http://www.datonet.at/kanonmedia/sascha_subclip12.mov

I also have to say that i think Austria is very famous for a very good public funding situation. I know artists or everybody who applies for funding would always say that it is not enough. This is very logical and natural. To be fair, i have to say we had a very good funding situation for decades. We had a socialist government which was very strong and kind of generous supporting in a very liberal way the arts … they wanted to make sure that the arts can stay free and let them not become dependent from commercial goals they have to fulfil to receive money from corporates or medium companies who are the sponsors, usually. These times have changed now. … Not only in Austria - as far as i hear - but also now in Vienna [meaning: on the level of national and city funding, respectively] - we are having a bit of trouble now. We …[have had] a conservative government which … [was] giving a lot of money to the provinces running art festivals in regions or supporting more and more tourist events although there is a lot of money for tourism and culture in the country anyways. So we do not understand at all why should more money go to this segment rather than the other way around. We know a lot of money is there.

http://www.datonet.at/kanonmedia/eve_subclip12.mov

I think that people [in Greece] who choose to do experimental films they are independent, they do not rely on funding.

http://www.datonet.at/kanonmedia/sascha_subclip11.mov

Money from corporates … they are interested if you do something that gives them a good image. So, they are rather interested in the event business where they can put up banners and logos and place their image. And of course, they are interested in big audience. So, the more experimental you work the less chance you have to get money from corporates. We [have] know[n] for decades - in Austria - if you receive three to five percent [of your production volume ] of private sponsorship you are already good. So, you cannot rely on it.

http://www.datonet.at/kanonmedia/eve_subclip11.mov

[In Greece], the funding for cinema - it is quite problematic because there is a lot of change in the board of directors - mainly the people who make the decisions. there has been a lot of upheaval about some decisions they have made and there is a new group of people coming in and they have to look over all the proposals for films. Experimental film - it is in an even worse position. Some, there are some that get some funding but very little, less than five - i would say - per year.

http://www.datonet.at/kanonmedia/sascha_subclip10.mov

[When thinking of the costs you can cover by funding means receivable for experimental arts in Austria,] do not include the preparation times, do not include the marketing times, exclude all of this, really.

http://www.datonet.at/kanonmedia/eve_subclip10.mov

Basically, [in Greece] more funding is given to institutions and museums rather than individuals or galleries, [for them] it is mostly private funding and sponsoring.

http://www.datonet.at/kanonmedia/sascha_subclip9.mov

So, this is why you usually are applying in different kinds of programs. EC programs are quite interesting because they give you more money. New media funds are quite interesting as they let you approach things on this multimedia level. And as we live in a digital age: if i am good with my films i am a film or i am a multimedia peace. So, i have these doors open. It is quite hard, though, because you have to be known. I mean you can get low money - if you are lucky you get in with … i don’t know … 2,000 Euro, 5,000 Euro. If i receive 5 i cannot pay for everything but i can make a nice documentary with it.