italian neorealism and why young filmmakers shouldn’t
ignore it.
What are the principles for neorealism?
They’re a sliding scale of the essentials of neorealism, one of them being: the film takes
you into the streets and into the locations of ordinary people.
Neorealistic films are about a class that is normally never focused on in normal
fiction. A film that had all the elements of neorealism, which is “Toni” made in 1936
by Jean Renoir, was a film about migrant workers who were Italian and who went
to France, grape picking and so on… Most of the people in the film were actually
migrant workers. The story was set amongst them, the dramas was the kind of dramas
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?
Yes, it’s very essential that it’s mostly non-actors. Because what the people, who promulgated the
ideas of neorealism, said is that the studio bound films and the fiction films at the time tended to
focus on people who looked a certain way, spoke a certain way, which was artificial. So that we
never got the pulse of real life, the rhythm of normal speech – the attitudes, the gestures, the way
that ordinary people behaved. That was kind of excluded – it was a world that was removed from
the real world.
But the essentials of neorealism is not that you have a small story, quite the contrary
– you have a big story. In “Bicycle Thieves” it sort of spreads from the small story of a man,
who’s been out of work for a long time and who’s bicycle is the mean of his livelihood – to the
story of that whole society, to Rome at that point, just before 1948 when it was recovering from
the devastation of war.
It’s about society. The thing about neorealism is that it’s always about the one in the many. They
focus on the one, but in order to tell you something about the many. So they’re all epic.
Did neorealism ever spread to other parts of the world?
There was an attempt in America to import it, but it never quite worked. The American model
never really quite worked, all though there are films that we would talk about as neorealistic.
#41
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 2011

[ to see ne ore a l i s m a s a t o ta l
a n s w e r is limiting. to see it a s
a c oun t e r to w h a t t he indu s t r y
p rop o s e s a nd prefers to s ho w is
v er y ne c e s s a r y. ]
#42
fi n a lCu t 2011||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
But it did work in the rest of Europe – later. It’s as if the seeds drifted on the winds to
Britain where we had Free Cinema, which in many ways echoed the aims of neorealism.
Ken Loach is a neorealist through and through. He looks at the working class life, of the
disadvantaged, the poor and the oppressed, and he insists on doing that, simply because
no one else is doing it. He thinks the society militates against the lives of ordinary people
– that the society is quite destructive towards the lives of ordinary people.
What is the difference between neorealism and social realism?
The thing about neorealism is that at no point, unlike social realism – social realism
always at some point, directly or indirectly seem to suggest a solution. You know, if
we become socialists, if we do this or we do that, or if we have a better society or a
less corrupt leadership…problems will be solved. At no point does neorealism do that.
Obviously it becomes clear to the viewers that society could be better – but it’s only
shown in a very general way. It doesn’t go into details in the way that social realism does,
it doesn’t show a solution.
How can the EFC students – these young filmmakers – take advantage a discipline
like neorealism?
I think there’s always a journey, a travel between the streets and the studio. The reality
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
ordinary drama. And every once in a while you have to have a neorealistic movement
to bring that in, because for many reasons most writers, distributors and investors
don’t want to tell about the working people’s lives, because you don’t leave
the cinema feeling happy – because, you know…life is hard. We like
to avoid those kinds of stories, we want to talk about dramas,
falling in and out of love and jealousy…which is not to be excluded
either. But it has excluded, by the very nature of the way the business
works, the stories about very ordinary people, because it’s the thought
that ordinary peoples lives are boring.
To see neorealism as a total answer is limiting. To see it as a counter
to what the industry proposes and prefers to show is very necessary.
It’s very necessary to go back into the streets and into the lives of
ordinary people.
#43
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 2011

#44
fi n a lCu t 2011||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
LIFE AS AN ACTor
AT EuroPEAN FILm CoLLEGE
By Micki Stoltt Nielsen, EFC 2010/11
To act. It can’t be that hard, just act out some emotions and you will do
just fine in a movie.
That was what I said to myself before joining the EFC. But before I knew
it, there were methods, techniques and exercises, developed by many
different people I had never heard of before. Stanislavski and
Meisner suddenly became daily topics in class as well as the
camera. The camera was the group’s first real challenge – to
be able to perform in front of it, just as well as without it.
And at first it really was a challenge for most of us, but
eventually the camera became a friend that also helped
you, and you started to enjoy watching yourself on the
screen. But again it created a challenge – a psychological
challenge; to be evaluated by your classmates and your

teacher. Soon you found out that praise raises your self-esteem, and criticism makes you
try harder to achieve your goal.
A combination of fun and work was what you could expect when you went to class.
Suddenly a hobby became much more serious, when you became aware of what you
needed to do to make a performance as truthful as possible. You became aware of your
body language. You became aware of how much you really needed to be aware. And
suddenly you realized that your thoughts, emotions and objectives needed to be your
character’s, if you wanted to bring the story alive.
The best thing about the EFC is that it gives you a chance to get as close as possible to
a real film environment. Before you get to know everyone at the EFC, you get thrown
into exercises that contain a complete crew. Directors, cameramen, PMs, sound guys
and co-actors. You discover that for each film crew you become a part of, you create a
special relationship with the people in that crew. And you will never again have the same
prejudices and thoughts that you had about a film person.
Many people want to experience a lot in their life. My advice to those people would
be to act.
#45
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 2011

