How film professionals perceive the film?

Read the interview with the members of International expert jury for feature films for children and youth.

Rasko Miljkovic

1. What is the last film you’ve seen that made you laugh or cry out loud?

I think the last film that made me laugh out loud was SPIDERMAN: INTO THE SPIDER VERSE. Such a perfect blend of action, comedy and emotional drama. As for a film that made me cry, well I’m not sure. I cry every time I watch BRAVEHEART, does that count?

 

2. Which new tendency in children’s film do you find particularly interesting?

I think filmmakers are getting more bold when choosing complex subject matters for children’s films. I absolutely support this, I think we have to use film to open up certain tough subjects in the perception of our young audience. Less and less children’s films are being dumbed down out of fear that kids might not understand something.

 

3. Imagine you were a festival programmer with a 100% carte blanche – no budgetary limitations and sold out theatres guaranteed whether films are old or new… Which titles would you definitely put on your programme?

Ouch, what a very tough question. Maybe three very different but excellent films. STAND BY ME by Rob Reiner (1986), OLDBOY by Park Chan-wook (2003) and ROAD TO PERDITION by Sam Mendes (2002), which is also my favourite comic book adaptation. These might seem quite random titles, but it’s super hard to pick only three, and I think that with these very different films everyone at the festival could find something they like.

 

4. When did you realize the young audience was smarter than you expected?

I expected them to be very smart, but then they even went beyond my expectations. The point of view and very specific complexity of some of the questions from the kids were just mind boggling. I don’t think an adult could think the same way kids do.

 

5. Could you imagine yourself having a parallel career? If you didn’t end up working with cinema, which kind of career would you imagine for yourself?

That’s easy! When I’m not filming, I play music. So I guess I would be a full time drummer!

 

6. Who’s your favourite character in film history? If you were an actor, which role would you have liked to play?

It’s a draw between Indiana Jones and Walter Sobchak (THE BIG LEBOWSKI). One is my childhood hero, the other I imagine would be very much fun to play. But I wouldn’t play either of them. I’m a terrible actor and I wouldn’t want to ruin the spectacular original performances.

 

7. Young people are currently the driving force behind a worldwide protest movement about climate, social conditions, etc. Is it our duty to give them a voice in our work? Why / how?

For sure! They are the only hope and glimmer of light capable of unscrewing the situation that the past generations have put us into. It’s amazing how only the young have measured the seriousness of this situation and are willing to fight it. We have to use our medium to spread their message but also their energy. Maybe in a feature film about the eco-heroes of this new generation.

 

8. You visited the Zlin Festival last year already. Any particular impressions or memories you want to share with us?

Zlin was the first time I walked into a FULL theatre of kids, and it was huge! I remember about 500 kids watching my film, reacting to the protagonists, cheering them on in dire situations. It reminded me of what film can be in the eyes of children, how powerful it can get. But also the entire town turning into a festival ground, both becoming one entity, I haven’t seen that anywhere else!

 

Floor van Spaendonck

1. What is the last film you’ve seen that made you laugh or cry out loud?

Yesterday I watched the classic TOTORO by Hayao Miyazaki again, with my 6-years-old niece. Although the film feels a bit slow in these fast times, it moved us both. When Totoro and his ‘gang’ make the plants grow, or when I see those family scenes in the hospital, I am deeply moved. 

 

2. Which new tendency in children’s film do you find particularly interesting?

I see many live-action remakes of classic children’s films and find it interesting and a bit disappointing how they seem to focus on a more adult audience. In children’s film I see social media often involved in the script or the film-making process. It might still need some stronger development on the artistic level, but it is surely interesting.

 

3. Imagine you were a festival programmer with a 100% carte blanche – no budgetary limitations and sold out theatres guaranteed whether films are old or new… Which titles would you definitely put on your programme?

I would programme:

- E.T. by Steven Spielberg, USA, 1982

- THE LITTLE GANGSTER (aka DE BOSKAMPI’S) by Arne Toonen, the Netherlands, 2015

- SPIRITED AWAY by Hayao Miyazaki, Japan, 2001

 

4. When did you realize the young audience was smarter than you expected?

During my training as a teacher I learned that children are not to be underestimated and that the learning curve is very steep. 

 

5. Could you imagine yourself having a parallel career? If you didn’t end up working with cinema, which kind of career would you imagine for yourself?

I would imagine myself working in the arts again, or in a flower shop. 

 

6. Who’s your favourite character in film history? If you were an actress, which role would you have liked to play?

I like characters who inspire others. In this context I would have loved to be Dorothy in THE WIZARD OF OZ . 

 

7. Young people are currently the driving force behind a worldwide protest movement about climate, social conditions, etc. Is it our duty to give them a voice in our work? Why / how?

So inspiring! Definitely! Children who are giving so much for their future should be heard. We should be giving them a platform, working along with them.

 

8. From your own professional background, what surprised or charmed you most when entering the world of children's film? 

I am very much charmed by the endless energy and good spirits I am meeting in this field. Not only because I met so many professionals with strong artistic ideas, but apparently working for / with children seems to attract a lot of goodhearted people with a strong sense of morality.

