# Transcript: Eliška Podzimková and her illustrated world

## Description

Who is Eliška Podzimková?



Eliška Podzimková is a Czech animator, illustrator, photographer, and all-around artist currently living in Prague. She graduated from the Miroslav Ondříček Film Academy in Písek in 2014. Thanks in part to her Instagram profile @AnimateNY (now @eliskap), she gained recognition overseas in the USA. She fulfilled her dream of living and creating in her favorite city – New York. Instagram literally changed her life and brought collaborations she, a girl from Dobřichovice, never even dreamed of. She is now responsible for projects such as a commercial for Jamie Oliver, the cover page of the New York daily Metro, illustrated photos for American Vogue, and articles in global media.

## Transcript

**[00:00:00]** 🎧🎧🎧

**[00:00:31]** Hello, I greet you all.

**[00:00:34]** Greetings to everyone who came here to the Magenta Experience Center

**[00:00:39]** and are now enjoying our excellent breakfast.

**[00:00:43]** Greetings to everyone watching us live.

**[00:00:48]** A big hello to schools and libraries, and of course to companies,

**[00:00:55]** where I believe you're sitting in a group and will chat after the Brain & Breakfast.

**[00:01:01]** Those of you familiar with the breakfast format know

**[00:01:06]** that it's a somewhat interactive format.

**[00:01:09]** So I'd like to ask you to take your mobile phones

**[00:01:17]** and go to www.slajdu.com with the hashtag Brain,

**[00:01:23]** because after the lecture, which will last about an hour,

**[00:01:28]** there will be a half-hour discussion window,

**[00:01:32]** and I'll try to address the questions you send us

**[00:01:36]** in some way here.

**[00:01:39]** For those watching on Red Button Edu, you don't need to enter anything,

**[00:01:44]** because the questions are right under the live stream you're watching.

**[00:01:50]** I have a small note.

**[00:01:53]** Sometimes this QR code will pop up on your screen.

**[00:01:57]** Don't be alarmed, the QR code is just for

**[00:02:00]** if you want to learn more about Red Button, our network,

**[00:02:04]** scan it and it will take you to a link

**[00:02:08]** where you can subscribe to our newsletter

**[00:02:12]** or register for it in some way.

**[00:02:15]** Now, I have the first question for you.

**[00:02:19]** Thanks to the production team for showing the slide.

**[00:02:23]** So, the question is, who of you has been to a breakfast before

**[00:02:27]** or who is attending breakfast for the first time?

**[00:02:30]** I see that 70% of people have been to a breakfast before,

**[00:02:37]** which means today we have 30% newcomers joining us.

**[00:02:41]** I'm very happy about that.

**[00:02:44]** So keep voting for a moment,

**[00:02:47]** then I'll close the poll and leave your questions there.

**[00:02:52]** Well, today it's an honor for me,

**[00:02:58]** because I can welcome Eliška Podzimková here.

**[00:03:02]** Eliška, please come join us.

**[00:03:07]** I welcome you here and hand over the floor.

**[00:03:13]** Eliška, I probably won't introduce you for long.

**[00:03:17]** Illustrator, photographer, graphic artist,

**[00:03:21]** with really interesting projects behind her

**[00:03:25]** and she will tell us her interesting story.

**[00:03:28]** I'm really looking forward to it because I've already seen the presentation.

**[00:03:31]** It's you, Eliška, thank you very much.

**[00:03:33]** Thank you too. Good day, good morning, enjoy your meal.

**[00:03:38]** What else is good? Everything's good.

**[00:03:41]** I welcome you here, thank you very much for coming.

**[00:03:44]** You are here physically and also those of you watching.

**[00:03:48]** I admit I'd rather B&B stood for bed and breakfast,

**[00:03:53]** because I'm not really a morning person.

**[00:03:55]** and my brain runs at about 25% and vocabulary,

**[00:03:59]** so please excuse me if I repeat words

**[00:04:03]** or make up sentences that might not make any sense,

**[00:04:06]** but hopefully you'll understand.

**[00:04:11]** Thanks again for the invitation, and I'll get started.

**[00:04:18]** If you look at the first picture, I think

**[00:04:21]** not much has changed,

**[00:04:23]** because I grew up in the environment of my crazy family,

**[00:04:32]** which I'm really grateful for,

**[00:04:36]** and which gave me a wonderful foundation for

**[00:04:39]** what I do now, who I am, and the life I live,

**[00:04:42]** which I'm very thankful for.

**[00:04:44]** Why my grandpa called me Lojza, I don't know,

**[00:04:47]** but that's just how I grew up.

**[00:04:49]** I'm still kind of a Lojza.

**[00:04:52]** Anyway, I think this perfectly captures my childhood.

**[00:04:56]** We had goats at home, so the whole village

**[00:04:59]** would come to see and feed our goats.

**[00:05:01]** Sometimes we even took them to school.

**[00:05:03]** A kid goat named after me, Lojza,

**[00:05:07]** I took him to class,

**[00:05:10]** on pet day,

**[00:05:13]** which the teacher obviously didn't expect,

**[00:05:16]** that I'd bring a kid goat.

**[00:05:18]** Rabbits, dogs, cats, everything.

**[00:05:20]** Just absolute chaos.

**[00:05:22]** Then came the goat, our goat Lojzík,

**[00:05:25]** and he completely messed everything up.

**[00:05:28]** But it ended well.

**[00:05:31]** It was a great day.

**[00:05:34]** Anyway, that childhood, growing up among animals

**[00:05:38]** and especially here in the second photo.

**[00:05:41]** This is again a theater environment,

**[00:05:43]** which is Petr Forman.

**[00:05:47]** Petr Forman, who is giving us a ride on a motorcycle

**[00:05:50]** at a Cihelna festival in Přešt.

**[00:05:53]** And this is the environment where my brother and I grew up.

**[00:05:57]** Which leaves you with a huge world

**[00:06:05]** full of experiences, adventures, creativity, and inventiveness.

**[00:06:13]** I only realize now in hindsight

**[00:06:16]** that it had such an impact on me.

**[00:06:18]** But it makes perfect sense,

**[00:06:20]** because we were always traveling around theaters,

**[00:06:23]** to Divadlo Minor, Divadlo Bratří Formanů.

**[00:06:26]** We were always doing events like this.

**[00:06:29]** And my mom is also an artist,

**[00:06:31]** so naturally I was drawn to it later.

**[00:06:35]** Did I say that?

**[00:06:37]** Yeah, good, sorry.

**[00:06:40]** And actually, no one pushed me into it,

**[00:06:48]** didn't force me to stay in art,

**[00:06:51]** but it happened organically, which I'm grateful for.

**[00:06:55]** And now it's my livelihood.

**[00:06:58]** Yes, I make a living from illustration, which sounds a bit unbelievable.

**[00:07:04]** I think when a child tells their parents

**[00:07:07]** they want to be an illustrator, painter, or animator,

**[00:07:10]** they get told no, you should study medicine or law or something else.

**[00:07:16]** But somehow it works out.

**[00:07:18]** At the same time, I've had many lucky moments in my life

**[00:07:22]** that helped me get here.

**[00:07:25]** Not a very happy moment was when I was about 15,

**[00:07:30]** and my family heard the diagnosis at Motol hospital

**[00:07:36]** Hodgkin's lymphoma,

**[00:07:38]** which is a cancer of the lymph nodes.

**[00:07:41]** Looking back now,

**[00:07:46]** even though I say it wasn't a happy moment,

**[00:07:49]** it was one of the most important turning points in my life so far,

**[00:07:54]** which helped me see life differently

**[00:08:01]** and enjoy it with perspective, not wasting time and energy

**[00:08:09]** on people or things that aren't worth it.

**[00:08:17]** However, the experience was obviously very intense,

**[00:08:21]** It brought my family and me closer together.

**[00:08:23]** And it actually gave me space to start creating some of my own things.

**[00:08:27]** Within that creative process.

**[00:08:29]** So it was great, because when you go through cancer treatment,

**[00:08:34]** which lasts, I don't know, for some people a year,

**[00:08:37]** for others much longer, it's a very individual thing,

**[00:08:40]** for me it was just over a year,

**[00:08:42]** but basically you're constantly waiting for something.

**[00:08:46]** It's almost worse than a movie set,

**[00:08:48]** you're just always waiting for something, for some results,

**[00:08:51]** whether you have to go for this test,

**[00:08:53]** or that one over there.

**[00:08:56]** And I tried to fill that time with some kind of creating

**[00:09:00]** or activities I could do at that moment,

**[00:09:05]** because of course you can't do everything,

**[00:09:08]** or you don't have enough energy for it,

**[00:09:11]** but I don't think I'll ever hold so much clay in my hands again,

**[00:09:16]** or plasticine.

**[00:09:18]** For example, I made a huge tennis stadium

**[00:09:21]** entirely out of modeling clay, just out of boredom, anything really.

**[00:09:26]** But at one point, my dad brought a graphic tablet home,

**[00:09:32]** and I started doodling, and I thought,

**[00:09:36]** oh god, I don't know what to draw again,

**[00:09:38]** it's like when you put a blank sheet in front of me,

**[00:09:40]** I just don't know what to do with it.

**[00:09:42]** And because it was digital,

**[00:09:45]** I was able to insert a photo,

**[00:09:47]** which I could somehow respond to

**[00:09:50]** and draw on.

**[00:09:52]** And for me, it opened a world that I still enjoy today.

**[00:09:58]** I hope everyone else will enjoy it too...

**[00:10:00]** What's really beautiful about it is that you can combine sometimes harsh reality

**[00:10:08]** with fantasy, with a bit of childlike thinking that I definitely have,

**[00:10:15]** but I try to bring that reality to life in some way.

**[00:10:23]** I'll come back to this period because it connects to a project

**[00:10:28]** I'm working on now, but let's move on. Oh, not yet.

**[00:10:35]** Being bald is a huge deal for many people, especially adults or teenagers,

**[00:10:45]** which I was, but I ended up really enjoying it.

**[00:10:51]** For example, this right here, the painted head, was done by one of the oldest tattoo artists in the Czech Republic,

**[00:10:58]** we were sitting in a pub somewhere with my parents in the garden, and he said,

**[00:11:02]** Come on, I'll draw something there and cut this out, and I was like, wow,

**[00:11:06]** such a long piece from the back, I couldn't do it.

**[00:11:09]** So the baldness was actually a kind of fun period and it's the only thing

**[00:11:18]** that people around you actually see during the treatment.

**[00:11:21]** And of course, it's mentally tough for all patients who lose their hair,

**[00:11:30]** but in the vast majority of cases, the hair really grows back,

**[00:11:35]** and it's just a visual thing that isn't really important.

**[00:11:40]** So there are far more important moments during the treatment than hair.

**[00:11:48]** When I click, it still...

**[00:11:50]** How do I tell him something?

**[00:11:54]** Of course, it's connected to that.

**[00:11:56]** My growing-up period was difficult precisely because,

**[00:12:03]** during the treatment, I lost my puberty.

**[00:12:07]** I was basically a 14-year-old child going through treatment all at once like an adult,

**[00:12:13]** and maybe I'm catching up on puberty now, but I don't know.

**[00:12:17]** But of course, I dealt with various relationships and people were always going out with boys and girls and everything.