#46
fi n a lCu t 2011||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
[ i hAve been stAnding in situAtions i wouldn’t hAve dreAmed of,
if it wAsn’t for my fellow students´ ideAs ]
I have been standing only wearing a shirt in a blizzard.
I smoked for the first time.
I have been covered in theater blood. I have been standing on
top of a cross with a noose around my neck. Besides that I have
been a psychopath, a gambler, a prisoner, a rock dude, the cool
guy, the fun guy and I’m not even done at the school yet.
It was hell to wait outside in the cold, freezing. But none
of the things I have done, or the hours I have spent,
I regret. Because the feeling you get afterwards,
is better than after any workout you could
imagine. And I can truly sense that acting has
become a need and a habit in my life, and
I don’t think that I will ever be able to
stop doing it.

#47
[ 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 2011

#49
[ 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 2011

TALES oF ThE WEST
#50
fi n a lCu t 2011||s t o r y b o a r d - ’ta l e s o f t h e we s t ’

#51
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 2011

#52
fi n a lCu t 2011||s t o r y b o a r d - ’ta l e s o f t h e we s t ’

#53
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 2011

#54
fi n a lCu t 2011||s t o r y b o a r d - ’ta l e s o f t h e we s t ’

#55
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 2011

#56
fi n a lCu t 2011||s t o r y b o a r d - ’ta l e s o f t h e we s t ’

#57
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 2011

#58
fi n a lCu t 2011||s t o r y b o a r d - ’ta l e s o f t h e we s t ’

#59
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 2011

#61
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 2011

[ i didn’t imagine
t h at e di t ing w a s
s uc h f un w ork! ]
#62
fi n a lCu t 2011||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
A JAPANESE FILm APPrENTICE
IN EuroPE
From osaka in Japan to European Film College in Ebeltoft, Denmark. Japanese
EFC student Shiori hashimoto talks about culture clashes, language barriers and
her surprising limited knowledge of Japanese film.
What was the most difficult challenge of being Japanese at European Film College?
It may sound weird, but I’m not very familiar with Japanese film, especially not the
classics, horror or animation films. So it was hard every time someone who had just
watched Japanese film wanted to talk to me about it, and I hadn’t watched the film!
It was a shame that I didn’t watch more famous Japanese films.
How did you manage the language barrier at first? Was it hard?
At first, after introducing myself and just chatting with people, I said to myself: ”It’s
easier than I thought!” But during my first course, the Directing course, it was very
difficult for me to keep up with the class. The only thing I could do was to use filmlanguage
instead, I guess. In that point, it was a good opportunity to get such an
experience, which is helpful even now.

Can you describe one or two episodes, where the cultural differences between you and your fellow
students became really obvious?
One is when I was working on the music video project. Our crew was making a kind of
stop-motion animation with clay, and the background was collage of pictures and drawings.
The story was about an escape of Black Heart to some other universe. When we were building a
story, I suggested the Heart would feel loneliness when he wandered through ”a big, lonely and
depressing city”. They agreed with me and started searching pictures from the Internet. After
the pictures were printed, I realized it was really different from the image in my head! My image
was like London in old days with dirty pubs and homeless people and dogs on the dark street.
Their image was a modern city in 21st century, full of electricity, just like Tokyo! I said ”it’s not
lonely, it looks interesting!” and they said ”no, it is a lonely city”. I understood how different
backgrounds we had.
#63
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 2011

#64
fi n a lCu t 2011||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
Another is when I was making a ”breakdown sheet” with two more students in PM
class. We were discussing about what we needed as props, according to the script. It was
a story in a high school and many students appeared, so I said ”we need many school
uniforms, don’t we?” I didn’t know that in Denmark they don’t wear uniforms at school!
I think this is a very Japanese way of thinking. If you see Japanese Manga (comics and
animations), many of the stories are in high school and they wear uniforms, like Sailor
Moon. It’s a very common thing.
What do you think is a major difference between Japanese and western film?
Actually I don’t know. . .but I feel that Japanese films tend to have more
happy-endings, compared to European films.
In what way have you changed as a filmmaker during your stay at the EFC? What have you
learned?
I didn’t imagine that editing was such a fun work! And I learned that if you really
want to put your own strong and firm image into film and make it a masterpiece,
you have thousands of things that you can’t miss, and it may be too much stress on
you. But if you want it to be interesting and exciting work, you can enjoy filmmaking
with relying on crew possibilities and ”chemical reaction”. And for some reason,
most masterpieces were made through such a process. This is what I got through EFC.

