What are the achievements that you are most proud of?
Henrik Bo Nielsen: There are many proud moments, walking on the red carpets in Cannes or the Oscars with producers and talents. But there are two achievements I’m very proud of: firstly, for many years, it was difficult to get political approval on formal quality criteria for all support schemes, which is what we managed to get in the last Film Agreement. I’m also proud to have contributed to fixing the Danish mainstream support scheme (Markedsordning) and transforming it into a new system effective on the long term especially for film as a cultural activity. Other European countries have introduced tax rebates and incentives, that act more as industry support than cultural support. But we have chosen another and much better route.

And hopefully Denmark will have tax rebates as well…
HBN: In an ideal world. But you need to think very carefully about what you wish for. In Europe, we have a unique public support system for the arts, culture, diversity because we think our citizens deserve better, but if we start thinking in pure business terms, we are going to lose in the long term.

What are the biggest challenges still ahead?
HBN: We have started preparing our aims for the next Film Agreement [2019-2022] and among the main points that will need to be tackled are the new distribution models. We need to accept the fact that our current public support for children and youth content tends to sustain platforms that young audiences have already left. Our children are in the process of moving away from cinemas and linear TV and many already have. We need to continue to create quality content for them and bring it to them wherever they are.

Then of course, reinventing cinema on a regular basis, promoting risk – willingness, innovation, remains a major challenge for any public agency. 

In a way both issues are intimately related as quality auteur cinema and innovative films tend to struggle in cinemas these days and a more flexible distribution system could benefit those films …
HBN: Yes they are intimately related, and rather than insisting on sticking to existing models, we should look at where the audience is how to get our wonderful content to them.

When people ask if there is a crisis in Danish content creation, I disagree. More than ever, people watch Danish drama and fiction in many forms and sizes. But the challenge is to preserve quality, profitability and the link with the audience.

Is holding on to talents another major challenge, at a time when so many directors/actors/writers move to Los Angeles and London?
HBN: I am less worried than others perhaps about this. During the Oscars earlier this year, I spoke to many talents working in Hollywood, and even though they make fantastic films and TV dramas there, many have projects back at home at the same time. They need to feel they also can keep control of their material and if we make Denmark an attractive place, they will come back, as many have already done. We have to face the fact that we have more talents than money, but thinking that Danish talent should only work at home is ludicrous.

What are your best and worse memories?
HBN: In this industry, the best and worse experiences are in line, but what I will miss is the ability to see local kids watching films at our cinematheque and having their first film experience on the silver screen. When the lights go down and you hear children say WOAW, being fascinated by the big screen experience, this is magical.

Regarding worse moments, I am a pragmatist, I tend to forget. That’s what you need to do. Many careers depend on us saying yes or no. So of course it’s fierce out there. But you simply need to keep your focus.

Any advice to your successor?
HBN: I’m holding a record as the longest serving director at the DFI. John Irving says in his book The Hotel New Hampshire: ‘Keep passing the open windows’. As CEO of a film institute, you have to stop the temptation to leave, and keep passing the open window for a long time, which I did. But now it’s just time for something different.“