denicek@kviff.com

Tomorrow’s program

strana/page 6, 7, 8

Casey Walker on the perils of crowdfunding

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Moonrise Kingdomstarlet Kara Hayward

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ENGLISH SECTION

day

8DIVÁCKÁ CENA / AUDIENCE AWARDDENÍKUVote for the best film of the 47th Karlovy Vary International Film Festival!

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Friday, July 6, 2012 free • strana / page 1

Festival DailyTHE OFFICIAL ENGLISH DAILY OF THE 47TH KARLOVY VARY INTERNATIONAL FILM FESTIVAL

SPECIAL EDITION OF

Simon PerryChairman, Ateliers du Cinéma Européen

Will Tizard

Leila Hatami, the Iranian actress whostarred in that country’s first Oscar-win-ning film, A Separation (which screenedlast year at KVIFF) is here with CrystalGlobe contender The Last Step, directedand written by her husband, Ali Mosaffa.Now her country’s most iconic face, Hata-mi grew up in a family that had cinema inits blood and appeared as a child in filmsby her father. Despite international star-dom, the former electrical engineering stu-dent says her work as an actress when athome hasn’t changed all that much – andshe seems content to keep it that way.

n Your husband made a quip thathaving you as his leading lady meantthat, for the first time, he could count on his actress to actually do what hewanted.

(Laughs) I’m always like that. WhenI play, I listen to the director. Probably, I’munder his command. n You often play a Leila in your films

– what is the difference between theLeila we see on screen and the one sit-ting here now?

In fact, in this film, this is Leili. I playeda lot of Leilas, this is true. But this time it’sLeili. And the difference between Leila andLeili in our culture is a bit subtle becauseLeila is a common name. But Leili is muchmore sophisticated. It is reserved for well-to-do families. Not necessarily rich, butwith a good background. And it is one ofthe characters in our poems, a love storyfrom the sixth century. So Leili is the sym-bol of a nice, young woman whom some-body’s in love with. n The deep roots of Persian culture

really still color what we see in its films,don’t they, in terms of non-linear storiesor dream-like realities? So Leili alsoshows us something of that?

And Leili is Iranian. Leila is an Arabicname but Leili, because it was in literature,it is considered much more Iranian. n So then what were the parts of the

character that were most challenging orappealing for you?

What I liked in this character was thatshe lies. This is very true and you don’t seeit in a lot of films. To lie for nothing. But

this nothing, it costs a lot and it becomesvery serious. And maybe it costs a life. Butshe lies for nothing. Like that. n Why do you think she lies so easily?Women do this. I remember that I did it

a lot, those things. For example, I senta very beautiful bouquet of roses for my-self. And I just mentioned nothing. But thepeople around be were thinking it could bea lover…but it was me. And I was really

very young. I think women love things likethat. To attract their man’s attention. n And is that what’s motivating your

character to make all this trouble in TheLast Step?

I think in this film it is not even for that.She didn’t decide this. There isn’t evena plan. Suddenly, she wants to make her-self important. She does but she didn’t planfor it. n You have said that you see Iranian

film undergoing a kind of renaissancecurrently. What do you think is drivingthis?

It’s not only now. I don’t want to say it isbetter – I want to say it is more varied. Be-cause years ago, for example, we only hadone stereotype that we thought is very nicefor the world, the foreign world. It is exot-ic. We kept doing this. We didn’t have this,maybe, courage to do, to experience, dif-ferent things. n But the films within Iran’s borders

were surely more varied and interestingthan the ones that are exported.

We did have the courage inside. ButI think after this success of A Separation –already before, I can say, inside the countrythere was a new generation of directors (I’mnot talking about my husband – I’ll put himaside because his first film was eight yearsago). But what I meant and am talking aboutis, about five years ago, a lot of the younggeneration didn’t consider, for example, justone or two artists. And all of them respectbasic and fundamental techniques of film-making. This, for me, is new as an actress.Years ago it was not at all like that. n How does this differ from how it

used to be? So there were fewer direc-tors and they were perhaps more likemoguls?

You had an artist in front of you as a di-rector but otherwise he was really nothing.You couldn’t do a film with him. But nowit is much more like in the States, for ex-ample. You can play a role with a nicescript, with a first-time, beginning director.They have the technical knowledge and al-so they are adult enough to manage a film. n And what is it that you most want

the world to know about Iran – ormaybe Iranian film?