**[00:12:26]** And I was like, oh my god, I have no interest in this at all.

**[00:12:30]** With a bald head, I felt disgusting.

**[00:12:33]** It was just a total issue for me that I couldn't handle.

**[00:12:39]** And actually, during my free time in treatment, I was creating various animations.

**[00:12:44]** This came out of me when I was about fifteen and it really says a lot.

**[00:13:03]** That's all.

**[00:13:05]** My view on love at fifteen during cancer treatment,

**[00:13:10]** without which this twenty-second animation wouldn't exist.

**[00:13:16]** Then came the recovery period, the return to the real world,

**[00:13:21]** and I decided to go to film school in Písek,

**[00:13:28]** where I wanted to study animation.

**[00:13:31]** And during my studies, I started adding more and more drawings to photos,

**[00:13:37]** and I had the chance to visit New York,

**[00:13:42]** which was an absolute dream for me at the time,

**[00:13:49]** because after treatment, I thought I'd be stuck at home forever and couldn't go anywhere,

**[00:13:56]** and everything was dangerous for me.

**[00:13:58]** And suddenly, I found myself at a friend's place in New York for the summer,

**[00:14:03]** for about six weeks, at an animation workshop again,

**[00:14:07]** and I totally fell in love with the city.

**[00:14:10]** For me, it was a force of nature that you could watch from every angle.

**[00:14:14]** You ride the subway, watch people, because it's so much fun,

**[00:14:18]** all cultures are there, everything mixes,

**[00:14:22]** and it's just a huge pool of inspiration,

**[00:14:28]** and I started adding drawings only to photos from New York.

**[00:14:33]** and I was really fixated on it.

**[00:14:35]** I said I wouldn't post any other photos from anywhere else,

**[00:14:38]** just New York.

**[00:14:40]** So I was drawing little doodles like this,

**[00:14:43]** and at one point I thought,

**[00:14:47]** I'll create an Instagram account for it,

**[00:14:51]** which was basically at the very beginning of this social network,

**[00:14:55]** which now, when I say it, is completely somewhere else,

**[00:15:00]** compared to what it was like in 2012.

**[00:15:03]** In 2012, it was a social network

**[00:15:05]** that gave visual people space

**[00:15:08]** to present themselves somehow, even anonymously,

**[00:15:12]** or to collaborate on various things together.

**[00:15:15]** It opened many people's eyes to the fact

**[00:15:19]** that they might never have thought about

**[00:15:21]** how to take a photo, its composition, or colors.

**[00:15:24]** I honestly say all those photos were great.

**[00:15:27]** We all remember the era of filters and everything,

**[00:15:30]** and there was a lot of it, but actually the network,

**[00:15:34]** I think, fulfilled

**[00:15:37]** a mission in society very nicely

**[00:15:39]** to somehow engage creativity in life,

**[00:15:42]** which, as I said, is no longer the case.

**[00:15:45]** Now it's just full of marketing and advertising,

**[00:15:48]** and it has somewhat lost that magic.

**[00:15:52]** Nevertheless, thanks to that start on Instagram,

**[00:15:55]** it was a springboard for me,

**[00:15:58]** whether career-wise or even in New York,

**[00:16:02]** where I met many people

**[00:16:06]** who were very talented.

**[00:16:08]** Most of them worked in corporations,

**[00:16:11]** and thanks to that, they started taking photos,

**[00:16:14]** got really good at it,

**[00:16:17]** and most of them now professionally create

**[00:16:20]** some kind of visual content.

**[00:16:23]** So for me, it was a phase

**[00:16:31]** when I started dreaming

**[00:16:36]** that I wanted to stay in New York.

**[00:16:38]** I wanted to work there,

**[00:16:40]** which, of course, isn't easy for someone from Europe.

**[00:16:43]** because of the challenges and everything,

**[00:16:45]** but it's not impossible, obviously.

**[00:16:47]** And that Instagram, which wasn't under my name,

**[00:16:51]** was kind of messy,

**[00:16:54]** so some media started to notice it

**[00:16:57]** and a bit of a buzz began,

**[00:17:00]** which gave me incredible drive,

**[00:17:03]** so I was posting two or three photos a day,

**[00:17:06]** and I really enjoyed it,

**[00:17:08]** because I always found a photographer,

**[00:17:11]** wrote to them, hey, this photo is great,

**[00:17:13]** can I add something to it?

**[00:17:15]** At first, they were like, what, I don't know,

**[00:17:18]** and then, okay, I'll send it to you.

**[00:17:20]** Then I sent back the edited version,

**[00:17:22]** they were usually thrilled, so it was mutual,

**[00:17:25]** we were happy that the photo lived on.

**[00:17:28]** And that's how it all built up,

**[00:17:31]** until I was offered a job in New York,

**[00:17:35]** which I of course accepted.

**[00:17:38]** And when they called me from New York,

**[00:17:41]** from New York Film Academy,

**[00:17:43]** the one offering me the job,

**[00:17:45]** I picked up the phone

**[00:17:48]** and an older man's voice answered,

**[00:17:52]** he mumbled a lot, I had trouble understanding English,

**[00:17:55]** and he said,

**[00:17:56]** Liška, you want to come to New York, work for me?

**[00:17:59]** And I was like, Jesus, is this a prank?

**[00:18:01]** Who is calling me?

**[00:18:03]** And he said, no, this is Jerry.

**[00:18:05]** And I said, okay then.

**[00:18:07]** Then he said, well, you can come right away.

**[00:18:09]** And I said, well, I still have

**[00:18:11]** three hundred years of school I'd like to finish.

**[00:18:14]** And please, you probably don't usually respond like this,

**[00:18:17]** when someone offers you a job in New York.

**[00:18:20]** Nevertheless, they waited for me,

**[00:18:22]** and after three hundred years, I went to New York

**[00:18:25]** and worked for the film school,

**[00:18:28]** I was basically doing this,

**[00:18:31]** what I did at Posaváťa,

**[00:18:34]** but I adapted it more to the school,

**[00:18:37]** to the students, to the film environment, and so on.

**[00:18:40]** And I really enjoyed it.

**[00:18:43]** These are some others, not New York anymore.

**[00:18:46]** And in New York,

**[00:18:49]** I actually stayed only one year in the end.

**[00:18:52]** And I was heavily criticized

**[00:18:57]** from all sides, from friends,

**[00:19:00]** maybe a bit from family,

**[00:19:03]** but they never said it out loud,

**[00:19:06]** because it was such a huge effort from everyone,

**[00:19:09]** that I left to get paid somehow,

**[00:19:12]** to have my paperwork in order,

**[00:19:15]** so I wouldn't be there illegally.

**[00:19:18]** And it was just very demanding.

**[00:19:21]** At the same time, I was after treatment,

**[00:19:24]** so the doctor said,

**[00:19:27]** "Eliška, okay, go ahead,

**[00:19:30]** but you have to give me monthly reports,

**[00:19:33]** how you feel, if anything is wrong,"

**[00:19:36]** so yes, I went, I just wanted to be in New York,

**[00:19:39]** I wanted to experience it.

**[00:19:42]** And how did this classic American dream turn into

**[00:19:45]** Elena going home after a year?

**[00:19:48]** It was simply that

**[00:19:51]** it didn’t meet my expectations.

**[00:19:54]** It was a nice period that gave me lots of experience,

**[00:19:57]** but I actually realized

**[00:20:00]** that in New York...

**[00:20:00]** in the city I love and want to explore,

**[00:20:03]** I had absolutely no time for it.

**[00:20:05]** I was nonstop just sitting somewhere in an office.

**[00:20:08]** There was pressure on me

**[00:20:10]** to come up with one idea after another.

**[00:20:13]** When I allowed myself to ask

**[00:20:15]** if I could maybe go for a walk somewhere in the city,

**[00:20:18]** to maybe come up with something new

**[00:20:20]** and meaningful,

**[00:20:22]** That's what I was told,

**[00:20:24]** no, you'll just sit here in the office,

**[00:20:26]** because that's your job.

**[00:20:28]** And you take the subway to work,

**[00:20:31]** you're underground going to work,

**[00:20:33]** you take the subway, you're underground in the city,

**[00:20:35]** you see nothing, you have no energy for anything,

**[00:20:37]** because your mind is running at 200%,

**[00:20:39]** trying to understand your Australian boss,

**[00:20:42]** who speaks English in a way you don't catch.

