held on May 3 - 9, 1997 in Jurmala, Latvia
European Documentary Film Symposiums Riga, 1999


I should come back to the relationship between camera, the audience and the actors. But first, I would like to recur to the remark of Madame Ilkova. She spoke about the legs of the chair. She told that the chair with five legs would be a safety chair. It was interesting and it brings me to another question or decision between safety and trust. I could roughly divide the films in those that trust in pictures, the extreme examples are the Lithuanian films, and those that trust in verbal expression, the extreme example for me is Virginia Grütter.

Somebody has told about literalization and belletrization and so on. Maybe, the blame of belletristic sources is that it leads us to soap opera. Of course, there is the utter division on black and white in such soap operas: the good guys will win, the bad guys will be punished - this is a very simple pattern of explaining the world. Anyway, we have to deal with that just in the moment of competition with other mass media. At the same time it was a bit astonishing for me to listen to the wish that the mankind should divide itself just in black and white, in either culture or civilization. In this moment I would like to remind you that without civilization there would be no camera, no film.

The main problem, and to my mind we should think about it very intense, is the point of identification. Here I come back to the relationship between the objects in front of the camera and the people behind the camera. I think we cannot avoid thinking that we, filmmakers (either television or independent filmmakers) have to see any strategy to bind the potential audience to our work. It means to take them into the circle of common consciousness of filmmakers, objects and the third part - the audience. This is the consideration for the future. If we don't succeed in it, we will not succeed at all.

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