#65
[ 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 2011

#66
fi n a lCu t 2011|| [ 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
[ 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-
Cu t 2011

Welcome to the Municipality of Syddjurs
The Municipality of Syddjurs covers the southern part
of Djursland and the number of inhabitants is more than
40,000. Syddjurs off ers a unique landscape, a fascinating
and varied nature and a number of historically interesting
attractions.
Experience our tranquil nature or have an active holiday,
Syddjurs can give you both. The beautiful hills of Mols Bjerge
and the long stretch of coast with fi ne bathing beaches as
well as ideal surfi ng conditions are just part of what we can
off er – including a large variety of art and culture.
The municipality of Syddjurs is attractive to entrepreneurs
and settlers alike. We strive to improve our nature and are
conscious of the environment in any new project. Living in
Syddjurs gives you optimal conditions for a meaningful free
time as well as a caring and effi cient welfare system.
For more information, please visit our homepage
www.syddjurs.dk.
You can also call us by phone 87 53 50 00.

BRØNSHØJ MØDER BUENOS AIRES
I EN KOMEDIE AF OLE CHRISTIAN MADSEN
BRØNSHØJ MØDER BUENOS AIRES
I EN KOMEDIE AF OLE CHRISTIAN MADSEN
I BIOGRAFERNE 17. MARTS
I BIOGRAFERNE 17. MARTS
Se trailer på WWW.SUPERCLASICO.DK

THE ANIMATION WORKSHOP
• Apply with your own animation related film
project at the OPEN WORKSHOP
• High end CLASSICAL DRAWING courses
• 3D COURSES in art and animation
The Animation Workshop • Kasernevej 5 • 8800 Viborg • +45 87554900 • info@animwork.dk • www.animwork.dk

You Asked—We Delivered
Introducing Media Composer 5.5
“Based on recent Avid developments, I would suggest Media Composer
to micro-budget productions, as well as multi-million dollar budgets—and everything in between.”
–Shea Kammer, executive producer (Red State)
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–David Baertsch, creative director and senior editor, db Editorial
“[Media Composer] is the Moviola of our era. It’s what everybody is using. It’s so robust, so industrial strength.”
–Jay Cassidy, editor (Never Say Never, Waiting for “Superman”, Into the Wild)
Through the years, it’s people like you—the editors, producers, and directors of the world—who’ve helped shape Media Composer ®
into what it is today: a trusted tool that accelerates your creativity by removing barriers and bottlenecks. And thanks to you,
it’s now more open and interactive than ever.
Download the free trial: www.avid.com/mctrial
© 2011 Avid Technology, Inc. All rights reserved. Promotions and discounts are subject to availability and change without notice. Product features, specifications,
system requirements and availability are subject to change without notice. Avid, the Avid logo, and Media Composer are trademarks or registered trademarks of Avid
Technology, Inc. or its subsidiaries in the United States and/or other countries. All other trademarks are the property of their respective owners.

150
Ebeltoft
www.hos-walter.dk

158
Danish Producers' association is an industry- and employers' association for independent
producers of film, TV and computer games. We work to develop new business opportunities
and to ensure the rights of the individual producer and the whole industry.
Danish Producers' Association - Info@pro-f.dk - www.pro-f.dk tel: +45 33 86 28 80

#79
Ph o t o g r a P h e r: Jen s wu l f f||fi n a lCu t 2011

#80
fi n a lCu t 2011|| [ 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
Ph o t o g r a P h e r: niC o l a i lo k||fi n a lCu t 2011

#82
Th e b o a r d
cha irm a n of t he bo a rd
bo a rd m e m b e r
bo a rd m e m b e r
bo a rd m e m b e r
fi n a lCu t 2011||b o a r d
Bo Ehrhardt
Co-founder and Head of Production at Nimbus Film
My advice to the students:
There’s always something, you’re good at - you just have to
figure out what it is (from the danish film ”Gummi Tarzan”)
tuE BysKov BøtKJær
Vice-President, HR & Communications
at FOSS Analytical A/S
My advice to the students:
Live life, enjoy it, and remember to always create results
that you will be pleased with, also in the long run
JEns PEtEr rumlE hammErich
Film director, writer and producer
My advice to the students:
You are the stories of the future.
tina sørEnsEn
Head of the Training Department at
the National Film School of Denmark
My advice to the students:
Frank Capra once gave following advice to young filmmakers:
Don’t follow trends, start them!
bo a rd m e m b e r
bo a rd m e m b e r
bo a rd m e m b e r
alternate bo a rd m e m b e r
svEnd aBrahamsEn
Educational manager at the National Film
School of Denmark
JohannEs FlEnstEd-JEnsEn
Former vice-president at Central Denmark Region and
vice chairman of the board at Aarhus Theatre
My advice to the students:
If you feel for it - go for it!
Klavs K von lowzow
Barrister at law and senior partner in his own law firm
My advice to the students:
Keep on playing - in the creative universe.
ronniE FridthJoF
Founder and owner of Fridthjof Film
My advice to the students:
Show it, don’t tell! And that’s not only in storytelling,
but in your career as well.