**[00:20:44]** And I probably didn't have the patience for it.

**[00:20:46]** And that's exactly the,

**[00:20:48]** maybe what the illness created in me,

**[00:20:51]** that I can't really spend any more time

**[00:20:55]** on things that don't make me happy.

**[00:20:57]** So I just let go of New York.

**[00:21:00]** And everyone was looking,

**[00:21:02]** like, so you're home now,

**[00:21:04]** and what are you going to do at home,

**[00:21:06]** but somehow it worked out.

**[00:21:08]** So it was,

**[00:21:11]** I definitely don't want to discourage anyone

**[00:21:14]** from going somewhere and experiencing something.

**[00:21:16]** On the contrary, New York

**[00:21:18]** basically showed me

**[00:21:20]** what I probably don't want in life.

**[00:21:22]** That means,

**[00:21:24]** sitting somewhere,

**[00:21:26]** coming up with things under pressure,

**[00:21:28]** and having terrible lack of freedom.

**[00:21:30]** And I'm the kind of person

**[00:21:32]** who can't handle that.

**[00:21:34]** So thanks to New York,

**[00:21:36]** I realized this very early.

**[00:21:38]** I think many people find this out

**[00:21:40]** much later in life,

**[00:21:42]** which I think is a shame,

**[00:21:50]** But sometimes that's just how life is.

**[00:21:53]** At the same time, there's nothing wrong with that, of course.

**[00:21:55]** Some people need it.

**[00:21:57]** To sit in an office and work.

**[00:21:59]** I'm just not that type.

**[00:22:01]** However, after returning

**[00:22:03]** I somewhat detached myself

**[00:22:05]** from New York.

**[00:22:07]** That's a photo from Prague,

**[00:22:09]** so I started creating

**[00:22:11]** some other photographs as well.

**[00:22:13]** And I actually began to enjoy

**[00:22:17]** working with people here,

**[00:22:19]** with different companies,

**[00:22:21]** on various campaigns.

**[00:22:23]** And actually,

**[00:22:25]** at the beginning of

**[00:22:27]** my return here to the Czech Republic,

**[00:22:29]** I didn't know

**[00:22:31]** what I was going to do.

**[00:22:33]** I didn't know

**[00:22:35]** whether I should start contacting

**[00:22:37]** some ad agencies and apply for jobs.

**[00:22:39]** Or if I should do post-production

**[00:22:41]** at some studio,

**[00:22:43]** because I know how from school.

**[00:22:45]** And then I thought,

**[00:22:47]** well, we'll see.

**[00:22:49]** I'll go freelance,

**[00:22:51]** which I had planned even in New York,

**[00:22:53]** that I'd first quit my job

**[00:22:55]** and go freelance,

**[00:22:57]** which is a bit of a suicide in New York,

**[00:22:59]** because the number of people who want to do this there

**[00:23:01]** is just insane.

**[00:23:03]** These are all the people

**[00:23:05]** who walk around with 20 dogs in the parks

**[00:23:07]** and then create something in the afternoon

**[00:23:09]** and try to make it in New York,

**[00:23:11]** where the competition is fierce.

**[00:23:13]** Just people from all over the world,

**[00:23:15]** from all kinds of fields.

**[00:23:17]** So I kind of gave up,

**[00:23:19]** but at the same time I met

**[00:23:21]** my current girlfriend,

**[00:23:23]** and you can't command love,

**[00:23:25]** so I came back.

**[00:23:27]** Of course, that also belongs

**[00:23:29]** to the circumstances of returning.

**[00:23:31]** And I decided

**[00:23:33]** to work freelance.

**[00:23:35]** Now let's move on to what's next.

**[00:23:37]** Yeah, those are some campaigns.

**[00:23:43]** I honestly don't really know,

**[00:23:45]** I really don't like it myself,

**[00:23:47]** when someone calls me an artist.

**[00:23:53]** I don't like that word,

**[00:23:55]** to me it means someone completely different,

**[00:23:57]** a totally different person.

**[00:23:59]** I'm a visual artist, a doodler,

**[00:24:01]** sometimes an illustrator,

**[00:24:03]** sometimes an animator,

**[00:24:05]** but what I really enjoy about my work

**[00:24:07]** is the range of projects

**[00:24:09]** I work on.

**[00:24:11]** I'm actually turning 30 soon,

**[00:24:13]** and only now am I reaching

**[00:24:15]** phases where I can balance

**[00:24:17]** projects so that

**[00:24:19]** sometimes I do commercial ones.

**[00:24:21]** For me, those are financially

**[00:24:23]** a kind of advance

**[00:24:25]** for my own projects,

**[00:24:27]** so I just flow back and forth like that.

**[00:24:29]** And at the same time, I completely disagree

**[00:24:31]** with the opinion that an artist,

**[00:24:33]** I'll say the word now, an artist can't go commercial,

**[00:24:35]** because the moment

**[00:24:37]** you eat dry bread at home

**[00:24:41]** and you make canvases,

**[00:24:43]** that's great,

**[00:24:45]** but then don't complain about those artists,

**[00:24:47]** who know how to earn money

**[00:24:49]** through some projects,

**[00:24:51]** but at the same time create

**[00:24:53]** some of their own work.

**[00:24:55]** So I know it's controversial

**[00:24:57]** and that's why I say,

**[00:24:59]** I don't know if I'm an artist.

**[00:25:01]** For me, an artist is Petr Nikl

**[00:25:03]** or

**[00:25:05]** Petr Sís,

**[00:25:07]** it's just a kind of

**[00:25:09]** pigeonholing people

**[00:25:11]** into one category,

**[00:25:13]** and if you don't do what

**[00:25:15]** is written on that label,

**[00:25:17]** then you don't belong there.

**[00:25:19]** So it seems

**[00:25:21]** strange to me.

**[00:25:23]** Nevertheless, here are

**[00:25:25]** some of my experiences

**[00:25:27]** with clients.

**[00:25:29]** This was quite an interesting experience,

**[00:25:31]** because

**[00:25:33]** of course I had to

**[00:25:35]** hold my imagination

**[00:25:37]** in check, after all, this was

**[00:25:39]** premium banking, where you can't just

**[00:25:41]** call anything you want.

**[00:25:43]** So it was an interesting experience

**[00:25:45]** in that I had to restrain myself a bit,

**[00:25:47]** and at the same time there was a short-term

**[00:25:49]** art director, who had advertising experience,

**[00:25:51]** so I actually

**[00:25:53]** learned a lot of new things from that,

**[00:25:55]** and it also had its charm.

**[00:25:57]** This

**[00:25:59]** 15th anniversary

**[00:26:01]** Google Street View,

**[00:26:03]** Google offered,

**[00:26:05]** if I wanted to illustrate,

**[00:26:07]** images from Google Street View

**[00:26:09]** from some places

**[00:26:11]** around the Czech Republic,

**[00:26:13]** and I said that’s exactly for me, that’s great.

**[00:26:15]** So I really enjoyed it,

**[00:26:17]** this is a relatively recent thing.

**[00:26:21]** This is also a recent thing,

**[00:26:23]** it’s an interesting

**[00:26:25]** collaboration

**[00:26:27]** with a Filipino rum,

**[00:26:29]** which now has

**[00:26:31]** a relatively big

**[00:26:33]** boom, but when

**[00:26:35]** I started working with them, it was

**[00:26:37]** a relatively unknown brand,

**[00:26:39]** and they wanted from me,

**[00:26:41]** because they really try

**[00:26:43]** to work with artists in their marketing,

**[00:26:45]** and worldwide they give a lot

**[00:26:47]** of space, they provide,

**[00:26:49]** residencies in the Philippines,

**[00:26:51]** where artists can create, travel around

**[00:26:53]** the island,

**[00:26:55]** somehow

**[00:26:57]** experience it,

**[00:26:59]** and I also

**[00:27:01]** went to the Philippines and actually

**[00:27:03]** from that came

**[00:27:05]** this label

**[00:27:07]** for the bottle,

**[00:27:09]** which today, by coincidence,

**[00:27:11]** we are launching or something like that,

**[00:27:13]** and if you want to come

**[00:27:15]** for a drink tonight to the House of Joy,

**[00:27:17]** you’re welcome,

**[00:27:19]** and here I’ll just show a short video,

**[00:27:21]** sorry it’s in portrait mode,

**[00:27:23]** but we are in the era of videos

**[00:27:25]** at university, so that's just how it is

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**[00:30:00]** that they would like to publish The Little Prince with me.