If people can find the quality films, theycan find the real Iran. n

Women love attentionLeila Hatami on breaking stereotypes and finding the real Iran

EXPLAINERSEE YOU THERE

Graphic art, handbags, and gladrags

I wasn't here for the opening of the festival soI want to catch Good Vibrations before I leave. I lovestories that depict the behavior of ordinary people inextraordinary, extreme situations − particularly ordi-nary people caught up in war, which are so muchmore telling than stories of soldiers and battles. Inthis case the ordinary person is a young man who de-cides he is not going to let the Troubles in NorthernIreland interrupt the daily life of the record shop heowns in the middle of his constantly bombed homecity, Belfast. While I was running the Irish FilmBoard we provided financial support for the project,which is directed by a young couple who work to-gether and who did decent work before. Good Vibra-tions has been made since I left Ireland and I hear it'sturned out well. I'm excited to go and see it, particu-larly without the terrorism of a dress code.

Good Vibrations screens today at 7pm in theThermal’s Congress Hall. (WT) P

ho

to:

Milan

Malíček

Yes, we’re many days intothe fest-madness now (whoknows quite how many?) andthings are starting to get weird.First, there’s the story of thedisappearing chef in a certainIndian restaurant in town. TheLowdown arrived, eager andinnocent, and was shown toa table. A little later the menusarrived, and we made somechoices, dreaming of a curry toreplace some of the nutrientslost during the hours we spendcloistered in a windowlesscell, deep within the bowels ofthe Thermal. But a little underhalf an hour later, the waitressreturned with the dreadfulnews that the kitchen wasclosed. Weak with fatigue, wehad no choice but to stay at thetable, attempting to nourishourselves with the unparalleledfruits of the local breweries.Several beers later, the waitressreturned and told us thekitchen was open again! Eitherthey really liked us, or the chefhad left the kitchen for somekind of clandestine activity.

Other, more nefarious deal-ings were behind our narrowescape later in the evening. Westepped out of Shaffy’s andstraight into crime noir. Withthe neon and the full moonshining, we crossed the narrowstreet a split-second beforea silver BMW, screamingalong at over a hundred, racedpast in the direction of theThermal, closely followed bythe flashing lights of KV’sfinest. Evidence mounts for anillegal moonlit KV street rac-ing gang, playing for pinkslips along the cobblestones inthe dead of night. Whichwould explain the pigeonblackspot at the bottom of T.G.Masaryka. There’s a freshcorpse there every morning,and if they’re not getting mowndown by souped-up MidnightClub muscle cars, we can onlysurmise that it’s eithera Bermuda Triangle-style con-fluence of mysterious energies,or an avine serial killer. n

THE LOWDOWN

Iranian actress Leila Hatami, who appears in The Last Step.

Ph

oto

: M

ilan

Malíček

If your movie-worn eyes arecrying out for art of the still kind,KV offers several options and, ofcourse, Czech artists are amongthe finest in the world. TheKarlovy Vary Art Gallery (atGoethova stezka 6) is well wortha visit. The permanent exhibitionhouses an extensive collection ofCzech 20th century art. Currentexhibitions feature work byrenowned Czech graphic artistsJiří Slíva and Zdeněk Ziegler(one of whose film posters is pic-tured) and 20 puppets made bymaster Czech animator JiříTrnka. (Opening hours Tue-Sun,10am-5pm.) Entry costs 40 CZKfor the current exhibitions on theground floor and 40 CZK for thepermanent exhibitions on the firstfloor (www.galeriekvary.cz).

Get a great introduction to con-

troversial master art photogra-pher Jan Saudek at the Lázně IIIspa building (Mlýnské nábřeží 5),which is hosting a free exhibitioncalled ...the best of Jan Saudek,

featuring original hand-tintedphotographs. (Open daily from9am to 7pm. Entry free.)

The Museum of KarlovyVary (Nová Louka 23) has some-thing a little bit different at themoment – A Symphony ofHandbags. This is a small butrepresentative collection of thebeaded and embroidered bagsthat well-bred ladies would carryto evening events in the 19th andearly 20th centuries.