#83
[ 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 2011

#84
Me t t e Da M g a a r D -SørenSen
Principal
[Den m a r k]
Stay curious and courageous
St een Bo n D r o p
Teacher, sound
[Den m a r k]
Keep learning, burning and yearning. Keep
being humble, friendly and easy to talk to
fi n a lCu t 2011||te a C h e r s
JiM Fe r n a l D
Teacher, script writing
[Usa]
Get to the zone. Write on!
Th e Te a c h e r s
eva MaD S e n
Teacher, PM and TV production
[Den m a r k]
The best way to predict the future is to invent
it – be brave out there…
to M vi l h e lM JenSen
Teacher, directing fiction
[Den m a r k]
Talent without craft is like fuel without engine.
It burns widely but accomplishes nothing.
al l a n Ka r t i n
Teacher, editing
[Den m a r k]
Whatever role you like to play in the film
industry, it all comes together in editing.

So p h i e ha r p e r
Teacher, directing documentary
pe t r u Mai e r
Teacher, cinematography
Mi c h a e l Mo r g a n
Teacher, acting
[aU s t r a lia]
Very often, footage that you have shot develops its own dynamic, it’s own
life (…) there is a child growing and developing and moving in a direction that
isn’t expected. Accept it as it is and let it develop its own life (Herzog)
Be good parents (Harper)
[Den m a r k/rU m a ni a]
As you rumble on through life brother, whatever
be your goal, keep your eyes upon the
doughnut, not upon the hole...
[Uk]
You brought the talents and we gave you the
techniques. You have a responsibility to use both –
whatever you end up doing in life, work or play.
#85
te a C h e r s||fi n a lCu t 2011

#86
Je t t e chriS t enSen
Kitchen manager
Mi c h a e l en g ly S t
IT supervisor
Ja n Fo l D a g e r
Chef
leiF Fr i tS D a l
Course administrator
[Den m a r k] [Den m a r k]
There has to be enough for everyone Kill your darlings
[Den m a r k]
Why computers can do more work than people:
they never have to stop and answer the phone
fi n a lCu t 2011||s ta f f
[Den m a r k]
I haven’t hidden any mugs
Th e s Ta f f
Su S a n n e gJ ø S K e pe t e r S e n
Book keeper
[Den m a r k]
Thank you for the creative energy that you
bring to the school
liS e Ko c h go M M e S e n
Projectionist
[Den m a r k]
Oh my god! They’re done shooting on time!

ca t h r i n e ha M M o n D
College Assistant
ole in g i lD S e n
Caretaker
riK K e SJ ø g r e n iv e r S e n
Chef
Ja n JenSen
Caretaker
[Den m a r k]
You started out breaking the rules, at least now
[Den m a r k]
you’re breaking them with style No problem, try again
[Den m a r k]
No problem, try again
[Den m a r k]
Place it there
el S B e t h pe t e r S e n
Office assistant
[Den m a r k]
lo u iS e Ma t h i lD e Jo h n S e n
College assistant
[Den m a r k]
Lie and deny…especially to students
#87
sta f f||fi n a lCu t 2011

#88
fi n a lCu t 2011||s ta f f
iB aa M a n n Kv iS t
College administrator
[Den m a r k]
What can I do for you?
Se v e r i n Me S S e n B r i nK
College assistant
[Ger m a n y]
There ain’t such a thing we
couldn’t figure out!
ra y M u n D Mø l l e r
Chef
[Den m a r k]
No, that’s NOT the smell of cake
Th e s Ta f f
Su S a n n e Br a n D t no n B o
Student manager
[Den m a r k]
I see you all as a part of my big,
extended family
an n e no r D e n h o F
PR & Communication
[Den m a r k]
I’m sorry for always nagging you for articles,
photos and evaluations
Je S p e r Za r t pa p i l i o
Chef
[Den m a r k]
Breakfast ended an hour ago

lo n e pa u l S e n
Matron
Take a look in our room and see if there is
something you can use for your film
[Den m a r k] [Den m a r k]
Da n i e l ro S e n
College Assistant
[C a n a D a]
Keep making mistakes.
They’re fun and you learn from ’em
co n n i e St een
Matron
[Den m a r k]
Tidy up your room and clean your bathroom
– we’ll be back.
ale x Kr o g h SørenSen
Technician
I’m very nice and friendly, as long as you
return the equipment on time.
#89
sta f f||fi n a lCu t 2011

||William|Bryan|allaire||
|France||
||[amBiTion|is|The|paTh||
|To|success,|persisTence||
||is|The|vehicle||
||you|arrive|in]|||
efc2010/11
||Tyler|armsTrong||
|usa||
||[and|The|TurTles|oF|course,||
|||all|The|TurTles|are|Free,|
|||as|TurTles|and|mayBe||||
|||all|american|should|Be]||
||||(dr.|seuss)||||
||annie||Kilde||BajWa||
|denmarK||
||[This|is|The|WorsT||
|||||Food|day|ever]||

|||signe|cecilie|Balslev|
jørgensen|FasTing
|denmarK||
|||[Fusion]|||||||
||chrisTian|
BengTson|nielsen||
|denmarK||
||[Today|is|The|FirsT|day||
|||oF|The|resT|oF|my|liFe]||
efc2010/11
||vicTor|alexander||
||||Berg||||||
|denmarK||
||[i|alWays|Tell|The|TruTh.
|||even|When|i|lie]|||
#91
st u d e n t s o f 2010/11||fi n a lCu t 2011

