I would say my parents didn’t interfere ;) For a long time, I thought I would study law and defend innocent people in court, so the sudden turn to directing was a surprise to everyone. In my home, high culture was not present, so to this day, every one wonders “where did this come from.” I simply understood that history and dates are not my thing! To be honest, since I was little, I have always been looking for a means of expression for my inner world. I always heard that I should do what brings me joy, and that is probably the best thing parents could say to a lost teenager entering adult life. I went to film school at the age of nineteen, and since then, I’ve been consistently walking my path.
You have chosen to direct only short films. It has been said by some that the major difference between shorts and features is the plot structure. Would you agree? Take me through your process of determining what stays in the script, and also, the advantages of producing these short segments.
While in film school, as part of my coursework, I had to shoot short films every year, and I still considered it an incredibly challenging form. A feature film has the advantage of time: it allows for the development of relationships, a better understanding of the protagonist, whom we then either root for or despise. In short films, everything is condensed. You have to be very precise in choosing scenes and words, as each one can be worth its weight in gold. The difficulty in transitioning from short to feature-length films lies in filling the second act with the circumstances the protagonist must face. The attractiveness of these obstacles and how our protagonist handles them will determine whether we can maintain the viewer’s attention. However, the structure remains the same: we must describe the world in which we will navigate, put the protagonist in a situation that disrupts this world, and allow them to rearrange the puzzle pieces anew.
As I have never been to Poland before, share a bit about life in this country. Also, I have heard the film industry there attracts audiences in the millions. Can you share your thoughts on why you feel this country is crushing it in theaters?
Poland is a country of contrasts. On one hand, people seek rapid development and access to all the goods offered by developed western countries. At the same time, they regularly experience the influence of eastern, very conservative thinking. It is hard to escape from this, especially in the current political situation, both on the border with Belarus and in the vicinity of Ukraine, which is struggling with Russia’s aggression. I believe that as Poles, we are constantly seeking our own balance, our autonomy, and from my perspective, this change is in the air. There is strength in the people, and we have shown it in recent years (at least a few times) by taking to the streets in the fight for a better tomorrow.
This change is also felt in cinema. Filmmakers are making increasingly bold films, and viewers are opening up to them. There is a hunger for something new. After many years dominated in cinemas solely by romantic comedies and martyrdom, a new generation is challenging this: they are addressing current issues, proposing genre cinema that is fresh and contemporary. It’s very heartening – truly a film world that I also want to be a part of co-creating.
What sort of influence do you hope to have on those who see your movies?
Above all, I would like the viewer, after seeing my film, to have a chance to pause for a moment. In my work. I always prioritize the individual and their inner life; the world that is incredibly rich and, at the same time, hidden from plain view. Through cinematic tools of expression, I am able to delve into that space, and that is the space that interests me the most. If someone, even for a moment, while looking at another person, stops and imagines that there are just as many things going on in their head, and as a result, becomes more understanding, that will be my greatest success.
Our discussion of her film, Lili:
Your film, Lili, was finished with the support of the Polish Film Institute. Explain how you were able to solidify their participation. Further, can you offer to other filmmakers a few ways to secure funding - as this seems to be the #1 struggle for all of you.
This film premiered at the Santa Barbara Film Festival, which marked both the end and the beginning of a certain journey for me. I worked on this film for six years, and I saw this first screening as a reward for patience. I could not have dreamt of a better reward - it was my first visit to the United States. Yet, it was just the beginning of the film’s life, and now it’s in the audience’s hands.
The extended production time had several reasons: it is an observational film, and it was difficult to decide at which point to stop following Lili - especially since my protagonist lives in Norway, and I live in Poland. I visited them regularly, but a lot happened between our meetings. Fortunately, without revealing too much, life brought many unexpected changes that we managed to tell in the film, and they allowed me to construct a clear narrative structure. Also, we struggled for a longtime with financing difficulties. Thereafter, the pandemic happened. The Polish Film Institute supported us at the development stage, which was an important step in the film’s production, but it was just the beginning. I think during the entire financing process, you need to have nerves of steel!
For filmmakers from outside Poland, I would advise that the Polish Film Institute offers a 30% cash rebate scheme. An applicant needs to have a Polish partner or company registered in Poland and pass the cultural qualification test, but it might be a very attractive option for co-production.
