 Unser Ablauf heute. Wir haben Sandra und Thies mit dabei. Sandra ist die Filmemacherin und Regisseurin. Thies ist der Co-Produzent und hat auch uns kräft. Tonight we have Sandra and Thies with us. Sandra is the director of the movie. Sandra will give us a short introduction and then we'll watch the movie. After that the three of us will chat a bit about the movie. Sandra, please. Schön, dass ihr alle da seid. Thank you all for coming here. We have a lot of competition for this lot. Even nicer, that you chose this movie. And this year the motto of the Congress is refreshing memories. So we'll do a little bit of time travel. Who of you have been at CCH in Hamburg a lot? And who of you is here for the first time also a lot? And also I would like to know who knows about this project even more. Okay, danke schön. Thank you. In 2015 I started filming this movie. And last year we watched the raw cut. And everybody who saw this raw cut will notice that this version is much different. And I'm very keen to get your feedback on all the changes I made. And I've been traveling various festivals with this movie. It's also been shown in movie theaters. And so, what is this project? All creatures welcome. The movie is kind of a documentary about current society. And in the next 10 minutes I want to give you an overview of all the things that have happened. My name is Sandra Drostl. And I'm the filmmaker. Thies Münter is the composer of the music. And in general he has been steering the musical parts of the project. We don't have a regular movie presentation. This is a big thing for us today. So, after four years of very intense work, tonight the movie will be made available online. So there's a couple of modular extensions to the movie. There is a platform, create your own culture. There is a fairyboard orchestra and a public culture discussion platform. Let's talk about the movie first. All creatures welcome will be made available under a Creative Commons license. If you don't know what Creative Commons is. That means the movie will be freely available under certain attributions. So, a quick explanation of what this license that we picked means specifically. It is CCBYNCSA. And the BY means that you have to name the original creators. You cannot use it for commercial properties. It has to be non-commercial. And the share alike means that if you create new works based on this work, then you have to use the same license. So, the Creative Commons license... So, this Creative Commons... ...completten auf staatliche Gelder verzichtet haben, also auf Filmförderung. We didn't accept public funding or funding from the cultural... ...economical sponsorships or anything like that. So it's all under Creative Commons. And further funding has to be created by selling the movie. And what we tried with this project was to re-imagine ways to finance movies. And I'd like to mention that this documentary was actually a free production, also not sponsored by the CCC. So the big question was how to raise the funds and how to make everything available to the public. So, at first we started crowdfunding. Sorry. It was really hard to get the necessary funds by crowdfunding. And a lot of people contributed a lot to these funds and to the overall project. A big applause for that. Also, dieser Film konnte aufgrund seiner Thematik und Zielung über die bewege realisiert werden und dadurch frei verfügbar. Because of these alternative ways of funding it, we could make it available in a very different way, in an open way. And that is not a common thing in the movie business. And we'd like to create a discussion about these kinds of models in the digital space and what kind of new ways we could find to create and distribute these kinds of projects. Um Raum und Gehör zu bekommen, um die Fragen zu diskutieren. So, to find room and space for these kinds of discussions, we definitely need viewers and recipients outside the digital realm. So, we have decided to do a festival tour. So, to accomplish that, we delayed publishing the film under an open license. So, the festivals would accept us because they usually only accept movies that are not generally available yet. We did not find a distributor and especially a distributor would not take us because of the open license. And many of the supporters of the crowdfunding and many others went to the local cinemas to ask to see the movie. And we managed to get about 20 cities to show the movie in the last half year. The world premiere was in Linz at the Ars Electronica Festival. And in Germany we had the premiere at the Doc Leipzig Documentation Movie Festivals. And we managed to get nominated for the documentary film prize by the Goethe Institute. And we managed to start discussions with politicians and