||soFie|Therese|
|aKse|Bjørneng||
||||norWay||||
||[i|used|To|ThinK|as|i|looKed||
||There|musT|Be|Thousands|oF|||
||dreaming|oF|Becoming|a|
||movie|sTar.|BuT|i’m|noT|going||
|||To|Worry|aBouT|Them.|
|i’m|dreaming|The|hardesT]|||
#92
|aT|The|hollyWood|nighT:|||
||girls|siTTing|alone|liKe|me,||
fi n a lCu t 2011||s t u d e n t s o f 2010/11
efc2010/11
||emil|BlichFeldT
|sørensen||
||[i|jusT|had|a|dream||
|aBouT|shooTing|a|||
|denmarK||
|dWarF|in|The|Face|WiTh||
||a|Tranquilizer|gun]||
||diTTe|andersen|
|||||Bohr||
||[Buuurp!|ThaT|Was|me!|
|||||..|sorry|Frida]|||
|denmarK||

||alexander|BoecKx|
||Belgium||
|||[omega-drei]|||
||[gi’|mig|nu|Bare||
||marTin|jarssKov|
|||Bodilsen|||
|denmarK||
|||eT|regnearK”|||
|(jusT|give|me|
an|excelsheeT)]||
efc2010/11
||marcus|lindgaard|
|||||BreiTensTein||||
||[There|can|Be|no||
||siTuaTion|in|liFe|in||
||Which|The|conversaTion|
||oF|my|dear|sisTer|Will||
|noT|adminisTer|some||
||iTaly/denmarK||
||||comForT|To|me]|||||

|||[liFe|is|TWo-riFFic||
||WiTh|TWins]|||||
||iTaly/denmarK||
||maria|lindgaard||
|||BreiTensTein||
#94
fi n a lCu t 2011||s t u d e n t s o f 2010/11
|||marie|louise|||
|rouTh|hersKind|||
||[i’m|your|p.m.,||
|denmarK||
||i’m|Tellin’|ya’,|||
||eaT|soup]||
||peTer|Bruus||
||[hey|guys,|i|BuilT|
|denmarK||
||a|green|screen]|||
|

|Kasper|vegeBerg||
|||chrisTiansen||
|denmarK||
||[my|quoTe|is|The|same||
||as|soFie’s]||
||[no|money,|
|||no|help.|||
||i’m|noT|god!]||
||porTugal||
||joao|casTro|e|melo|
||saraiva|caldeira||
||morTen|WinTher|
chrisTensen||
|denmarK||
||[øøh,|There’s|no||sound]||

||nis|Fredslund||
|||chrisTiansen||
|denmarK||
||[Fuglsang|Beer|rocKs!]||
efc2010/11
|||johanne|marie||
||danielsen|hansen|
|denmarK||
||[i|jusT|can’T|TaKe|The||
|responsiBiliTy!”|reply:||
|||responsiBiliTy?|
||”The|hypoTheTical||
||||responsiBiliTy!”]|||
||dmiTri|vladimirovich||
||douBrovsKi||
|denmarK||
||BuT|you|didn’T|have|any||| ||[mayBe|you||
||should|direcT|
||||||This?]|||

||james|anders|duncan||
|denmarK||
||[hoW|can|my|liTTle|hearT||
|conTain|all|ThaT|pain||
|–|your|eyes|are|even||
||smaller|and|yeT|They|
||can|see|The|Whole|World]|||
||BrigiT|dyhr|olesen||
||[Bun|||||||||||]||
aparTe|
|denmarK||
||||jaKoB|ehlers||||
|denmarK||
||[never|douBT|ThaT|a
|small|group|oF||
||ThoughTFul|commiTTed||
||ciTizens|can|change||
|The|World,|indeed|iT’s||
|||The|only|Thing|
|||||||ThaT|ever|has]||
#97
st u d e n t s o f 2010/11||fi n a lCu t 2011

||oliver|eid|||
|usa||
||[everyThing|is|BeTTer||
#98
||in|america]||
fi n a lCu t 2011||s t u d e n t s o f 2010/11
||sarah|daisy||
||ellersdorFer|||
||[i|emBraced|my|||
|germany||
||inner|darKness]||
|norWay||
||KrisToFFer|endresen||
||[no|one|rememBers||||
||WhaT|i|say,|everyone||
|||rememBers|WhaT|i|do?]||

||morTen|FlyTKjær||
|nesse||
||[damn|Those||
||TalKing|chipmunKs!|||
|damn|’em|To|hell]||
|norWay||
efc2010/11
||Kamil|dossar|FranKo||
|denmarK||
||[looK|aT|The|sKiiieess|man!]||
||amnon|Friedman||
||[all|This|poliTeness|||
||is|Killing|me!]||
|germany||
#99
st u d e n t s o f 2010/11||fi n a lCu t 2011