The film itself offers us a look into the life of a small child who is being shared between two parents. She presents herself as sad, frustrated, angry and also - very smart about her surroundings. Can you share with us how being on camera affected this little lady, and moreover, did it seem as if this project helped her little heart to mend?
Above all, I believe that among all the people in this constellation, Lili is the most mature. She tries very hard to find herself in a changing family situation, which despite her parent’s efforts to maintain a sense of normalcy, must affect her. Like all of us, she experiences various emotions- only she is not afraid to express them.
It was amazing how quickly Lili adapted to the presence of the camera. In fact, after just a few days, she began to ignore us. This would happen, even though at times we were right by her side. When we finished filming, she told me that maybe she would like to become an actress, and it seems that it is my fault...
However, to be serious: at this moment, I do not feel like the film has influenced her life. I think this recording, this family chronicle that I managed to capture, will have its time when Lili grows up. Today, it is primarily an adventure that lasted a significant part of her childhood. Although both she and her parents often doubted whether I would be able to finish our film, I consistently pushed forward step by step - and here it is!
I note that some of the things within the film are a bit unconventional. For instance, family members (and one being a child) typically do not hitchhike together simply because of the dangers involved. For a gal her age, she has great curiosity about adult matters, i.e. her period, what babies in the womb do, relationships, etc. Is this culture specific behavior? Further, her father’s sense of adventure does not always match that of Lili’s - was there much pushing and prodding behind the scenes for her to do these deeds?
Unconventional for us, completely ordinary for them. I do agree that most people react similarly: Hitchhiking with a little girl?! Madness!”. In one of the Facebook groups, I saw a post about a father hitchhiking from Savanger to Nordkapp with his seven-year-old daughter and looking for accommodations along the way. Out of curiosity, I checked the distance, and it turned out to be 2500km one way. In abstract - I hitchhiked only once, 60km, and I was very proud of myself. I was looking for a topic for a film, so I immediately wrote to him. This is actually how we met. It quickly turned out that for them, it is a normal way to spend their free time: being in nature, climbing, camping, bonfires. Tomek is a globetrotter who has hitchhiked around the world, and he infects people around him with his passion. Norway certainly encourages this lifestyle - the richness of nature and its accessibility motivate for activity.
Lili absorbs her dad’s hobbies, and although she is not always on board with his proposals, I don’t know another girl who would pitch a tent at such a pace and with such enthusiasm! Nothing was forced in my film - they had a great time, but it was also difficult at times, yet there was never any pressure. For example, in one scene, climbing ends in tears, and although I felt stressed, fifteen minutes later Lili climbed the mountain again - because she wanted to do so. She is an incredibly resolute girl who, despite her apparent fragility, has a lot of courage and curiosity. Her dad helps her realize it, even agreeing to answer a barrage of questions. For Tomek, often despite the discomfort - there are no questions that are too difficult.
One would assume by the title that the film is about this child’s adaptation to the consequences of divorce. However, is it really not all about the transition being made by all family members?
This is a film about both an internal and external journey. Each of the characters must embark on their own to continue constructing their lives, regardless of how the constellation of people around them changes. Lili’s perspective is the most attractive for conducting this story.
I won’t give it away, but the end line of the film is spectacular - as was “the view has a price.” As you are the writer, I have to ask - how much was actually put on paper versus allowing participants to be filmed freely and without guidance?
I will reveal a secret to you. This film did not have a script. I mean - I wrote a script for the first version, the one in which I thought I would embark on the journey to Nordkapp with Lili and Tomek. However, that did not happen, and life decided to surprise me time and time again. I had no choice - I had to let it flow. Today, I am very happy about it because I believe that this honesty shines through the screen.
Beyond that point, Lili was, I would say “un-directable”. She herself provoked conversations and situations. All I could do was to be there and patiently observe.
Where can folks find this film, and what else are you working on that we can expect to see this year?
By the end of the year, the film will appear on the platform of our main co-producer, Canal+. Currently, I am working on my feature film debut and have started shooting a mockumentary about Christine Granville - a Polish spy who was the prototype for James Bond’s character.
Learn more about Sylwia at: hi! - Sylwia Rosak
Sylwia Rosak: A Filmmaker Who Uses Film To Express Her Inner Voice
Composed By : Cindy Mich
Sylwia Rosak is a full-time director and screenwriter who lives in Poland. Through my coverage of the Santa Barbara Film Festival, we crossed paths. Read below to learn more about her experiences in filmmaking, along with more detail on her truly touching film, Lili.