There are not only handbagsbut also beaded costume jewelryand evening wear, helpfullyarranged on human-shaped mir-rors so you can visualize yourselfbedecked in the finery. Entrycosts 60 CZK. The exhibition isopen every day during the filmfestival from 9am to 5pm.(www.kvmuz.cz) (GP)

STRANA / PAGE 2 FRIDAY, JULY 6, 2012

FESTIVAL DAILYTHE OFFICIAL ENGLISH DAILY OF THE 47TH KARLOVY VARY INTERNATIONAL FILM FESTIVAL

denicek@kviff.com

∞

www.terryhoponozky.cz

290 Kč

Najdete vefestivalovém

obchodě!

Well, we’re nearing the end ofanother KVIFF, but there are stilllots of people to look out foraround the town. These includeGuilherme Aguilar, one half ofthe writing and directing team be-hind Brazilian documentary Bar-

bers, and well-known Czech ac-tor Marek Daniel, who appearsin both Polski film and Long Livethe Family!. Also in town isCzech composer Ondřej Ježek,(Alois Nebel).

You may also see Hungarian

actress Gabriella Hámori (TheExam) and actor Bojan Lazarov(Death of a Man in Balkans). Youshould also keep an eye out forCzech directors Tomáš Řehořek(Signal) and Richard Řeřicha(DONT STOP). n

FACES

Guilherme Aguilar Ondřej Ježek Gabriella Hámori Bojan Lazarov Tomáš Řehořek Richard Řeřicha

Like all rich and venerable languages, Czech has no shortage of sonorous and pithy sayings and expressions.Some are instantly recognizable in English; others take a bit of working out. Here’s a few common truisms: Neříkej hop, dokud nepřeskočíš (neh-shreekay hop doe-kud nep-shreh-skotch-eesh) – Don’t count your chick-ens before they’re hatched (lit. Don’t say hop before you jump over [a hurdle])Tak dlouho se chodí se džbánem pro vodu, až se ucho utrhne (tak dlo-ho se khoe-dee seh dzh-ban-em provoe-doo azh se ookho oo-tr-hneh) − Something’s got to give (lit. If you keep going to get water with a jug, the han-dle will break)Kdo se směje naposled, ten se směje nejlépe (gdo seh smyay-yeh na-poe-sled ten se smyay-yeh nay-lepeh) −He who laughs last, laughs longest (lit. He who laughs last, laughs best)Ráno moudřejší večera (rahno mode-ray-shee vetchera) − It’s best to sleep on it (lit. The morning is wiser thanthe evening)Nač stahovat kalhoty, když brod je ještě daleko? (natch sta-hovaht kalhotty gdeesh brod ye yesht-yeh dahl-ekho)− We’ll cross that bridge when we come to it (lit. What are you taking your trousers off for when the ford is stillfar away?)Kdo se bojí, nesmí do lesa (gdoh se boy-ee nehsmee doe les-ah) − Fortune favors the brave (He who is afraid can-not go to the forest)Bez práce nejsou koláče (bez prah-tse nay-so kolatch-eh) − No pain, no gain (lit. No work, no cake)Bez peněz do hospody nelez (bez penyez do hos-poe-dee neh-lez) − No mon, no fun (lit. You can’t go to the pubwithout money)Darovanému koni na zuby nehleď (dar-ovan-ay-moo konee na zoobee neh-led) − Don’t look a gift horse in themouth (lit. at the teeth)Hlad je nejlepší kuchař (hlad yeh nay-lep-shee kookahrsh) − Hunger is the best sauce (lit. Hunger is the best cook)Jablko nepadá daleko od stromu (yabble-koe neh-pad-ah dahl-ekho od stromoo) − The apple doesn’t fall far fromthe treeKdo dřív přijde, ten dřív mele (gdo dshreeve pshree-deh ten dshreeve mel-eh) − First come, first served (lit. Hewho comes first, has his grain milled first)Kolik řečí umíš, tolikrát jsi člověkem (kolik shretchee oom-eesh tolik-kraht see tch-lo-vyek-em) − How manylanguages you speak is how many times you are a human beingLež má krátké nohy (lez mah kraht-kee noe-hee) − The truth will out (lit. A lie has short legs)Mluviti stříbro, mlčeti zlato (mlooveetee st-srhee-bro miltch-etee zla-toe) − Speech is silver, silence is goldenVrána k vráně sedá (vrah-nah kuh vrah-nyeh se-dah) − Birds of a feather flock together (lit. A crow will sit witha crow)Zabít dvě mouchy jednou ranou (za-beet dvyeh mouky yedno ranno) − To kill two birds with one stone (lit. Tokill two flies with one blow) (COC/PH)

Czech, please!