scientists and many other people to discuss the challenges of business models versus open licenses. So, for the selection for the Doc program has led to other bits and pieces of other projects to be made available under open licenses as well. So, it's also another challenge to compose on nice music and to find motives that are fit to sampling. So, this is a way to get composing and hacking to meet each other. So, this was how we came up with the idea to have an angel choir of hackers who will sing together. At first we thought it wasn't that possible to make this come true. So, we published our idea. And then Pico, who studied choir conducting, she wanted to join the project and she agreed to handle the workshop. And we recorded the song with about 200 participants. And this is how the chaos choir was founded. And we have several arrangements that are also openly accessible and online. So, it's possible to rearrange them or to study these pieces of music. And you're very welcome to join in this effort and please participate. So, about remembering. So, everybody has their own memory of the same event. So, if you ask somebody how the last event was for them, everybody has their own stories and their own memories and all memories are also reflections. So, that's why this point is also something we need to discuss when we want to visualize these kinds of contents. So, there's no structural necessity to match these things about the individual experience, which obviously is never complete and in order to create a more comprehensive image of all these memories, we need to, sorry. So, that's why we want to publish all the raw materials for the usage. But of course I will edit and review all the materials before publishing everything. And of course you can inform yourself about this and ask questions. Also, for the Congress, we published a new IP for free downloads. All source codes and source data are published freely. If you're not as used to these kinds of choir music and so on, you can learn about them and use these sources. And, for example, having can't wait, you can download free samples, etc. In case you don't like this version of the music, you can make your own cut of the music and the platform where we will publish all the raw materials is in progress and we will announce the publication soon. So, now I have given you a very short and compact overview of everything that happened over the last four years. But I'm not going to go into this further. But later on you can ask questions and I will answer them. And we will be happy to receive your support via our website, etc. And this, of course, is a never-ending story. So, this is a website where you can find all the parts, the links and the resources, etc. And we will be uploaded in the next couple of days. Also via the CCC. Everything concerning All Creatures Welcome is going to be online now. And now the film is going to start. The dream machine Brothers, sisters Join us before it's too late On the side of the A. Haven't can't wait I've consist falling So, there are a hundred people and they just sing. Also, wir sitzen hier unten. Sander, du bist der Filmmaker für alle, die uns hier begonnen haben. Und du bist der Co-Producer und ich bin meistens der Komposer. So, pass mal auf, Herr, wir haben ja auch... Ich habe diese mitgebracht, so dass die Leute dich eigentlich erkennen können. Das ist auch ein Pimp, das ist ein Pimp. Das ist viel schöner, das ist ein Pimp. Sander, als du angefangen hast auf dem Camp, auf dem ersten. Sander, als du angefangen hast auf dem Camp... Es war orange. Es war orange. Du hattest einen Orange-Weston. Warum hattest du einen Orange-Weston? Kamerateam, Presse-Team, wie auch immer. Das Ding ist, dass jeder Presse- oder Kamerakruh ein paar Presse-Angeln bekommt. Und nach vier Tagen, der Presse-Angel, hat sich entschieden, dass er nicht mehr gebraucht hat, dass wir... und wir die Westen haben. Also, normalerweise... ein Dokumentar-Produzenter wird meistens Teil des Backgrounds. Und... das war viel anders. Wir haben viel gesteckt. Und... Also, habe ich einfach keine mehr gekriegt. Ist manchmal auch ganz praktisch, wenn man welche hat. Also, ich habe auch noch einen Presse-Angel getestet. Wir haben... eine andere Art der Logistik. Sie sind Film-Postler. Und sie sind da und da. Und du kannst sie gegen... für ein paar Kontributionen picken. Und du kannst einfach... however much money you want to put in there. Sandra, where is this money going to? The money will be spent on the refugees that actually helped Snowden back in Hong Kong. Thanks. So, I thought it was a good idea. But it doesn't work out quite well. So, we still have time for questions from the audience. You can come up to the hall microphones. So, I think in about five