Sylwia - you are the owner of Studio Lekko. Could you explain your list of services you provide, along with why you wanted to go into film production?
Film production came from the need for independence. Creating original content always comes with challenges - having full control over the entire process allows me to quickly react at every stage of work. As a production company, we specialize in the creative video forms - from idea to final effect. It is also a natural, next step on my filmmaking journey, which broadens horizons and industry awareness.
Producing, when compromises only have to be made in discussion with myself, is an invaluable experience. In the future, I would like to provide artistic peace to other young creators seeking their own language.
In doing my research, I read of how supportive your parents have been throughout your film journey. Have their hopes for your career paralleled what you wish? Best bit of advice they offered?
Kate Cobb: A Bountifully Bright and Strong Storyteller
Kate Cobb is a Writer/Director, Actor and Producer who I met while covering a 2024 film festival. Fortunate that we found time to talk about her work, which is inclusive of her latest project, Okie.
1. From all the research I read, I see that you stem from Chicago, and am now a Californian. That had to be a tough change, as the Midwest and the west coast are so vastly different in multiple areas. Are there things from home you miss or incorporate into your home life there?
I miss Chicago a lot, and for a lot of reasons. I have family there. I went to The Theatre School at DePaul in Chicago where I met Kevin Bigley, the writer of Okie, who also happens to be my husband. Although winters are cold, I missed the seasonal change so much after moving to LA. This led to Kevin and I actually moving up to the mountains in Lake Arrowhead (about an hour outside LA) for some fresh air and some seasons.
2. Your first acting credit shown is 2008, which is a mere sixteen years ago, However, within that time, you have acted in 27 projects. Tell me, what is it about this type of performance that drew you to making this your day job? The last three years have brought battles to every actor, i.e. strikes, COVID, shutdowns, etc. How were you able to stay engaged and employed?
Whewww! 16 years makes me feel old! I have wanted to be an actor for as long as I can remember. I never even considered another profession, which is ironic considering my recent move into directing! I am one of those actors who loves being on set, who loves the actual DOING of the job more than any other part of the process. I realized that just being an actor can really limit you artistically in this industry, as it can be hard to open doors for yourself when you are just another actor in a sea of actors trying to find work. We stayed engaged, leaning into what we love about this line of work: creating. During the strike, we wrote a new feature that is currently in pre-production that I am set to direct. It can be easy to be discouraged or exhausted by the perils of this industry; God knows I have been. I have realized that the thing that keeps me going is leaning into the joy of creating stories.
3. Some of your credits include NCIS, Shameless, Grey's Anatomy and New Amsterdam. These are some well-made productions on popular networks. Top slots such as these are tough to secure. Might you share with others if you prefer TV to film, and also, who influenced you most from these sets and why?
I have enjoyed pretty much every set I have been on for different reasons. I have to say I love TV for the exciting days and big productions, but I much prefer the pacing and focus of film work. I enjoy spending more time on a project rather than quick stints on different projects. I was ALWAYS most influenced by the women on set. While working on Scandal, I watched Kerry Washington finish a scene and run over to her newborn baby – truly a dedicated artist and mother simultaneously. Leslie Hope directed me on NCIS, and at that point I was already moving into directing. She gave me her number and told me I could call her with anything directing, and I will tell you I have taken her up on that many times. Seeing representation of other multi-hyphenate women in this industry is imperative to inspiring women like me to give it a try. I owe them so much.
4. Okie is one of the projects you have directed. Another is How To Write a Song Like Joni Mitchell. Two questions here: I see your admiration for her, so have to ask, when and why did that grow? Secondly, tell us more about this tale, and did you make her aware of the project?
Joni Mitchell is the source. I grew up with my mom listening to her and couldn't help but grow to love her as well. She is a poet of her time, and my heart learned how to grow around lyrics of hers. How To Write A Song Like Joni Mitchell came from my love of her and my personal frustration with feeling writer’s block and looking for creative jumpstarts. Plus, I love a kind of dark twisted tale, so that was a fun spin to put on it. I haven't made her aware of it, but maybe someday!
5. On the personal side of things, I realize your husband is also an actor. How do you feel you complement each other on screen or when on set? Also, how do things stay fresh at home when you are together so much when working? Lastly, how is your chaos monster feeling, as I know the surgery was not long ago?