**[00:30:04]** One of their points was that I look like The Little Prince,

**[00:30:08]** so I have to illustrate it myself.

**[00:30:10]** So I said, okay, sure.

**[00:30:12]** And I didn't really think much about it.

**[00:30:14]** I was actually excited from the start,

**[00:30:17]** and I'm not the typical Little Prince fan,

**[00:30:21]** who would have all editions at home in every possible language,

**[00:30:25]** with quotes, mugs, and everything. Not at all.

**[00:30:28]** I didn't have much connection to the prince before,

**[00:30:31]** before I worked on the book,

**[00:30:33]** but now, through the process

**[00:30:38]** of working on the story,

**[00:30:41]** it naturally grew close to my heart,

**[00:30:44]** because it fits my inner mindset,

**[00:30:47]** that in this world we need to play a little,

**[00:30:50]** stay a bit with the kids,

**[00:30:52]** find joy in small things,

**[00:30:55]** and not be afraid to express emotions and joys,

**[00:31:00]** which maybe only children still can.

**[00:31:02]** And that's why I decided

**[00:31:05]** to create an interactive exhibition for the book,

**[00:31:08]** which until then wasn't even a topic for me.

**[00:31:12]** I have a bit of a block

**[00:31:16]** about creating an exhibition,

**[00:31:19]** which under the term,

**[00:31:21]** what you imagine an exhibition to be,

**[00:31:23]** means you take pictures, put them on the wall,

**[00:31:25]** someone comes, walks around, and then leaves.

**[00:31:27]** I have nothing against that.

**[00:31:29]** It suits some artists,

**[00:31:31]** but since I grew up in the environment

**[00:31:33]** of the Forman brothers and such crazy people,

**[00:31:37]** I just need to create a world around it,

**[00:31:40]** where you come in, close the door

**[00:31:42]** and let it affect you

**[00:31:45]** and actually what is outside those doors,

**[00:31:48]** you leave behind and focus on the game,

**[00:31:51]** on sharing, even with the kids

**[00:31:53]** who come with you

**[00:31:55]** and it was a huge joy.

**[00:31:58]** At the same time, it was a bit of a social experiment

**[00:32:01]** thanks to the augmented reality,

**[00:32:04]** because of course, who wants to come to an exhibition,

**[00:32:06]** download an app, and look at pictures through a phone,

**[00:32:10]** it seems like a total nonsense,

**[00:32:12]** now the moms come and get upset,

**[00:32:14]** I always take it away from them at home,

**[00:32:15]** I just forbid them from using tablets

**[00:32:17]** and then I come to a kids' exhibition

**[00:32:19]** and they have to hold it in their hands.

**[00:32:21]** And I think, you don't have to, it's a bonus,

**[00:32:24]** it's not mandatory,

**[00:32:25]** you don't have to use it.

**[00:32:28]** Of course, it ended up with the dad walking around the pictures

**[00:32:30]** scrolling through them probably for the third time

**[00:32:34]** and then the mom says,

**[00:32:37]** and the kids use the phone as a tool,

**[00:32:38]** they treat it differently,

**[00:32:44]** than when videos come on YouTube

**[00:32:45]** or TikTok.

**[00:32:47]** It's just a tool

**[00:32:48]** to give the exhibition another dimension.

**[00:32:51]** Yes, it's still somewhat controversial,

**[00:32:54]** but I enjoy technology

**[00:32:57]** and I enjoy using it for something like this

**[00:32:59]** and here we have a room full next door,

**[00:33:02]** full of new technologies,

**[00:33:08]** that open up possibilities for us

**[00:33:10]** and I think it's a bit pointless

**[00:33:13]** to fight against them.

**[00:33:16]** So I try to find a way

**[00:33:17]** to use them in my own work,

**[00:33:22]** to give it some additional dimension.

**[00:33:25]** Now I'll come up with a video from Iceland,

**[00:33:28]** so I'll play it for you.

**[00:33:29]** It's about five minutes long.

**[00:33:30]** It's actually about a trip to Iceland,

**[00:33:34]** because I decided to combine the Little Prince

**[00:33:37]** with photos from Iceland.

**[00:33:40]** We went there for two weeks

**[00:33:44]** to various spots,

**[00:33:46]** mostly lesser-known ones,

**[00:33:48]** where there weren't many tourists.

**[00:33:50]** And I was looking for places

**[00:33:52]** where I could see, whether it was a drunkard

**[00:33:55]** or a businessman.

**[00:33:57]** We were driving through Ukraine,

**[00:33:59]** and I always told the guys,

**[00:34:01]** stop, let's just take a backpack for an hour over there,

**[00:34:04]** and go for a walk while I take photos.

**[00:34:06]** It was a great form of project,

**[00:34:12]** I really enjoyed it.

**[00:34:43]** Even though it looks like we're on another planet,

**[00:34:45]** we're still on our own.

**[00:34:47]** We're in Iceland, where I decided to take photos

**[00:34:50]** for the Little Prince book.

**[00:34:53]** It's a collaboration I was invited to by

**[00:34:56]** the Albatros publishing house,

**[00:34:58]** which wants to republish the book.

**[00:35:08]** We divided the whole project into two stages.

**[00:35:10]** The first week we went north

**[00:35:12]** from Pětrejkěvík, first to the Snæfellsnes peninsula

**[00:35:15]** and then to the northern Westfjords.

**[00:35:19]** It was cold there, there was snow,

**[00:35:22]** and it was proper Iceland.

**[00:35:29]** There is a small crater,

**[00:35:33]** where the Little Prince attaches eggs to the volcano.

**[00:36:11]** In the second week, we changed direction

**[00:36:14]** and headed along the southern coast,

**[00:36:17]** where the landscape was completely different.

**[00:36:20]** There were many waterfalls,

**[00:36:22]** many bubbling ponds.

**[00:36:25]** Our goal was also to reach the lake lagoon,

**[00:36:29]** the lake lagoon, which was the base

**[00:36:33]** and huge ice floes float there.

**[00:36:36]** And another goal was, of course,

**[00:36:39]** to see the crashed plane on the vast black beach.

**[00:36:43]** This morning we got up at four,

**[00:36:46]** to catch the sunrise

**[00:36:49]** here at this plane wreck.

**[00:36:52]** When we all remembered,

**[00:36:55]** when we remembered,

**[00:36:58]** when we remembered,

**[00:37:01]** when we remembered,

**[00:37:04]** when we remembered,

**[00:37:07]** when we remembered,

**[00:37:10]** when we remembered,

**[00:37:13]** when we remembered,

**[00:37:16]** when we remembered,

**[00:37:19]** when we remembered,

**[00:37:22]** when we remembered,

**[00:37:25]** when we remembered,

**[00:37:28]** when we remembered,

**[00:37:31]** when we remembered,

**[00:37:34]** when we remembered,

**[00:37:37]** when we remembered,

**[00:37:40]** when we remembered.

**[00:37:58]** And everything that belongs to Iceland.

**[00:38:01]** And it seems to me,

**[00:38:04]** that it also belongs to the Little Prince.

**[00:38:07]** All the big illustrations

**[00:38:10]** will also be interactive.

**[00:38:13]** Thanks to new technologies

**[00:38:16]** and a special app,

**[00:38:19]** you will be able to play animated passages,

**[00:38:22]** which reveal a bit more,

**[00:38:26]** so hopefully you will like the book.

**[00:38:34]** That was my beloved Iceland.

**[00:38:37]** I had never been to Iceland before.

**[00:38:40]** So it was kind of

**[00:38:43]** venturing into the unknown,

**[00:38:46]** but thanks to my friend Petr Hrycek,

**[00:38:49]** whom I really like

**[00:38:52]** and I really like his photos

**[00:38:55]** and the atmosphere in his photos,

**[00:38:58]** so I knew exactly

**[00:39:01]** that Iceland would fit perfectly for that,

**[00:39:04]** it would be great for it

**[00:39:07]** and actually after we arrived there,

**[00:39:10]** it exceeded my expectations by about 200%.