|denmarK||
||nicKlas|Frisch||
||[omg…
|||incepTion…|
||Bam|Bam!]||
efc2010/11
|||greece||||
||arisTeides|georgiou||
||[viTamin|c...|huh?|
|||||hello,|hello,||
||i’m|a|greeK|lover|||
|and|i|love|you|so]||
||Kora|helene|||
|germany||
||gerdes|chrisTensen|
||[i’m|Boooooorrrrreeeed!...]||

||liselli|grunWal||
||[jacKass!]||
|||France|||
||[oh!|i’m|so|happy]|||
|[morning!]||
||miKKel|BirKholm||
|grønnemose||
|denmarK||
||[does|anyBody|WanT|
||maThias|navneeT|gørup||
|denmarK||
||[horses|give|us||
|||some|apple?]|| ||The|Wings|ThaT|We|lacK]||
#101
st u d e n t s o f 2010/11||fi n a lCu t 2011

||jeppe|hansen||
|denmarK||
||[ronja,|are|you|sure||
||you|should|have||
||anoTher|piece|oF|caKe?]||
#102
fi n a lCu t 2011||s t u d e n t s o f 2010/11
|denmarK||
||rasmus|hejse|hansen||
||[champ!]||||
efc2010/11
|||||japan||||
||shiori|hashimoTo||
||[liKe|sand|Through|
The||hour|glass,|
so|are|The|days|oF|||
||our|lives]||

||moriTz|hauThaler||
||[my|counTry|looKs|
||liKe||a|chicKen]||
|||ausTria||
||[mao]||
|denmarK|| |denmarK||
||pelle|hegelund||||joseFine|gervang|||
||[iF|an|idea|is|
||really|good,||
||iT’s|on|The|verge|||
|||||oF|Being|sTupid]||
||heimBurger||
||[he|ThaT|has|piTy|on||
||The|poor,|lends|
||To|The|lord]|||
#103
st u d e n t s o f 2010/11||fi n a lCu t 2011

||Frida|sveen|hempel||
||[...i|liKe|Women|||
||BeTTer|When|They||
||are|oBjecTs...]||
#104
fi n a lCu t 2011||s t u d e n t s o f 2010/11
|norWay||
|denmarK||
||charloTTe|naThalie|
||BrodThagen||
||[ThaT’s|so|aWKWard!]||
||[don’T|judge|me||
||BeFore|you|KnoW|me]||
|norWay||
||lasse|holdhus||

||[schiess|dem|FensTer]||
||[mach|los]||
||johanna|hueBner||
efc2010/11
|germany||
||[They|call|him|Boss|...||
||Boss|nigger!|]||
|(Fred|Williamson|in||
||”Boss|nigger”|(1975)||
|denmarK||
||FrederiK|louis|hviid||
||[i|drinK,|ThereFore|i|am]||
|denmarK||
||Benjamin|høgh||
#105
st u d e n t s o f 2010/11||fi n a lCu t 2011

|denmarK||
||anders|ingemann||
||[my|liFe|is|a|siTcom]||
efc2010/11
|denmarK||
||mie|iversen||
||[johanna,|||
||you|Wanna||||
||play|BacKgammon?]||
||seBasTian|iversen|søgård|||
||[inspiraTion|may|Be|a|Form||
||BuT|i|am|sure|iT||
||is|The|anTi-Thesis|
|norWay||
||oF|super|consciousness|or||
|perhaps|oF|suB-consciousness|
|||ThoughT|-|i|Wouldn’T|KnoW.||
|oF|selF-|consciousness]|||

|denmarK||
||hasse|Bill|jensen||
||[When|The|World||
|says|”give|up”,|hope||
|Whispers|”Try|again|
|||one|more|Time”]||
|denmarK||
||ToBias|juhl|nielsen||
||[i|hope|ThaT|When|i||
||leave|This|room,||
||people|Will|asK:|||
||WhaT|did|he|say?]||
|denmarK||
||rasmus|jørgensen||
||[i|KnoW|ThaT|human||
||Beings|and|Fish||
|can|co-exisT||
|||peaceFully]||
#107
st u d e n t s o f 2010/11||fi n a lCu t 2011

||david|Kaiser||
||[you|can|Tell||
|denmarK||
||By|my|Tears,|i|Will||
||rememBer|iT|all]|||
#108
fi n a lCu t 2011||s t u d e n t s o f 2010/11
||rasmus||||
||Kornerup-nielsen||
|denmarK||
||[david!||||
||geT|ouT||
||oF|my|Frame!]||
||anders|havmøller|
|denmarK||
||[holy|jesus||||
|||laursen|||
|jumping|shiTBalls,||
|WhaT|The|FucK|is|up|
|WiTh|These|people!?]||
||[