Gillian Purves

Fresh Selection – The Promis-ing Five gives Karlovy Vary audi-ences a taste of what student filmshave to offer with a block of fiveshorts, which can be seen today at10pm in the Espace Dorleans Cin-ema. Radka Weiserová, director ofthe Fresh Film Fest, says, “Nine orten years ago the student film pro-gram was a regular part of theKarlovy Vary International FilmFestival and then some friendsfrom the FAMU film school de-cided not to organize it within KV-IFF anymore and they founded theFresh Film Fest of student films,and nowadays of first and secondfeatures as well.”

The Fresh Selection at KVIFFhighlights five promising direc-tors, as recommended by FreshFilm Fest organizers. “The selec-tion is made up of films that havebeen selected for festivals in thepast or that have been awarded, sothis is not a showcase of future

films at Fresh Film Fest buta showcase of very good studentfilms from the past year,” saysWeiserová.

Flamingo Pride is a 3D animat-ed short from Germany about theonly straight flamingo in a gayflock, who falls for a beautiful lady stork. As you can imagine,it’s a lot of fun and very colorful.The “crowd scenes” of the flamin-goes living their lives to the full ata non-stop beach party brimfulwith gay-scene clichés are espe-cially impressive.

Nothing Can Touch Me, a half-hour production from Denmark,focuses on a girl who witnessesa shooting at her school. As thefilm progresses she comes to real-ize she has more in common withthe perpetrator of the killings thanwith the victims. We explore thedarkest recesses of the teenagemind in this gripping psychologi-cal thriller. The film won the mainprize in its section (best studentshort film) at the Cleveland IFF.

German student film Crookstakes us down an absurd path.A bunch of gangsters are ona quest but they are not really get-ting anywhere. Surreal imagerymakes this a standout piece. Thefilm was entered in the main com-petition at the International ShortFilm Festival in Oberhausen.

Guerrillera is a British produc-tion with a simple concept anda strong message. As an unseenwoman gets on with her job clean-ing a skyscraper at night, we listento her recount the story of her pastas a guerilla fighter in Colombia.

Atmospheric French short OnTracks introduces us to a nightwatchman and his canine sidekick.This slick, tightly edited piece willkeep you on the edge of your seatright up to the surprise conclusion.

The Fresh Film Fest Interna-tional Festival of First Featuresand Student Films runs from Aug.29 to Sept. 2, 2012, in Prague(www.freshfilmfest.net). n

The only non-gay in the village – German animated short Flamingo Pride.

Photo: KVIFF

Gillian Purves

The 7th Prague Short FilmFestival took place in Januarythis year. Five films from that fes-tival have been selected forscreening in a block at KVIFFunder the heading Prague ShortFilm Festival Presents (with thefinal screening scheduled for to-day at 4pm in the Husovka The-ater).

“Short films were always theaudience favorites at KarlovyVary,” says KVIFF President JiříBartoška in a statement on the Prague Shorts website(www.pragueshorts.com). “Sevenyears ago, we decided they de-served their own festival. We arepleased the previous six PragueShort Film Festivals have provenus right and we are happy theevent has found its place amongCzech film festivals.”

This year the Main Prize at thePrague Short Film Festival and5,000 EUR went to Aglaée byFrench director Rudi Rosenberg.“It’s about a girl who has somephysical problems and she’s kindof bullied in her high school,” saysAnna Purkrábková from the KVIFF program department. “Onthe one hand it’s quite a sad filmand on the other it’s funny andvery optimistic.” The film featuresstrong performances by its cast ofteenagers.

Until the River Runs Red, fromthe United Kingdom, takes an un-settling look at abduction and re-ligious fanaticism. It receiveda special mention in Prague. Thejury stated that the film represents“an original and innovative pieceof filmmaking, unusual film lan-

guage, a poetry of magical mo-ments that reveal a multilayeredstory about a child’s kidnapping.”

“Killing the Chickens to Scarethe Monkeys is a very well-con-structed film about politicalkillings in China,” saysPurkrábková. “The story is toldbackwards. So you are startingwith the very end of the story andat the end of the film you find outwhat happened at the beginning ofthe story. Even though the film isshort, it’s very disturbing andhard-hitting.” The jury gave thefilm a special mention, noting itsretrospective style of storytellingand its ethical message.