**[00:39:13]** And also in the landscape,

**[00:39:16]** where you can point your camera anywhere,

**[00:39:19]** but searching for those situations

**[00:39:22]** and moments from the book

**[00:39:25]** was really fun for me.

**[00:39:28]** And after I returned, I sat down

**[00:39:31]** and started going through it.

**[00:39:34]** It wasn’t always like,

**[00:39:37]** I go there with a precise plan,

**[00:39:40]** looking for a house with someone sitting on it.

**[00:39:43]** Or rather, it’s the opposite.

**[00:39:47]** Then at home I go back to them

**[00:39:50]** and try to find the illustration in them.

**[00:40:00]** In the end, it was very interesting, because of course I was really afraid of the work,

**[00:40:08]** respectful that the author wrote it and illustrated it himself.

**[00:40:13]** And now I have to come in and break it all apart and do it my way.

**[00:40:18]** It’s just bold, but I tell myself, well, I just need to detach from it

**[00:40:24]** and do it somehow so it feels right for me, and if I stand behind it,

**[00:40:30]** we’ll see how people perceive it.

**[00:40:34]** However, for me, the process basically consisted of

**[00:40:41]** forbidding myself to look at the original edition, forbidding myself to open the original illustrations.

**[00:40:47]** Of course, you remember them a bit, have them in your head

**[00:40:52]** and know where in the book they are, but I think I didn’t open it after page 15.

**[00:41:00]** So I thought, okay, I’ll just leave it there.

**[00:41:02]** I only requested the text and listened to the audiobook on repeat,

**[00:41:09]** which was driving me crazy in Iceland because it’s the same thing over and over, and they kept saying,

**[00:41:13]** no, please, no, don’t, something else.

**[00:41:16]** And I’m like, no, I need to find those things there.

**[00:41:19]** So we played it on repeat, including the version narrated by Mr. Cupák,

**[00:41:23]** which is a very monotonous voice, one that makes you a bit sleepy

**[00:41:29]** and is a bit silly, so it was a bit tough.

**[00:41:32]** But I just want to say, I only opened the book after I had finished everything,

**[00:41:40]** only when my book arrived still warm from the printer, I said,

**[00:41:44]** okay, now I'll flip through it and see how the original edition looks.

**[00:41:48]** And it was actually very personal for me, because the pressure is obviously there,

**[00:41:53]** even if you don't want it, and I just needed to separate it a bit

**[00:42:01]** from the process, from the work on it.

**[00:42:03]** These are some photos from the exhibition, I think these are from Plzeň,

**[00:42:08]** however, the first exhibition was in 2019, just before covid,

**[00:42:16]** in Prague's Nitroblok, where it was a kind of room

**[00:42:21]** with fallen rides, broken floor,

**[00:42:24]** it was basically a storage for junk and we turned it into the world of the Little Prince.

**[00:42:32]** And in the end, it was there for three or four months,

**[00:42:37]** it was a great experience for us, I had a great group of people

**[00:42:41]** who helped me with it, we had no idea what we were doing,

**[00:42:44]** we just hoped that maybe fifteen hundred people would come

**[00:42:47]** and fifteen thousand came, and we had absolutely no idea

**[00:42:51]** what was happening or if everything was running smoothly, we spent days and nights there,

**[00:42:56]** but luckily the space was so pleasant that it didn't bother us.

**[00:43:00]** Then we started getting various offers,

**[00:43:05]** asking if we could bring the exhibition to another city,

**[00:43:08]** and I thought, yeah, why not, I had no idea how we'd transport it,

**[00:43:11]** but okay, we'll figure it out somehow.

**[00:43:13]** Then covid came, so none of that happened,

**[00:43:17]** but now we've renewed those contacts and places,

**[00:43:25]** so the exhibition is now touring the Czech Republic, through cities,

**[00:43:31]** where I might never have gone on my own,

**[00:43:35]** so now I'm enjoying something like a band tour,

**[00:43:40]** except instead of playing a concert and moving on,

**[00:43:44]** we spend about a week setting up the exhibition each time,

**[00:43:47]** so we really get to enjoy the city we're in,

**[00:43:52]** I don't know, we were in Litvínov, which is, damn, Litvínov,

**[00:43:56]** we had no idea what we should do there,

**[00:43:59]** in the end we slept somewhere in the mountains, on the slopes, and it was wonderful,

**[00:44:04]** we really enjoyed it, we loved Opava too,

**[00:44:07]** so we're touring around the country, which is great,

**[00:44:11]** and the exhibition just ended in Brno,

**[00:44:15]** and in the summer we're heading to Slovakia, which I'm really looking forward to,

**[00:44:19]** because I was probably last there when I was about 10 years old,

**[00:44:23]** I don't understand why it was so long ago, and we're starting in the High Tatras

**[00:44:29]** and then we'll be in Bratislava, so I'm really excited.

**[00:44:33]** And hopefully we'll have plans to go further abroad as well

**[00:44:37]** And my dream is to end it in Paris at the Czech Center,

**[00:44:42]** which hopefully will happen, I just don't know when, because it keeps getting postponed,

**[00:44:47]** and more and more cities keep being added, but it's nice.

**[00:44:51]** I'm really enjoying it.

**[00:44:54]** So that's the intro.

**[00:44:58]** Now let's dive into this topic.

**[00:45:01]** I'll let you answer this question first.

**[00:45:10]** Can I ask the audience here, by show of hands,

**[00:45:15]** who among you has someone or had someone close to them

**[00:45:19]** who went through cancer treatment?

**[00:45:22]** Please raise your hand.

**[00:45:26]** That's more than half.

**[00:45:29]** We have online results here, not yet.

**[00:45:33]** Should I wait? They're there now, sorry.

**[00:45:38]** It's jumping up and down.

**[00:45:42]** Anyway, the number of Yes answers is relatively high, I think.

**[00:45:46]** Often it's even higher.

**[00:45:50]** Often it's almost the whole room.

**[00:45:54]** When I ask like this in the audience.

**[00:45:58]** And actually, I'll connect this to the Plešovní project,

**[00:46:02]** which we are working on.

**[00:46:07]** Maybe some of you have heard about it,

**[00:46:11]** because it's been dragging on with us for several years.

**[00:46:15]** However, the project is quite extensive

**[00:46:19]** and complex.

**[00:46:23]** So logically, it requires quite a lot of energy.

**[00:46:27]** Nevertheless, the Plešovní project is...

**[00:46:31]** It started with an animated series,

**[00:46:36]** which through animation and short episodes

**[00:46:40]** would outline how cancer treatment works for children.

**[00:46:46]** Mainly for the patients primarily, for their families,

**[00:46:50]** but also for the general public.

**[00:46:54]** Precisely because of the results you saw a moment ago.

**[00:46:58]** It's a topic society doesn't like to talk about,

**[00:47:03]** or on the contrary, sometimes it's overwhelmed by it.

**[00:47:07]** Someone is always raising money to help children with cancer.