|denmarK||
||naTascha|ramloW||
iF|We|do|iT,||
|lerche-jensen|||
|We|do|iT|all|The|Way]||
||[Why|WalK|When|||
||||you|can|run]|||
efc2010/11
|denmarK||
|||marie|limKilde|||
||[i|liKe|TurTles!!]||
|denmarK||
|||andreas||
||lindinger|saxild||
||[liFe|is|Full|oF|BeauTy,|
||noTice|iT,|
||noTice|The|BumBle|Bee,|
|||The|small|child,||
|The|smiling|Faces,|||||
|||||smell|The|rain|and||
||Feel|The|Wind]||
#109
st u d e n t s o f 2010/11||fi n a lCu t 2011

|denmarK|| |norWay||
||nicolai|michael||
||loK|hansen||
#110
||[clicK!]|||
fi n a lCu t 2011||s t u d e n t s o f 2010/11
||øyvind|svanes|||
||lunde||||
|norWay||
||[Who’re|you|gonna|call?||
||plague|docTor|]||
||haaKon|laasTad||
||[hug!]|||
|||[high|Five!]|||

||mario|macedo||
|porTugal||
||[For|real,|dude?|For|real?||
||i|have|a|ToTal|menTal|
||diarrhea|noW.]||
||[FucKing|daavid|schWeeemer!!|
||||For|real?]||||
|denmarK||
||FrederiK|severin|| ||david|roBerT|manu||
||manFord-chrisTiansen||
||[are|you|WaTching|closely]||
efc2010/11
|ausTralia||
||[TaK|For|sKo]||
||[King|oF|The|Beach]||
||[TomorroW|is|sT.|paTricK’s|day]||
#111
st u d e n t s o f 2010/11||fi n a lCu t 2011

||paTricK|marcher||
||[iT’s|all|Been|said|||
|denmarK||
||and|done,|iT’s|real|and||
||iT|has|Been|Fun]||
efc2010/11
#112
fi n a lCu t 2011||s t u d e n t s o f 2010/11
||niKlas||
|denmarK||
||morgensTjerne|
|ploug|||
||[yesTerday’s|Weirdness|
||is|TomorroW’s|reason||
||||Why.]||||
|norWay||
||Benjamin|mosli|||
||[i|shoT|FirsT|Time||
|||on|red|on|my|
||18Th|BirThday.]|||

||[iT’s|nice!]|||
|sWeden||
||sophia|axelina|||
||amalia|mörner||
||per|alBin||
||jonaThan|neugeBauer|
||[i’ve|Been|called||
|generaTion,|||
||i’m|ThaT|good]|||
|sWeden||
|norWay||
||maTs|andreas|nielsen|
|The|songBird|oF|my||||[The|eagle|never||
|losT|so|much|Time|as|
|When|he|suBmiTTed|To|
||learn|From|The|croW]||
#113
st u d e n t s o f 2010/11||fi n a lCu t 2011

|micKi|sTolTT|nielsen||
||[iF|you|have|any|limiTs,|||
#114
|BreaK|em’|doWn!]||
fi n a lCu t 2011||s t u d e n t s o f 2010/11
|denmarK||
|denmarK||
||mie-maj|nørgaard||
||[dude!|ThaT’s|Weird!]||
|greenland||
|||ilannguaq||||
||peTrussen|
||[i|see|myselF]|

||Tim|pFeiFFer|||
|||ausTria||
||[deaTh|is|lemon|coloured||
||and|TasTes|oF|cream]||
||(The|hairdresser’s|husBand)|
efc2010/11
|sWeden||
||jimmy|randrup||
||[i’m|going|home||
||This|WeeKend]||
||[love|is|liKe|a|BuTTerFly,|
|||hold|iT|Too|TighT||
||and|iT|Will|die.|||
|hold|iT|Too|loose||
|and|iT|Will|Fly|aWay]|||
|croaTia||
|||peTar|raTKovic||
#115
st u d e n t s o f 2010/11||fi n a lCu t 2011

||jesse|riviere||
||[sophie,||
||your|Turns||
#116
||Were|greaT]||
fi n a lCu t 2011||s t u d e n t s o f 2010/11
|canada||
||[he|Was|a|sKaTer|Boy|
||she|said|see|ya|laTer|Boy.|
||he|Wasn’T|good|enough|For|
||her.|she|had|a|preTTy|Face||
||BuT|her|head|Was|up|in||
||BacK|doWn|To|earTh.]||
||space.|she|needed|To|come||
||Filip|romac||
|croaTia||
||chrisTina|ruloFF||
||[Tramps|liKe|us,|
||BaBy|We|Were|Born||
|To|run]||
|sWiTzerland|
|(Bruce|springsTeen)|

||sara|samsøe||
||moghaddas||
||[i|don’T|liKe|deFining||
||myselF,|i|jusT|am]||
efc2010/11
|denmarK||
|japan||
||KyoKo|saWada||
||[The|inTerpreTaTion|oF||
||dreams|is|The|royal|road|
|To|a|KnoWledge|oF|The||
|unconscious|acTiviTies|
||||oF|The|mind]|||
||ronja|elsa|lena||
||schisTeK|
|austria||
||[Who|are|you|and|WhaT||
||are|you|doing|here?]||
#117
st u d e n t s o f 2010/11||fi n a lCu t 2011

