by Louise H. Johansen

What inspires you to write your stories? 
I'm somehow fascinated with manipulation. How people communicate and manipulate each other and how society manipulates its people. With Tambylles I was fascinated by the manipulation of the form – fiction versus documentary. With my new film, I am more curious about manipulation in a physical and psychological sense. You look at themes, and then you build your story around it. Of course, my personal experiences in life and relationships. Of moving away, studying abroad, and starting a new life. I'm curious about coming-of-age stories, about first loves, and last loves.

Who has been an inspiration to you in your cinematic work?
Research is very important for me; I have to read everything. I wrote my thesis about Peter Watkins, the British film and TV director and his term "the monoform". I was always curious about his films, (like The War Game, 1965, Punishment Park, 1971) and how he works with both documentary style, fiction filmmaking and his way of working with actors, so he inspired me a lot. The result was my graduation film.
Also, Philip Zimbardo's book about evilness and his experiment in the Stanford prison has meant a lot to my process. The tree is very wide, and I make notes about everything.

What does cinema and film mean to you – not only as a writer and director but as a programmer and cinephile?
When I was a teenager I watched a lot of films and listened to a lot of music and I felt like when it came to the combination of visuals and audio... there is nothing like the film. You cannot beat it!
The reason why we watch films and read books and talk to each other is mainly that we want to know how to live. You are curious about how other people deal with their lives. You talk to people, you listen, and you observe. Film comes with stories, and that's the main reason why we tell stories. I however don't think films are about stories alone. If I wanted to tell you the story of my film, I could tell you everything in 15 minutes. But the film is an hour and a half long, so that tells me that film is about something else, or more, than just the story."

The visual side of filmmaking seems to hold a special place in your heart – how do you work with your locations?
I would love to write a story that takes place in only one location, that would be great. But, unfortunately, I like new places, and to take the audience to new places, and I think that's what filmmaking is about. To take people to places they are not able to go by themselves. I love location scouting and I like to be on the location during the shooting. I chose the locations as if they were actors. It's a gut feeling! And then you try to find the right time for that location – you wait for the right position of the sun.

Michal Hogenauer, born 1984 in Prague. Background in Graphic Design and Photography at the Academy of Fine Arts in Norway Studied at FAMU, and graduated with Tambylles in 2012. Works as Artistic Director at Prague's Febiofest. Outside is his first feature, produced by Negativ Film Productions