**[00:47:13]** It's repeated over and over, but actually, what is it,

**[00:47:17]** the treatment and what it involves and what actually happens during the process,

**[00:47:21]** none of us really knows.

**[00:47:25]** Because when you hear such a diagnosis,

**[00:47:29]** so you're always terribly scared.

**[00:47:33]** At the same time, having cancer as a child is something completely different,

**[00:47:37]** than having it as an adult.

**[00:47:41]** Fortunately, the success rate of treatment in children is over 83%,

**[00:47:45]** which is a great number.

**[00:47:49]** It's actually largely thanks to our Czech oncologists,

**[00:47:53]** who in the 1950s had a success rate of about 20%.

**[00:47:57]** So over time, that's a really high number.

**[00:48:01]** And when you come to oncology with that mindset and find out,

**[00:48:08]** that a doctor tells you your child has cancer,

**[00:48:12]** well, the doctor doesn't say 'cancer,'

**[00:48:16]** he says your child has this and that oncological disease,

**[00:48:20]** explains what it means, and the communication is excellent.

**[00:48:24]** The word 'cancer' basically isn't mentioned in pediatric oncology.

**[00:48:28]** And that's very important because of the fear.

**[00:48:33]** But in children, the fear lies in something else.

**[00:48:39]** They don't really focus on having such a serious illness,

**[00:48:44]** that could threaten their life, but rather have specific fears.

**[00:48:50]** Whether it's that they have their first surgery in a week,

**[00:48:55]** they only know it from movies, they know something will be cut into their body,

**[00:49:00]** and that's a really significant thing.

**[00:49:03]** And there are countless small fears during treatment,

**[00:49:09]** but gradually you get used to it, the needle in the vein every other day doesn't bother you at all.

**[00:49:15]** These are things the child simply gets used to because they have to.

**[00:49:18]** However, these fears can be worked with, and we'd like to reduce them by

**[00:49:22]** explaining them through animation in a playful way.

**[00:49:29]** These are our three heroes.

**[00:49:35]** The main hero is Tobiáš, whom we follow throughout the series.

**[00:49:38]** Ema is his best friend, a seasoned player,

**[00:49:43]** who unfortunately spends a lot of time in the hospital and naturally wants to be a doctor,

**[00:49:47]** because that makes sense.

**[00:49:51]** Many children in oncology, I went through this period myself,

**[00:49:53]** really want to be the doctor or at least the nurse who helps other children.

**[00:49:59]** And you probably remember Let's Go, that's the B1-1 Life series,

**[00:50:00]** which is our biggest inspiration,

**[00:50:07]** because that series is timeless, it still works,

**[00:50:12]** I think it's still broadcast on déčko, kids watch it,

**[00:50:17]** maybe not only kids.

**[00:50:28]** And I remember how whenever I was sick,

**[00:50:31]** lying in bed and imagining the germs on my tongue,

**[00:50:35]** how I was soaped up and how the immunity would kick in and handle everything.

**[00:50:39]** So that’s our big inspiration in conveying those facts

**[00:50:44]** and in the metaphors through which you need to explain it to the child,

**[00:50:48]** so they grasp it.

**[00:50:50]** That’s why I said at the start that the project is simply demanding.

**[00:50:57]** My main role now is that I won’t be drawing or animating the series myself,

**[00:51:04]** I simply don’t have the experience, skill, or anything like that,

**[00:51:10]** so I’m more like a controller of everything.

**[00:51:15]** At the same time, I connect and communicate between doctors and the film creators,

**[00:51:21]** which are absolutely different worlds.

**[00:51:23]** If you send an oncology doctor a film script, she calls you in three minutes and says,

**[00:51:29]** "Eliška, you’ll probably have to tell me the story, I don’t know how to read this at all."

**[00:51:33]** So I act as a link so these two worlds understand each other

**[00:51:38]** and grasp the perspective on the topic from both sides.

**[00:51:47]** So it’s sometimes funny, but it’s interesting.

**[00:51:51]** Of course, I keep learning new things because of this.

**[00:51:56]** Until we started developing the series,

**[00:51:59]** my view of the illness was only through my own experience.

**[00:52:03]** But medicine is so incredibly individual that everyone experiences it completely differently.

**[00:52:09]** Through creating this, I learn all kinds of things.

**[00:52:13]** For example, I learn things hardly anyone knows, like bullying among kids,

**[00:52:17]** who are undergoing treatment or not, and they get terrible treatment from other children.

**[00:52:22]** Or neighbors spying with binoculars when an ambulance arrives at their home,

**[00:52:27]** just to see what’s going on.

**[00:52:30]** It’s absolute madness and things you can’t believe happen,

**[00:52:36]** but unfortunately, they do.

**[00:52:37]** That’s why I think communication around this should be much better.

**[00:52:42]** So this series should serve both patients and their families,

**[00:52:52]** but also the public, who I think can learn a lot from it right away.

**[00:52:56]** Or especially if you have someone around you

**[00:53:00]** going through a similar process, so you have some idea what it actually means.

**[00:53:10]** Because I think very few people know much about it.

**[00:53:13]** Thanks to Motol, we’re now moving a bit further.

**[00:53:20]** I said the project was dragging,

**[00:53:23]** because at the start we had great success at various forums across Europe and the world,

**[00:53:30]** where we presented the project in the film world, meaning to producers.

**[00:53:35]** I came with Jirka, producer Jirka Sádek, who is developing the series with me,

**[00:53:40]** and he said, "Hey, we’re going to Valencia to present Plešouni."

**[00:53:46]** There will simply be, I don't know, two hundred people in the audience,

**[00:53:50]** but you prepare the presentation and I'll help you put it together.

**[00:53:54]** And just say it in your own words.

**[00:53:57]** It's your experience, so set it up how you want to present it.

**[00:54:02]** Don't worry at all about how film projects are presented.

**[00:54:06]** Do it the way you want.

**[00:54:08]** Which was actually the best thing she could have done,

**[00:54:10]** because I didn't know how it worked.

**[00:54:13]** I had no idea how to present a film project,

**[00:54:17]** so that someone would give you money for it.

**[00:54:19]** And I just laid something out there, half the hall, mostly women, started crying

**[00:54:26]** and were emotionally overwhelmed.

**[00:54:29]** Then they started laughing, then they said it was a great project,

**[00:54:34]** and we got really great feedback, a great response.

**[00:54:38]** And all the producers were like, yeah, we want to work with you on this and that.

**[00:54:42]** Of course, time goes on.

**[00:54:46]** We kept working intensively on those collaborations.

**[00:54:50]** But this simply isn't a profit project.

**[00:54:52]** Sorry, you just can't release this to the world and make money from it.

**[00:54:57]** This is a project meant to help people.

**[00:55:00]** And unfortunately, I sometimes or mostly come up with projects

**[00:55:04]** that don't fit into any category.

**[00:55:07]** So here I am struggling with the film world and the medical world.

**[00:55:11]** For example, we asked the film fund to contribute something.