Kevin and I have been working together as colleagues for seventeen years and as romantic partners for fifteen, so it's all well tread territory for us! Our personal and professional relationship is built on respect for each other's art and opinions. We find that your personal relationship will always bleed into the professional, so we keep both respectful and civil! We have a lot of appreciation for the other's talents as well. We delegate as to not step on each other's toes and keep each other laughing at all times. Our big problem is that we NEVER stop working. Since we are together all the time, it can be hard to turn that part off! The Chaos monster is good! I was very hesitant to get a puppy, but he is the absolute light of my days (other than my OG baby pup Annie, who will always have my heart).
6. Before we start talking about the film, one final ask. You had talked about your scoliosis surgery on social media. Talk a bit about that journey and further, does this ever cause issues within your work industry?
Yes, I had this surgery when I was 13. While I am glad I got the surgery (the scoliosis was very severe), It has left me with chronic pain that gets worse with stress or exhaustion... which come aplenty in this line of work! I have definitely been on a job when I have really bad pain flare ups and spasms and that has been a real challenge. The thing I am still trying to work on is listening to my body a little more and resting when I need to. Self-care doesn't come naturally to me, so it is a work in progress!
Film Related Questions:
1. In Okie, we see you playing the lead role, and your husband Kevin is also in the production. Balancing being a director while acting is difficult. How does one perform each duty while ensuring that neither role is neglected?
I will answer both of these together- To be totally honest, the prep for this role fell by the wayside against my prep as a director. I played that role because... well... I was a free actor! Luckily, I have a lot of similarities with Lainey in her strength and vulnerability and she really made sense to me, so the role came pretty naturally. Yet, I often felt that I had to neglect my normal prep as an actor because there just isn't enough time in a day. Since we only had fifteen days to shoot, I didn't have a lot of time for playback of my own performance. Therefore, I had to make sure I had people on set on monitor to watch my performance who I trusted (namely Kevin) who could give me quick and honest feedback to help me know when I could move on. In every scene you see me in as Lainey, I had a monitor in my lap directing as I acted. In the end, if I had to do it again, I would cast another actor as Lainey to be able to free myself up to focus on my other jobs, and give the character of Lainey the focus she deserved!
2. Because many reading this have not watched the movie yet, I will try not to give too much away. Your story allows the audience to take a glimpse alongside the main character, Louie, as he experiences grief, relationship conflict, remorse, and a struggle to see his own self. Would it be fair to say that Louie is a multi-layered character who is overwhelmed with conflict? Further, do the characters surrounding him serve as a warning, or as a haven of hope?
The thing I love about this story, and about the characters within it, is their ability to hold multitudes of these layers within them. When audiences watch this film, I want them to walk away not knowing the winners and losers, and not recognizing who the heroes or villains are. To me, that is more analogous to real life. I think that, depending on your perspective, you could easily believe that Louie is a victim, an unreliable narrator or an asshole, but the truth is he is all of those things. Also, the people around him are the same. In life, there are no winners and losers; just survivors!
3. Louie and your character, Lainey come off as opposite and odd lol. What do you believe keeps bonding them? Also, does Lainey ever feel as if she was ever really loved?
I think that Louie and Lainey are actually not as opposite as you would think. They are bonded by their past and their upbringing, and in the end - they are two people looking for belonging of some kind. Lainey is a tough, self-sufficient woman who, in the end, is just looking for someone to SEE her properly.
4. Throughout the 86-minute run time, we witness Louie struggling with loud ear ringing. Was this added to the film as a sort of psychological riddle?
If it strikes people that way, then absolutely! The ear ringing is representative of his growing involuntary detachment from reality; something tugging at him and dragging him further down into a psychological crisis. However, I think it could also represent a lot of things; perhaps his past bubbling up through his veneer of ego to remind him who he REALLY is? Maybe they are echoes of his guilt surrounding his hometown and family he left behind?
5. It feels like the friends Louie goes home to visit convey mixed emotions by his presence. Are they really capable of being sincere about their true feelings?
That is up for interpretation, but I believe every human, and certainly every human I put in my movies, is capable of and experiences sincere feelings. Whether they act on those feelings or not is the question.
6. As the creator, please sum up in two sentences the plot behind Okie.
Louie, an acclaimed writer, returns to his dilapidated hometown after his father’s death. Confronted with a deluge of people from his past, Louie is forced to reconcile with the stories he has stolen, misrepresented, or downright exploited for profit.