 

Petr Oukropec

1. What is the last film you’ve seen that made you laugh or cry out loud?

ISLE OF DOGS by Wes Anderson.

 

2. Which new tendency in children’s film do you find particularly interesting?

There’s a lot of new documentaries made for and about children, about a variety of contemporary topics.

 

3. Imagine you were a festival programmer with a 100% carte blanche – no budgetary limitations and sold out theatres guaranteed whether films are old or new… Which titles would you definitely put on your programme?

I would go for Czech Classics: HOW TO SHOOT ROSEMARIES (original title: LIŠÁCI, MYŠÁCI A ŠIBENIČÁK) by Věra Plívová Śimková, THE STOLEN AIRSHIP (original title: UKRADENÁ VZDUCHOLOĎ) by Karel Zeman and LONG LIVE THE REPUBLIC (original title: AŤ ŽIJE REPUBLIKA) by Karel Kachyňa.

 

4. When did you realize the young audience was smarter than you expected?

I never underestimated the young audience. In my world children are more clever than adults, and their questions are always clear and direct.

 

5. Could you imagine yourself having a parallel career? If you didn’t end up working with cinema, which kind of career would you imagine for yourself?

I like to work in theatre or with live performances, but I can easily imagine myself as a farmer or a gardener.

 

6. Who’s your favourite character in film history? If you were an actor, which role would you have liked to play?

It’s a dream to play any of the supporting children’s roles in WAR OF THE BUTTONS (LA GUERRE DES BOUTONS) by Yves Robert.

 

7. Young people are currently the driving force behind a worldwide protest movement about climate, social conditions, etc. Is it our duty to give them a voice in our work? Why / how?

First we have to pay them our great respect. And then we have to make decisions, fast, thinking clear like children, to save our nature and our planet for the future.

 

8. What is your absolute dream project you'd love to make for a Czech or international audience? 

A big feature animation for all generations, based on the Czech classic book ‘Klapzuba Eleven’ about a family with 11 sons, starting a successful football team.

 

 Zhou Xiaojuan

1. What is the last film you’ve seen that made you laugh or cry out loud?

A STAR IS BORN. 

 

2. Which new tendency in children’s film do you find particularly interesting?

In Europe, there is a strong interest in making animation films. Well, why not? However, to tell real life stories is also important. Films that grew to become classics were not made to follow trends. 

3. Imagine you were a festival programmer with a 100% carte blanche – no budgetary limitations and sold out theatres guaranteed whether films are old or new… Which titles would you definitely put on your programme?

I can tell you about my all-time-top-3-children’s-films: KING OF MASKS (by Wu Tianming, China), MISS MINOES (by Vincent Bal, the Netherlands) and THE SOUND OF MUSIC (by Robert Wise, USA). However, they may not be my top choices for a festival. If I have the carte blanche to programme a festival for kids, I would love to put food on the table - all the good films that talk about food (or the lack of it) + grand chefs for kids + brunch for kids. Maybe we should have a Kids Can Cook competition in conjunction with the festival! Kids from around the world cook for local kids and for one another! To eat well is so important for the growth of our kids. So, this festival will not only look great on the screen, but also smell delicious off screen! 

 

4. When did you realize the young audience was smarter than you expected?

I do not think that there has been such a wakening moment. I did not and still do not expect adults to be smarter than kids (well, not all the time). Time and again kids have proven to be more innovative and original. What ’seniors’ like myself can do, is to help them execute their good ideas.  

 

5. Could you imagine yourself having a parallel career? If you didn’t end up working with cinema, which kind of career would you imagine for yourself?

I have imagined moonlighting as a writer for kids, but so far that has not been realised. If I did not work in cinema, I might have become a lawyer or a fashion magazine editor/critic. 

 

6. Who’s your favourite character in film history? If you were an actress, which role would you have liked to play?

Maria in THE SOUND OF MUSIC. If I had the talent of Julie Andrews, yes, I would have loved to play this role, but am glad that she did it! 

 

7. Young people are currently the driving force behind a worldwide protest movement about climate, social conditions, etc. Is it our duty to give them a voice in our work? Why / how?

I assume that we have no choice, if we wish to tell their stories! Message or not, films have to be well crafted and entertaining. If not, any good intention will be lost as you will find no audience.

8. As an international expert, you've been in contact with children's film culture around the world. Any striking differences or similarities about your experience in different countries or regions?

From Berlin to Mumbai, from Beijing to Amsterdam, from Buenos Aires to Vancouver, from Seoul to Kristiansand, kids are kids all over the world. They are open minded, welcoming films of all shapes and colours! The differences may exist in age groups. A film for 10-year-olds in Sweden may only be appropriate for a 14-16-year-old in some parts of Asia or Latin America. However, kids in developing countries may be more mature in some aspects of life, such as taking care of their family, respecting others, or even war or death. Festivals are a great venue where kids can be exposed to the fictionalized version of another kid’s life in a faraway country/culture. Not just be exposed, but also arouse their curiosity and provoke their thinking. Seeds are planted gradually, which may grow as the kids grow up, travel and gain life experience.