**[00:55:17]** There it's more about the stamp of approval than the actual money.

**[00:55:21]** Because once you have some kind of endorsement in the Czech Republic,

**[00:55:25]** from a state institution saying, hey, this project could be good,

**[00:55:29]** it's much easier to negotiate abroad.

**[00:55:34]** So they told us, well, go to the Ministry of Health with it.

**[00:55:37]** So we went to the Ministry of Health and they told us,

**[00:55:40]** well, go to the film fund with it.

**[00:55:42]** So we felt like fools.

**[00:55:44]** And I said, yeah, it's just complicated here with projects

**[00:55:49]** that don't fit anywhere.

**[00:55:51]** Nevertheless, we had some co-productions started abroad,

**[00:55:57]** and we were about to start producing something and move forward.

**[00:56:03]** And unfortunately, over time we realized they started pushing us,

**[00:56:09]** especially visually, into a style

**[00:56:12]** that just doesn't suit us.

**[00:56:15]** It's just the classic mainstream cartoon style,

**[00:56:21]** where the characters have huge eyes, everyone looks the same,

**[00:56:26]** it's just boring and they keep telling you, well, it's tested,

**[00:56:30]** that's just how kids perceive it and stuff.

**[00:56:33]** And I say, don't tell me, Maria.

**[00:56:35]** And I was really unhappy about it.

**[00:56:37]** And actually Jirka kept saying, let's hang in there,

**[00:56:39]** we'll see where it goes.

**[00:56:41]** And last year we decided,

**[00:56:43]** to drop it because it's not worth it to us.

**[00:56:46]** To have someone shape our project into a style,

**[00:56:51]** that we don't feel close to and isn't how we imagined it, that just won't work.

**[00:56:53]** So that's also a bit of an explanation,

**[00:56:56]** why it's taking us so long.

**[00:56:59]** So last year we decided,

**[00:57:01]** to hand it over to another nonprofit organization

**[00:57:03]** and start completely differently.

**[00:57:06]** And we actually want to do it a bit ourselves,

**[00:57:08]** without big productions or co-productions.

**[00:57:12]** And do it the way we hope,

**[00:57:15]** is the right way.

**[00:57:18]** And it's really my passion project,

**[00:57:20]** which is challenging.

**[00:57:26]** I have huge respect for it.

**[00:57:27]** And the aspect that in the series you can't tell patients

**[00:57:29]** what to do.

**[00:57:35]** It's a very fine line,

**[00:57:38]** where you just can't have a situation,

**[00:57:41]** where a parent comes and says,

**[00:57:43]** but in the series they said,

**[00:57:45]** I can eat this yogurt,

**[00:57:47]** which you actually can't eat,

**[00:57:49]** because you have an antibacterial diet.

**[00:57:50]** Because it's for all patients,

**[00:57:53]** and as I said,

**[00:57:56]** the treatments are very individual.

**[00:57:57]** So this fine line, we constantly navigate

**[00:57:59]** between decisions and it's complicated.

**[00:58:04]** So we smooth it out in the scripts and episodes,

**[00:58:09]** and it's a great process.

**[00:58:18]** But it doesn't end with the series.

**[00:58:21]** We also want to create an app for it.

**[00:58:24]** It's primarily for the patients,

**[00:58:27]** because during treatment you give doctors

**[00:58:32]** basically a scrap of paper with data,

**[00:58:35]** how much you peed, how much you drank,

**[00:58:38]** or if you vomited, if you ate anything.

**[00:58:42]** These are things that once a week

**[00:58:45]** the doctor comes and says, give me the paper.

**[00:58:48]** And you don't want to, because it’s a pain.

**[00:58:50]** You have to measure exactly,

**[00:58:52]** how much you peed, how much you drank,

**[00:58:54]** how much you got in the IV, and so on.

**[00:58:57]** So we want to create an app

**[00:59:00]** that would make this a bit of a game, a bit of fun,

**[00:59:03]** where you record it all,

**[00:59:06]** and at the same time you would have access in the app

**[00:59:09]** to the whole series theme,

**[00:59:11]** plus some bonus content,

**[00:59:14]** like rehabilitation exercises,

**[00:59:17]** some basic yoga moves,

**[00:59:19]** that kids in oncology can do,

**[00:59:23]** breathing exercises, and also things about food,

**[00:59:27]** because moms often don’t know what to cook anymore.

**[00:59:30]** The doctor tells you,

**[00:59:33]** this is forbidden, fresh vegetables no,

**[00:59:36]** only steamed,

**[00:59:38]** this is an antibacterial diet,

**[00:59:40]** and the mom just has a meltdown,

**[00:59:42]** what am I going to do, what am I going to cook.

**[00:59:44]** And then in Motol hospital they bring you a wrapped salami.

**[00:59:47]** That's a whole other topic.

**[00:59:50]** But that will be another project.

**[00:59:53]** I always get really angry,

**[00:59:55]** can I talk about hospital food,

**[00:59:57]** though in Diablo.

**[01:00:00]** So the app should serve as a helper during treatment,

**[01:00:05]** where you record things and also get points for drinking enough,

**[01:00:10]** then you can buy a crazy wig for your bald head in the app,

**[01:00:15]** so it’s kind of a game.

**[01:00:17]** And then somehow you send the data from the app to the doctor

**[01:00:22]** or it generates a PDF that the parent sends.

**[01:00:25]** Of course, that's another legal process.

**[01:00:30]** Now I'll play, how do you say, I'll start it.

**[01:00:38]** I'll start it, it's more like an animation test.

**[01:00:41]** Content-wise it's not quite there yet, it's more that we needed to try

**[01:00:46]** combining animation and the real world again,

**[01:00:50]** and at the same time some environment inside the body where the patient finds themselves,

**[01:00:55]** so I'll show you a short sample like this.

**[01:00:58]** Hello, my name is Toby and today my mom is examining my head.

**[01:01:07]** Let's do it!

**[01:01:09]** I don't think it will come back.

**[01:01:12]** No, because mom will send it.

**[01:01:15]** From Captain Chemo.

**[01:01:18]** Did you know chemotherapy helps my body close the tumor?

**[01:01:22]** Did you know chemotherapy helps my body close the tumor?

**[01:01:25]** Did you know chemotherapy helps my body close the tumor?

**[01:01:26]** Did you know chemotherapy helps my body close the tumor?

**[01:01:27]** Did you know chemotherapy helps my body close the tumor?

**[01:01:28]** Did you know chemotherapy helps my body close the tumor?

**[01:01:29]** Did you know chemotherapy helps my body close the tumor?

**[01:01:30]** Did you know chemotherapy helps my body close the tumor?

**[01:01:31]** Did you know chemotherapy helps my body close the tumor?

**[01:01:32]** Did you know chemotherapy helps my body close the tumor?

**[01:01:33]** Did you know chemotherapy helps my body close the tumor?

**[01:01:34]** Did you know chemotherapy helps my body close the tumor?

**[01:01:35]** Did you know chemotherapy helps my body close the tumor?

**[01:01:36]** Did you know chemotherapy helps my body close the tumor?

**[01:01:37]** Did you know chemotherapy helps my body close the tumor?

**[01:01:38]** Did you know chemotherapy helps my body close the tumor?

**[01:01:39]** Did you know chemotherapy helps my body close the tumor?

**[01:01:40]** We think about cancer.

**[01:02:10]** We think about cancer.

**[01:02:11]** We think about cancer.

**[01:02:12]** We think about cancer.

**[01:02:13]** We think about cancer.

**[01:02:14]** We think about cancer.

**[01:02:15]** We think about cancer.

**[01:02:16]** We think about cancer.