To All My Friends is aboutyoung Danish punks Mark andSonny. “It was a very personal

film for the director BehrouzBigdeli, who made it according tohis experiences when he wasyoung, and it’s very well done,”says Purkrábková. Exceptionally,this year a third special jury men-tion was awarded to this film forits excellent direction.

Love at First Sight starringJohn Hurt and Phyllida Law is setin a retirement home in England.The film won the Audience Awardat the Prague Short Film Festivaland it was shortlisted for the BestShort Film Oscar. “It’s about loveat every age,” says Purkrábková,“you can find love any time.”

These five films representa strong collection of works thatmay be short in length but are notshort on quality or style. n

Students get fresh at KVIFF Sidebar not short on style

Prague Short Film Festival winner Aglaée.

Photo: KVIFF

STRANA / PAGE 3FRIDAY, JULY 6, 2012

FESTIVAL DAILYTHE OFFICIAL ENGLISH DAILY OF THE 47TH KARLOVY VARY INTERNATIONAL FILM FESTIVAL

denicek@kviff.com

Jeff, Who Lives at HomeDirectors: Jay Duplass, Mark DuplassUSA, 2011, 83 minJuly 6, 5pm, Grand Hall − Thermal

KV is, perhaps, at its most comfortable when programming quirky, won-derful American indie movies. Here’s your chance to see a classic-to-be.Starring the splendid Susan Sarandon and Jason Segel as the hapless moth-er’s 30-something-and-still-living-at-home son (title’s a bit of a giveaway,

eh?!), the movie might make uncomfortable viewing for some of the not-yet-done-with-school “kids” whoflock to KV every year. And for long-suffering girlfriends for those sorts of chaps the film offers redemption:a chance outing from Jeff’s basement lair leads to the change he really needs – if only he knew it.

ClipDirector: Maja MilošSerbia, 2012, 102 minJuly 6, 10pm, Congress Hall − Thermal

Serbian director Maja Miloš’s’ frank portrayal of a lost post-war genera-tion in search of itself draws on her own experiences of life after civil war.Jasna, the film’s heroine (perhaps anti-heroine is more apt), is a beautyfrom the deep provinces who escapes boredom and disillusion by im-

mersing herself in the amorphous world of drugs, alcohol, and parties. As she spirals out of control and breakstaboo after taboo Jasna somehow manages to come to terms with herself through the maelstrom of experiencesthat shape Serbia’s new reality. A bold debut from a bright new Serbian talent.

LidiceDirector: Petr NikolaevCzech Republic, 2011, 123 minJuly 6, 10:30am, Lázně III Cinema

The banality of evil is at the heart of the story of Lidice – the Czech min-ing village near Prague razed to the ground by the Nazis in 1942 in reprisalfor the assassination of the Reichsprotektor, SS General Reinhard Hey-drich. Starring Karl Roden – one of those Czech actors as comfortable in

local movies as international – this is a powerful indictment of war and the casual, careless connections thatlead to unspeakable acts. Told through the small details of the lives of ordinary people and focusing on the oneman to survive the tragedy, the film closes with uplifting credits that include photos of people the world overnamed for, or associated with Lidice.

HellDirector: Tim FehlbaumGermany, Switzerland, 2011, 86 minJuly 6, 10pm, Drahomíra Cinema

Swiss-born director Tim Fehlbaum always wanted to make a post-apoca-lyptic movie and right after film school in Munich he got his chance. Hell– which means “light” in German – is set in a world where the sun shineshellishly hot and bright and water is at a premium. As a small group of

people move to the uplands in search of life sustaining liquids, all hell breaks out. Shot in leached tones thatoften border on black and white, this is a roller coaster of a movie best seen just before bedtime. n

Nick Holdsworth, Eastern Europe Bureau Chief, Variety

REVIEWERS RECOMMEND

Jaroslav Švelch

Canadian director Casey Walkerwanted to make his comedy abouta young man bitten by a zombie at allcosts. The producers didn’t believe inhim, so he decided to collect moneyfrom ordinary people through hiswebsite. That happened back in 2006when no one knew the word crowd-funding and Facebook was still pret-ty much a student network. Walker isreally thorough in communicatingwith his fans. He even asked us tosend him the photos as well as thedigital version of the Festival Daily.They’re going straight on to Face-book.

n You were one of the first direc-tors to get financing for his film us-ing crowdfunding...