7. As to your forthcoming projects, can you give us a status on that?
We do have two other scripts that are currently in pre-production!
To learn more about Kate, go to: Kate Cobb - IMDb
Olaug Spissoy Kyvik: Using Her Camera To Capture Meaningful Memories
Olaug Spissoy Kyvik is a Freelance Cinematographer, Director, Writer and Editor. We met while I was covering the Santa Barbara International Film Festival. I am truly thankful she took the time to provide such detailed responses to my inquiries.
I have heard you say that "film is pure magic". What is it about this art form that makes it so magical? I also am aware that you enjoy using your films so as to have an emotional and intellectual impact on audiences. How do you feel that your projects have impacted those who watch them?
Film, to me, is all of the greatest artforms combined. No other artform can transport and transform us in the same way. It is truly quite magical because great films change us. Both the way we see the world, but also ourselves. I think we humans need storytelling to try to make sense of it all. As for me, I have used film as my compass since I was five years old.
You are a graduate of Prague Film School. Could you possibly share what you feel international film schools offer that differ from those in the states? Have you found yourself more educated about film by being on set vs. in school?
Well, I have never gone to a film school in the United States, so I don´t think I am qualified to have an opinion about them. However, if I compare it to the one I went to in Norway, I can say that going to an international school has a unique quality in and of itself. You get to know people from different countries and cultures, and that alone is valuable. Going to Prague Film School was an amazing experience and one of the best years of my life. Both schools had a very practical profile, so I got to make a lot of films, and make a lot of mistakes. I also learned a lot from the feedback offered by professionals. They kind of prepared us for real life. You have to handle critique. Some of our shorts made it into festivals, so that was inspiring as well.
Outside of doing film, I understand you are also a painter. Tell me how expression on a canvas varies from a camera. Further, I realize you have done some work with stop motion animation. Do you anticipate working in this genre more as time goes on?
Haha, I am not a painter. I just do it sometimes to relax. I developed a documentary some years ago that was going to have animated parts, but the film never got fully financed, and so we had to stop the production. It was part of the Anidox program in Denmark. Yet, I would still love to use animation in a documentary at some point. I really enjoy creative collaborations, and seeing someone draw your idea is so much fun.
I understand that you are a member of the Norwegian Film Union and Society of Cinematographers. Might you elaborate more on the benefits of these memberships? Also, were you part of the strike that went on here in the United States?
I have been a member of the Norwegian Film Union for around ten years now, I believe. They are really good to have in my corner when I need help with a contract. They give legal advice, and they also negotiate deals on behalf of all filmmakers with the Producers Union, the TV channels and big streamers. They also collect and distribute royalties to the members. I am also really proud to be a member of the Norwegian Society of Cinematographers. It is tiny compared to ASC, but I´m part of a small active group who arranges regular screenings of new films. These are combined with Q&A´s that include the cinematographer, and we also fly in international talent. This December, we had two masterclasses with Ellen Kuras. That was amazing!
You are the Founder of Blue Eyes Films (nice name by the way). Talk to your audience about what the strongest attributes are for your own production company.
My production company, Blue Eyes Film, is where I develop new ideas. I am not a solo creator, but I like to switch between collaboration and working alone. For me, it´s the optimal way. I need peace and quiet to write, but I need feedback to keep moving.
You have selected to focus your time and talents on shooting a film (The Last Movie) that centers around the filmmaker, Petter Vennerods, who has been in the business over fifty years. Were you able to get him to allow you to act as lead director, as some never shift out of that role? We get glimpses of his many films during The Last Movie. How hard was it to hand pick certain projects?
Petter was a filmmaker, through and through. He had opinions on everything, and was never shy to share. I remember one of the first days I shot, it was in their office (the opening sequence), and he got worried I didn´t move around enough to get proper coverage. I told him I had a zoom lens, and then he relaxed. I had gotten used to Karianne filming him with her iPhone. I also remember I edited our first pilot when we were working to get the film financed, and he liked it a lot, but he was very clear that it was too long. He was right. The more time we spent together, the more relaxed he got. I think he really trusted Karianne and I with our creative choices. We showed him clips and sequences, and he liked it. Through the whole process, I tried to get his opinions on things, because he was a very good filmmaker. It was important to me that he was pleased with the film. Unfortunately, he never got to see the finished film, but he saw quite a lot of it. I think he would have been proud of the film, because we followed our creative vision all the way through, just like Sven and him used to do.