||alexander|schulTz||
||[i|Feel|liKe|a|unicorn,|
||hovering|aBove|my||
||oWn|Body]||
#118
|sWeden||
fi n a lCu t 2011||s t u d e n t s o f 2010/11
|josua|leo|severin||
||[i|Feel|liKe||
||a|hoT|poTaTo]||
|denmarK||
||hallKaWT|shariF||
||[once|you|choose|hope,||
||anyThing|is|possiBle]||
|norWay||

|india||
||aKshay|singh||
||[i’m|a|playa|WiTh||
|||a|gheTTo|Flava]||
||pauline|vicToria||
||hoFmann|sKalTs||
||[iF|iT’s|noT|hard,|
efc2010/11
|denmarK||
||iT’s|noT|WorTh|doing]||
||[Keep|aWay|From||
|Those|Who|Will|Try|
||To|BeliTTle|your||
||amBiTions,|small|
||people|alWays|
||do|ThaT]||
|denmarK||
||FrederiK|sKov||
#119
st u d e n t s o f 2010/11||fi n a lCu t 2011

efc2010/11
|denmarK||
||andreas|sommer||
#120
||||Kjærgaard||
||[i’m|WorKing...]||
fi n a lCu t 2011||s t u d e n t s o f 2010/11
|denmarK||
||marco|sTolTze||
||[you|laugh|aT|me||
|Because|i|am|diFFerenT,||
|i|laugh|aT|you|Because||
|you|are|all|The|same]||
|norWay||
||amalie|sunnBy||
||[you|maKe|me|Wanna||
|say|mean|Things,||
||i’m|usually|nice]|||

||adrian|særsTen||
||[halla|på|dæ]||
|norWay||
|denmarK||
||cæcilie|KaTrine||
||søndBerg|hollensen||
||[BaBies|are|sWeeT||
|||and|nice]|||
|germany||
||adrian|(johannes)||
||TeTzlaFF|||
||[i|am|a|FilmmaKer,||
||i|don’T|have||
|||any|imaginaTion!|]||
#121
st u d e n t s o f 2010/11||fi n a lCu t 2011

||denmarK||
||Tenna|Theodorsen||
||[plasTic|FanTasTic]||
efc2010/11
#122
fi n a lCu t 2011||s t u d e n t s o f 2010/11
||vieTnam||
||Tuan|minh|Tran||
||[is|iT|in|Focus?]||
|shira|(clara)|Tsuria
||hungary/israel|
||[WiThouT|order||
|noThing|can|exisT|||
|-|WiThouT|chaos||
||noThing|can|evolve.]||

||denmarK||
||[i’m|noT|BlacK!]||
||adam|FlensBorg|
||Tværgård||
||sascha|valBjørn|nielsen||
||denmarK||
||”don’T|haTe|me|Because||
||i’m|BeauTiFul,|haTe|me||
||Because|your|BoyFriend||
||ThinKs|i|am”||
|norWay||
efc2010/11
||[|leT’s|Build||
||ThaT|shiT]||
||KrisTian|vesTBy||
#123
st u d e n t s o f 2010/11||fi n a lCu t 2011

||Tarjei|vågane|TandsTad||
||norWay||
||[science|may|have|Found||
||a|cure|For|mosT|evils,|BuT||
||iT|has|Found|no|remedy|For||
||The|WorsT|oF|Them|all|-|The||
||apaThy|oF|human|Beings]||
||marTina|gunilla|WeiBull||
||sWeden|||
||[Where|are|my|oiled|||
|in|grape|Boys?]||
|lasse|WinTher|jensen||
||denmarK||
||[To|Be|and||
||||noT|To|Be]||
efc2010/11

||||jens|WulFF||
||denmarK||
||[KurWa]|||
||georgi|yordanov||
||Bulgaria||
||[WiTh|my|Body|
||and|your|Brain,||
||We|can|succeed|in||
|||To|hollyWood]||
||simon|romano||
||Wind|zamBiasi|||||
||denmarK||
||[reach|For|The|moon,||
||iF|you|miss,|aTleasT|||
||you|Will|Be|among||
||The|sTars]|||||
#125
st u d e n t s o f 2010/11||fi n a lCu t 2011

#126
fi n a lCu t 2011|| [ 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
[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 2011

design and layout:
Lotte holm jensen, Damborg Graphic
www.damborg-graphic.dk
Editor:
Anne Nordenhof
Coordinators of student portraits:
Martina Gunilla Weibull
Annie Kilde Bajwa
Simon Zambiasi
Kora Helene Gerdes Christensen
Nicolai Lok Hansen
Photographers:
Nicolai Lok Hansen
Martin Jarsskov Bodilsen
Jens Wulff
Kora Helene Gerdes Christensen
Øyvind Svanes Lunde
Petru Maier
Petar Ratkovic
European film college
carl th. dreyers vej 1
dk-8400 ebeltoft
denmark
Phone: +45 8634 0055
Email: info@europeanfilmcollege.com
www.europeanfilmcollege.com
Print:
Kolind Bogtryk, www.kbtryk.dk
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 2011

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 2011