I was the first! I launched my web-site in 2006. Within a few monthsthere were several others, the guysfrom Iron Sky got theirs going. Therewas an art project out of San Francis-co that started one. I think we all hadthe same growing pains. I met [IronSky director] Timo [Vuorenseola] herefor the first time. We’ve talked onlinefor the last six years but we’ve nevermet face to face. People at the partywe met at wanted to know aboutcrowdfunding... The last thing wewanted to talk about together was that!Whenever you try something differentor new, it can be difficult. But itworked. We didn’t raise a lot of mon-ey, but we raised a fair amount and it’swhat helped us get the funding start-ed. The most important part about it isthat it started to build our audience.We’re in 26 countries now. Even in thefirst months we had people from theCzech Republic buy in too. I was hop-ing to see them last night at the screen-

ing but they didn’t make it. Maybe I’llsee them in Prague. n You did a good job communi-

cating with fans via Facebook, etc.Was it hard to come up with stuff totell them?

No, actually, because there’s some-thing happening all the time. Here,I’m just doing little videos walkingaround. I was very impressed lastnight when we had our European pre-miere, which is a big deal, and the the-ater is full with 200 other people linedup. It’s very easy to take that as con-tent and say “Hey everyone! I’m here.Look what’s happening!” And peopleengage and react to that. Some people

comment, some don’t but at least halfof our fanbase watches every video.Facebook’s a strange beast, but every-thing’s interesting to somebody.There’s always somebody who’s go-ing to watch something. I don’t tryand make everyone happy all the time,but I try and always be giving peoplesomething. n So are you thinking about

crowdfunding your next project?No! [laughs] I want to try and en-

gage the fans and an audience on thesame level, but I don’t necessarilywant them to come on for the money.I’m still wrapping my head aroundhow it will work. Since I started, it’s

become a whole other beast withKickstarter and all this other stuff.They’ve really come down to perfect-ing it as a business, whereas I onlywanted to make a film. I didn’t wantto change the world, I just wanted tomake a movie! I actually almost wentto jail because of crowdfunding...n What happened?My country’s government was very

curious and inquisitive about what wewere doing and they wanted me tostop while they investigated. I refusedbecause we had momentum and peo-ple around the planet helping us. I wastwo days away from jail becauseI wouldn’t take the site down. We fi-nally reached a compromise...In someways, I wanted to go to jail because itwas good press! But we had a slow-down and almost a stop because ofthat. It really hurt our momentum. n Now that you’ve completed the

film, what happens next?We sell it. Canada and North Amer-

ica sold very fast. We’re just startingto get attention here in Europe andAsia. I was slow applying to festivalsin those parts of the world because I’ma one-man show. There’s me doingeverything – applications, DVDs,packaging, sending it out...NorthAmerica blew up really fast. We werein 15 festivals just like that! KarlovyVary’s our European premiere but thenwe’re off [to other places]. Now, Eu-ropean sales agents are asking forscreeners, because they realize that iffestivals are willing to program it, thenthere’s an audience that’s going towant to see it...Once we sell it, I giveeveryone their money back!

You can see the fruits of CaseyWalker’s crowdfunding efforts, A Lit-tle Bit Zombie, at midnight tonightin the Thermal’s Small Hall. n

Crowdfunding nearly put me in jail!Frédéric Boyer

Artistic Director, Tribeca Film FestivalLes Arcs European Film Festival

Francen Is this your

first time here?This is my

fourth time inKarlovy Vary andI really love thisplace. First thereis a very youngaudience, whichis great. Theylove movies.They want the“food of film;”they want to eatmovies. Theywant to discussfilm and it’sgreat. There area lot of professionals. So if you want to meet peoplefrom the region it’s very helpful − Czechs, Slovaks,I’ve even met people from Turkey and Romania.

n Do you have many dealings with KVIFF’sprogrammers?