minutes we'll look at what's going on. Nothing going on from the internet. So, I'm going to ask another question. In case I want to make a movie about the club, I would want to start with star grant cases. Huge impact. So, why didn't you do this? So, that wasn't my intention. So, of course it's important that these people exist. These people who strive forward to make awesome things. But, as was mentioned multiple times in a film, everybody has to do things. Everybody to their own ability. And I was concerned with this community, how the community communicates. So, life inside the community, not just the big heroes, but everybody. And we all need to move things together. So, maybe want to make the audience aware about the movies quite different now from last year. So, maybe the audience wants to give feedback about this. Are there people yet? Well, you really don't have any questions. Everybody's tired? Oh, one person. So, compared to last year, I really like, this is just great. This is super. But, about the narrative you added. How did you come to think of it? How did you decide to do it as a kind of CCC video game? Yeah. I try to answer in English for you. You know, I'm always working like, I have a kind of a concept and idea. I want to find in this reality I'm entering. But, it's always changing, because reality, you can't plan reality. So, I always have to adapt my concept to what I can see, I can find there. And I have to change it all the time. And at the end it was the question, how can I build up a narrative based on dramaturgy and not on time. And so, this was kind of a vehicle to get this. And then there was the TARDIS. And then there was the TARDIS too. Two things combined. And that was the initial idea for the game structure, I think, to travel through time and space with the TARDIS and be able to jump from camp to congress and back. Yeah. So time doesn't matter anymore. Wie bist du eigentlich? Am Mikro. So, I'm going to ask another question before the next person from the audience. So, how did you come up with this idea to make a movie about this one? Of course you already are a documentary filmmaker, but why about the CCC? So, initially I didn't get there with the intention to make a movie about the CCC, but then I happened to have a Crypto-Party. I don't need to explain how this works. My Crypto was broken, so I tried to get it fixed there or get help there. And then I got to talking with these people there about my ideas. And two weeks later I got a call and they asked me, would you like to come and film at the camp? And I said, yeah, it's not really loud, isn't it? So, but in the end I accepted the challenge and it became quickly. There's so much going on and you can't really mix the documentary. I was just going there. Mixing it with other topics. Is there going to be a part two? No, no. People ask me this all the time, but there's so many important topics in digital. Ich glaube, da kann ich ja auch nochmal was anderes machen. Require film, diese Community auch zu dokumentieren. Und viele wollen es auch irgendwie auf eine gewisse Art. Ich sehe die Necessität, um die Community zu dokumentieren und die Spaß in das zu machen. Ich denke, dass ich einen Workshop für die Menschen für eine Community-Movie kreiert. Involving natürlich alle von euch, wenn ihr euch interessiert. Microphone Nr. 2. Gehen wir uns ein bisschen heran damit nicht hören. My question was already asked, kind of. So, I am improvising. Was sich, da du ja sehr in die Tiefe gegangen bist bei deiner Dokumentation dann? You went into a lot of details in the documentary. Was changed in your ideas, how did your relationship to the CCC change? How did your life change? You can't really see that in a one-to-one relationship, but it is kind of a life journey for me. On the 31st, C3, I was there for the first time. And it was kind of like traveling to India and being in a large metropolis and experiencing the different speed of things for the first time. And it was also very friendly coming here. And after the four days, I thought, my God, what kind of world is it out here? I want to go back in. And that you take with you. Also, with this project, I tried in the production, in distribution to pick up on these ideas and integrate them and carry them further. So, that moved a lot. And it's also that before this movie, I was quite frustrated with the way of working, the way the business works. Because of how the system is organized, it's often that you make a movie and they are shown at a festival. The distributor doesn't really take care of it and then it kind of gets forgotten about and that's not the reason I started making films. And with this, I'm very happy to continue and I'm very interested in continuing making movies. So for