Watching motion pictures from earliest stages in life creates impressions that later shape the consciousness. In order to support her theory and interpretation of film as a fun educational tool, the Parisian showed several clips in which she presented film festival intended for children under 18 months of age. In order for such an idea to stay afloat, it is important that the society has the culture that supports the concept and understands the power of film, which is not the case for the majority of European countries, especially Germany – these are the words of Albert Wiederspiel, German film professional sitting in the audience. Within her master class, Laurence introduced the audience with two very interesting festivals she has been working on: “State of the World” – a festival focused on the connection between film and politics, and “Mash Up Film Festival” – based on recycling of old materials and making a; new film with adding music and special guidelines, the so called “making a film without a camera”. The director of Forum des Images concluded her lecture with advice to young authors, to use film as means of expression of what lies inside, not as means for achieving material gain and glory.
The famous Slovenian director Jan Cvitkovič took the stage at the same location, at 18h. In just over 45 minutes he tried to explain what inspires him and where he finds ideas for his films. Cvitkovič said that to him all stages of filmmaking present a very natural process, and by screening his two short films, tried to convey to the audience what he couldn’t describe through words.
The main guest of the festival, Andreas Dresen concluded the programme of the first day of the Cinema Now Live Academy. In Arena Cineplex, Hall 3, after the screening of his film “Stopped on Track” he shared with the audience what is required for making a quality film. In an informal interview with Dubravka Lakić he stated that to him filmography is a place for existential stories and that he, as an author, identifies with each and every one. To a question as to why he makes hard emotional dramas, Dresen said that life is always a mixture of humor and tragedy and that reality serves as a tool for creating deep emotional connection between audience and characters they meet in his films. Before the more casual part of the lecture when he talked with fans and young filmmakers in front of the cinema hall, Dresen added that the biggest part of filmmaking is improvisation, casual exploration as to what comes next in the story, its direction, as well as trust you build with members of your film crew.