I think the programmers are the same type of fam-ily, so they are helping me, supporting me. I’m sup-porting them...It’s the sharing of our tastes. This isgood here with [KVIFF Artistic Director] KarelOch’s selection because he is bringing a part of him-self to the festival. A good festival has to have some-one at the head of the festival who is able to bringa part of his personality to the event.

n And who else are you talking to?I really think this festival brings a lot of very in-

teresting guests. For example, we had a really inter-esting panel about low-budget [movies] and the Is-raeli film Room 514, which also screened at Tribecaand was made for 80,000 dollars. So it’s interestingfor young people, students, and even professionalsto hear about a new way to do things. Festivals areimportant. It’s important for us all to stick togetherin a good way. Film festivals unite! (COC)

Casey Walker used social media to help fund A Little Bit Zombie.

WHAT AM I DOING HERE?

STRANA / PAGE 4 FRIDAY, JULY 6, 2012

FESTIVAL DAILYTHE OFFICIAL ENGLISH DAILY OF THE 47TH KARLOVY VARY INTERNATIONAL FILM FESTIVAL

denicek@kviff.com

DAILIES

Susan Sarandon meets KVIFF president Jiří Bartoška.

Photo: Jan Handrejch

An afternoon of music and fun in aid of the Jedlička Institute.

Photo: KVIFF

A 3D beach and a 2D ocean at Karlovy Vary-on-Sea.

Photo: Jan Handrejch

Moonrise Kingdom starlet takes a bowKateřina Kadlecová

Debut starlet Kara Hayward talked tothe Festival Daily about how she came tobe in a Wes Anderson film, her time onset, and her plans for the future.

n Moonrise Kingdom was great, itgot a lot of applause. I wanted to askyou, how did you decide to become anactress?

Well, it all started when I went to thislittle summer camp; the kids there wroteand performed a play, and so I decided tobe part of that. I enjoyed it so much thatI decided to go back the next year, anda year after that my dance teacher men-tioned that there was an open call goingout for Moonrise Kingdom for my role.So I figured I’d give it a shot, head downthere to get the experience. And afterI auditioned at the open call, they said,“Would you like to meet Wes Ander-son?” So they brought me in to meetWes, we did a quick reading, and abouta week later they called and said I had thejob.n And you knew his films already?

You’d seen The Darjeeling Limited?I had seen Darjeeling, The Royal

Tenenbaums and Fantastic Mr. Fox, andthey were all amazing films, it was veryexciting to learn that I was going to workwith the man who made those. He is sobrilliant, and kind, and really it’s amaz-ing the way he can just visualize theseideas, put them into such a fantastic sto-ry, and then bring it to life so vividly.n Can you relate to the 1960s, or

scouting, or the other themes in themovie?

The costumes and the sets are just sodetailed that you really do feel like it’ssomething from another time period. It’squite amazing. And it really does makeyou feel that you have some sort of rela-tion to the film.n Did you build a special relation-

ship with Bill Murray?I did get to work closely with Bill Mur-

ray and Fran McDormand. Bill is hyster-ical, everyone’s always laughing whenhe’s around. He really brightens upeveryone’s day. Fran is so sweet andwonderful.n Do you have any other projects in

mind?Well I have two projects coming up.

I have one called Mixtape that’s going tobe directed by Tom Vaughan. It’s aboutthis young girl who discovers a mix tapefull of songs that her mother, who haddied before she’d really gotten oldenough to get to know her, had left. Myother one is called The Last Good Car,

directed by Noah Gershman, and it’s thisfunny, quirky indie film that centersaround two friends played by two actorsthat I’m very excited to work with, MarkWebber and Jason Ritter. n I read somewhere that you’ve

been a MENSA member since youwere nine years old?

I just wanted to become a MENSAmember because I wanted to know thatI could do it. I wanted to make sure I hadthe ability to do this, and apparently I did,so I was accepted. You just have to havesome sort of proof that you are in, I be-lieve, the top two percent.

n Then you go to Harvard or Yaleright? What would you like to majorin?

I’m not quite sure what I want to ma-jor in. I do know that I want to continueacting. And I think one day in the futureI think I would also like to write, andmaybe direct. n And you’re already a published

poet? What do you write about?Anything that inspires me I will write

about, that will cause me to have somekind of creative vision. I did write a fewlittle things during the shooting of Moon-rise Kingdom...

n Who’s your idol when it comes toacting? You really remind me of Na-talie Portman, because she’s super in-telligent as well, she started young...