me, it's fantastic to come here over the years and I can absolutely agree with all the sentiments in the movie how happy I am to spend my days at the end of the year with you guys. And we continue with microphone number two. One question. Many of us have been here before. Not really objective when we're watching this movie. How was the reaction out there? The reaction was quite positive. People have quite weird ideas about what hackers are. And people were quite surprised how friendly they are, how many nice things they're doing. And many people triggered a lot of stuff, not necessarily that they would come here and join us, but that it might be necessary to start thinking about this differently. And how good it is to think in a completely different way. An den Hintermann. So, let's stay with that microphone. At the beginning you said you wanted to create a discussion about alternative ways of financing projects. And last half year you showed the film to various people in the industry. How did they react to that? So, a lot of people are very reluctant to let go of current business models. So, I was talking to the German rights organization, who is also a lobbyist in Brussels. And I've met a lot of people, and many of them have a lot of interest in changing how things work, because the current system is basically broken. And especially the fact that the movies are not actually shown or that for certain projects you don't get the money. And especially in documentary films, for the reflection about our society, this is really bad. So, I think I managed to kick off a couple of things, and additional people have started meeting up and discussing further. So, for me, it was very interesting to hear that you're going to provide original material, the raw, and that you're going to provide educational resources for schools. Also, at this Dr. Leipzig Film Festival, they create additional materials for schools, for the school classes to watch the movies. And we are able to provide these materials in addition to the movie itself. And we had quite a few people working on this from the schools, and they actually have started being part of Chaos Macht Schule, Chaos Makes School. The movie is also on Vimeo. It will also be uploaded to YouTube. That's another interesting thing. The supporters for the crowdfunding, they had the link since the first of November, and I asked them to not upload the video to any platform, and it actually turned out that none of them did upload it. So MediaCCCD will also have the video, and in addition to that we will upload higher resolution versions, so you can start editing the material yourself. And we will add the separate tracks as well for the music, and this will all grow. And you will upload the 70 hours for our footage, but you will need to pixelate the faces. Well, not all of them, but many of the shots don't actually allow you to identify people. Ja, ich will die Menschen, die da jetzt die Platform programmieren, nicht unter Druck. So, the platform is currently programmed, and I don't want to put any under pressure on the people who are creating this platform. So, there's another question. Microphone 1, please. Ich habe eine Frage, da stehe ich hier, und ich habe eine Frage, da stehe ich hier, und meine Frage ist, wie man sich erinnert, an die Menschen, die okay sind, und die, die man pixelatieren musste. Ich habe ja fast alles selber gedreht, ich filmte ziemlich alles selbst, und ich erinnere mich einfach. Ich habe es geäußert, während der Editing, ich kann mich erinnern, und ich habe eine Foto-Struktur, die ich in die Foto-Struktur geäußert habe, und es ist eigentlich nicht so viel Material, das die Menschen, die nicht in es wollen, und besonders im Camp, ich habe eine Rubber Ducky, die ich zu den Menschen erinnert habe, die die Frage, was die Menschen fragen wollten. Ich beginnte, die Menschen zu fragen, von der Start, und ich ging all den Weg nach hinten, und als ich nach hinten ging, waren neue Menschen auf der Front. Ich war eher korsch, und beginnte pixelatieren, um auf der anderen Seite zu sein. Wir haben nur zwei Minuten, und hier ist die letzte Frage für heute. Vielen Dank, wir sind sehr glücklich, dieses Film zu sehen, und wir sind aus dem Train-Operation-Zentrum. Wir sind sehr glücklich, zu sehen, unser Train, das wir in dem Film gebaut haben. Vielen Dank. Ich hole mal die Noten raus. Lass mich die Musik raus, und wir singen ein bisschen mehr. Das heißt, All Creatures Welcome. Es ist eine sehr simple Lyrics, All Creatures Welcome, und ihr seid alle invited, zu sein. Vielen Dank, dass ihr alle da war. Vielen Dank, dass ihr alle da war. Vielen Dank, dass ihr alle da war. Vielen Dank, dass ihr alle da war. Vielen Dank, dass ihr alle da war. Vielen Dank, dass ich Spotze