At first, choosing which clips to include from his filmography was dauting. After watching all fourteen films he did, along with his prize-winning documentary series, I decided to look for clips that would say something about his personality. I think all artists leave traces of themselves in their artwork, and he certainly did. The other criteria were finding subjects still current. Many scenes were way ahead of their time, and I wanted to show that. They took a lot of artistic risks, and I think that is brave.
Undoubtedly, this is a film that will find one high with emotion. Watching the slow progression of Parkinson's disease on a person is painful. Due to the various physical challenges that stem from this, how hard was the actual filming for him - and did you have to make accommodations? Was there ever a moment where he felt that certain scenes or scenarios filmed were too private for public consumption?
Petter was very determined that we should keep filming, even as he got worse and worse. He kept thinking like a filmmaker as long as he had his language. So, we were very determined that it be his story. He was the one who insisted we should film his funeral. He didn´t care about looking bad, or sounding drunk, he wanted the film to be honest because he saw this disease, and others like it, as a taboo. Of course, he had made films about taboos for over fifty years. Karianne and I had those conversations many times during the editing, but I think we found the right balance. It seems like it, based on audience response.
Although we watch the lead slowly struggle with this disease, we also witness his wife and her strife. Also, I assume she played a big part in the selection for the ending. Since you were there as a witness, how was she handling this scenario? Also, how has her reaction been to the audience's response about her husband's life?
Karianne and Petter started this project, but then invited me in quite early. It was clear to me from the start that Karianne had to be in the film. I knew them as a couple, and was aware that they had a great relationship. It was just like in the movies, haha. She was not thrilled about it, but she is a sport, and she got used to it. I wanted to capture her struggle too; giving it just the right amount of attention. Yet we also had to make room for his film life, so it was quite the jigsaw puzzle putting it together in the editing. It was by far my greatest challenge as a filmmaker. I sat mostly alone editing, but we talked a lot, and made sketches for new timelines in a program called Miro. It was a very special process, and I do not understand where she got her strength from most of the time. I do think the editing helped her in her grieving. He was with her every day, making her laugh and cry. I could send her a new scene, and then if I didn´t hear back instantly, I knew she was crying and needed to collect herself. That is how I knew the scene was headed in the right direction. She has an incredible compass. We talked about the ending many times, and of course, we made it after Petter´s death. We didn´t want to leave the audience feeling sad coming out of the cinema. So, I remembered I told Karianne to ask Petter how he wanted the film to end. His answer helped to shape the final sequence. Karianne loved it, and we felt Petter would have too, so we decided to stick with it no matter what people would say. When we got the first reviews, and they were overwhelmingly positive, we were both deeply moved. Karianne has gotten so much beautiful feedback from both filmmakers and audiences and she really appreciates it. She lived with Petter for so many years, and saw what all the critique did to him, so hearing so many people talk differently about his life and filmography must mean more than words can say. Being true to yourself does mean something in the end.
There are some very strong dialogue moments in this movie. Two that stood out - "my brain is my livelihood" and when he ponders "what do I think of myself". This would reveal him to be highly cognitive and strongly courageous, as he is willing to really look into himself. Were you both co-writers on this venture? Was this a film where you wanted it to be more about what was said on paper, or seen and heard?
Petter was definitely both courageous and highly cognitive. He was also a screenwriter, and constantly said brilliant things. If only you knew how many funny and moving scenes we had to leave out. Karianne and me worked together on choosing which scenes and subjects to include, because they often had long conversations about different subjects, and some subjects worked as a red thread in the film. We worked on his voice over together, but all the dialogue was Petter’s and Karianne´s own words. We wanted it to be a film about an unusual man, on an unusual journey, both forward and backwards in time. There are a lot of words in this film, but I hope we left enough room for the audience to think and feel, and not just react.
Despite criticism from the public and media, as well as ongoing attempts to censor your subject, he received an honorary award. As we sit here today, would you think that he would deem The Last Movie award worthy?
I think he would! It won the Audience Award at The Norwegian Documentary Film Festival. I think he would have been extra proud that a young audience loved it so much.
Looking forward, what else do you have project wise that will be coming out?
I am developing two documentary ideas and a feature film, so we will see what happens. Hopefully, it will not be my last film. More details on Olaug can be found at: https://www.linkedin.com/in/olaug-spiss%C3%B8y-kyvik-51526630/