I would say there are two youngwomen who I look up to when it comesto acting, Emma Stone and Emma Wat-son, because they’re both very intelligent,they’re very humorous, and they’re suchtalented actresses. They’ve learned tobalance everything that they love,whether it be school or acting, they’velearned to balance it all. I find that to bequite a talent. I think Emma Watson wentto Brown...n Your character Suzy loves read-

ing, do you love reading as well?Yes, I do love reading! I gobble up

books, really anything that’s put in frontof me I’ll read and re-read. I have somuch fun really immersing myself in theworld that the author creates. I feel like,in acting, it has a bit of a similarity be-cause you also have to immerse yourselfin the world that the director creates. Sothere’s a little similarity there.n Do you also steal books from pub-

lic libraries?I try not to.n How did you pick the books that

were in the suitcase you ran awaywith?

Wes picked them; he wrote the booktitles and had someone draw the covers.They weren’t actual books. It was all hisand the artist that he had, it was all theircreativity that went into it. And really,you wanted to read it. I picked one upbecause the first time I saw themI thought that maybe they were real. SoI picked it up and I flicked open to thefirst page and then I realized it was justanother book!n And do you have a favorite?My favorite, I would have to say,

would probably be Bram Stoker’s Drac-ula. It’s a classic, I love that book. Theold-timey feel of the words really helpsyou feel like you’re in that setting, in thattime period. n

The P.U.B.Bělehradská 9☎ 353 579 036www.thepub.czOpen 10am-3am (kitchen open till 12:30am)

The sleek, modern P.U.B. (akaPilsner Unique Bar) is a little offthe beaten track on Bělehradská,about ten minutes’ walk from theThermal, but it is well worth thetrek if you fancy some decent barfood and snacks. This stylish es-tablishment has a nice “pubmenu,” which hits a lot of baseswith a nice selection of burgers,wings, and ribs (150-180 CZK).They also have plenty of Czechspecialties, including goulash andan Old Bohemian platter of pork,spicy sausage, potato cakes, cabbage, and the inevitabledumplings (159 CZK). The bartaps on the tables weren’t in usewhen we visited, but we got

a nicely chilled dark Kozel beerfrom the friendly barmaid for 29CZK. (They also have light Pil-sner Urquell beer for 34 CZK).The cool, air-conditioned, vaultedbrick interior makes this placea nice bolthole for tired KVIFFersseeking some respite from theusual fest mayhem. (COC)

Schaffy’s GaražI.P. Pavlova 5(100 m from the Thermal)☎ 775 878 651www.schaffys.czOpen daily during the festival 3pm-2am

Found up an unpromisinggrimy street, Shaffy’s cocktail barhas recently added a respectablefood menu to its delights. (It usedto serve only chicken wings,onion rings and similar.) In un-fussy surroundings of exposedbrick and gleaming ducts you can

get yourself what must be thecheapest burger (119 CZK) orsteak (290 CZK) around. They’renot quite as cheap as they look onthe flashy website — someonemissed the first digit of all the

prices — but it’s still a great pricefor a bacon cheeseburger. Ourscame with a pile of salty fries, butsauce is extra (13 CZK) andthere’s no mayo, only the Czechobsession tatarka (which is like

tartar sauce but without the fla-vor). Wash it all down with a half-dark Granát (0.4l, 34 CZK) ortreat yourself to a cocktail (start-ing at 95 CZK) from one of thebest selections in town. (PLC)

At 2pm there’s Cannes –Now and Before at Becher’s Vil-la (Krále Jiřího 9). This presen-tation by the National FilmArchive ties in with the Septem-ber screening of My AmericanUncle by Alain Resnais and thecollection of films screened atCannes International Critics’Week.

And at 3:30 pm in the Ther-mal’s Cinema B, don’t miss the20-minute short 101: Manoel deOliveira as seen by Luis Miñar-ro, followed by a talk with LuisMiñarro himself. Miñarro is oneof Europe’s most highly regardedproducers of independent film,having worked on films that havebeen awarded the KVIFF Crys-tal Globe and the coveted CannesPalme d’Or. The discussion willbe held in English, and moderat-ed by artist and festival program-mer Madeleine Mullet. (PLC)

ON THE TOWN

The sleek and stylish interior of The P.U.B.

Photo: KVIFF

Emerging teen actor and MENSA member Kara Hayward.

Photo: Jan Handrejch