**[01:02:17]** We think about cancer.

**[01:02:18]** We think about cancer.

**[01:02:19]** We think about cancer.

**[01:02:20]** We think about cancer.

**[01:02:21]** We think about cancer.

**[01:02:22]** We think about cancer.

**[01:02:23]** We think about cancer.

**[01:02:24]** We think about cancer.

**[01:02:25]** We think about cancer.

**[01:02:26]** We think about cancer.

**[01:02:27]** We think about cancer.

**[01:02:28]** We think about cancer.

**[01:02:29]** We think about cancer.

**[01:02:30]** We think about cancer.

**[01:02:31]** We think about cancer.

**[01:02:32]** We think about cancer.

**[01:02:33]** We think about cancer.

**[01:02:34]** We think about cancer.

**[01:02:35]** We think about cancer.

**[01:02:36]** We think about cancer.

**[01:02:37]** We think about cancer.

**[01:02:38]** We think about cancer.

**[01:02:39]** We think about cancer.

**[01:02:40]** We think about cancer.

**[01:02:41]** We think about cancer.

**[01:02:42]** We think about cancer.

**[01:02:43]** We think about cancer.

**[01:02:44]** We think about cancer.

**[01:02:45]** We think about cancer.

**[01:02:46]** We think about cancer.

**[01:02:47]** We think about cancer.

**[01:02:48]** We think about cancer.

**[01:02:49]** We think about cancer.

**[01:02:50]** We think about cancer.

**[01:02:51]** We think about cancer.

**[01:02:52]** We think about cancer.

**[01:02:53]** We think about cancer.

**[01:02:54]** We think about cancer.

**[01:02:55]** We think about cancer.

**[01:02:56]** We think about cancer.

**[01:02:57]** We think about cancer.

**[01:02:58]** We think about cancer.

**[01:02:59]** We think about cancer.

**[01:03:00]** We think about cancer.

**[01:03:01]** We think about cancer.

**[01:03:02]** We think about cancer.

**[01:03:03]** We think about cancer.

**[01:03:04]** We think about cancer.

**[01:03:05]** We think about cancer.

**[01:03:06]** We think about cancer.

**[01:03:07]** We think about cancer.

**[01:03:08]** We think about cancer.

**[01:03:09]** We think about cancer.

**[01:03:10]** We think about cancer.

**[01:03:11]** We think about cancer.

**[01:03:12]** We think about cancer.

**[01:03:13]** We think about cancer.

**[01:03:14]** We think about cancer.

**[01:03:15]** We think about cancer.

**[01:03:16]** We think about cancer.

**[01:03:17]** We think about cancer.

**[01:03:18]** We think about cancer.

**[01:03:19]** We think about cancer.

**[01:03:20]** We think about cancer.

**[01:03:21]** We think about cancer.

**[01:03:22]** We think about cancer.

**[01:03:23]** We think about cancer.

**[01:03:24]** We think about cancer.

**[01:03:25]** We think about cancer.

**[01:03:26]** We think about cancer.

**[01:03:27]** We think about cancer.

**[01:03:28]** We think about cancer.

**[01:03:29]** We think about cancer.

**[01:03:30]** We think about cancer.

**[01:03:31]** We think about cancer.

**[01:03:32]** We think about cancer.

**[01:03:33]** We think about cancer.

**[01:03:34]** We think about cancer.

**[01:03:35]** We think about cancer.

**[01:03:36]** We think about cancer.

**[01:03:37]** We think about cancer.

**[01:03:38]** We think about cancer.

**[01:03:39]** We think about cancer.

**[01:03:40]** We think about cancer.

**[01:03:41]** We think about cancer.

**[01:03:42]** We think about cancer.

**[01:03:43]** We think about cancer.

**[01:03:44]** We think about cancer.

**[01:03:45]** We think about cancer.

**[01:03:46]** We think about cancer.

**[01:03:47]** We think about cancer.

**[01:03:48]** We think about cancer.

**[01:03:49]** We think about cancer.

**[01:03:50]** We think about cancer.

**[01:03:51]** We think about cancer.

**[01:03:52]** We think about cancer.

**[01:03:53]** We think about cancer.

**[01:03:54]** We think about cancer.

**[01:03:55]** We think about cancer.

**[01:03:56]** We think about cancer.

**[01:03:57]** We think about cancer.

**[01:03:58]** We think about cancer.

**[01:03:59]** We think about cancer.

**[01:04:00]** We think about cancer.

**[01:04:01]** We think about cancer.

**[01:04:02]** We think about cancer.

**[01:04:03]** We think about cancer.

**[01:04:04]** We think about cancer.

**[01:04:05]** We think about cancer.

**[01:04:06]** We think about cancer.

**[01:04:07]** We think about cancer.

**[01:04:08]** We think about cancer.

**[01:04:09]** We think about cancer.

**[01:04:10]** We think about cancer.

**[01:04:11]** We think about cancer.

**[01:04:12]** We think about cancer.

**[01:04:13]** We think about cancer.

**[01:04:14]** We think about cancer.

**[01:04:15]** We think about cancer.

**[01:04:16]** We think about cancer.

**[01:04:17]** We think about cancer.

**[01:04:18]** We think about cancer.

**[01:04:19]** We think about cancer.

**[01:04:20]** We think about cancer.

**[01:04:21]** We think about cancer.

**[01:04:22]** We think about cancer.

**[01:04:23]** We think about cancer.

**[01:04:24]** We think about cancer.

**[01:04:25]** We think about cancer.

**[01:04:26]** We think about cancer.

**[01:04:27]** We think about cancer.

**[01:04:28]** We think about cancer.

**[01:04:29]** We think about cancer.

**[01:04:30]** We think about cancer.

**[01:04:31]** We think about cancer.

**[01:04:32]** We think about cancer.

**[01:04:33]** We think about cancer.

**[01:04:34]** We think about cancer.

**[01:04:35]** We think about cancer.

**[01:04:36]** We think about cancer.

**[01:04:37]** We think about cancer.

**[01:04:38]** We think about cancer.

**[01:04:39]** We think about cancer.

**[01:04:40]** We think about cancer.

**[01:04:41]** We think about cancer.

**[01:04:42]** We think about cancer.

**[01:04:43]** We think about cancer.

**[01:04:44]** We think about cancer.

**[01:04:45]** We think about cancer.

**[01:04:46]** We think about cancer.

**[01:04:47]** We think about cancer.

**[01:04:48]** We think about cancer.

**[01:04:49]** We think about cancer.

**[01:04:50]** We think about cancer.

**[01:04:51]** We think about cancer.

**[01:04:52]** We think about cancer.

**[01:04:53]** We think about cancer.

**[01:04:54]** We think about cancer.

**[01:04:55]** We think about cancer.

**[01:04:56]** We think about cancer.

**[01:04:57]** We think about cancer.

**[01:04:58]** We think about cancer.

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**[01:05:01]** We think about cancer.

**[01:05:02]** We think about cancer.

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**[01:05:04]** We think about cancer.

**[01:05:05]** We think about cancer.

**[01:05:06]** We think about cancer.

**[01:05:07]** We think about cancer.

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**[01:05:09]** We think about cancer.

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**[01:05:17]** We think about cancer.

**[01:05:18]** We think about cancer.

**[01:05:19]** We think about cancer.

**[01:05:20]** We think about cancer.

**[01:05:21]** We think about cancer.

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**[01:05:32]** We think about cancer.

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**[01:05:53]** We think about cancer.

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**[01:06:07]** We think about cancer.

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**[01:06:45]** We think about cancer.

**[01:06:46]** We think about cancer.

**[01:06:47]** We think about cancer.

**[01:06:48]** We think about cancer.

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**[01:06:51]** We think about cancer.

**[01:06:52]** We think about cancer.

**[01:06:53]** We think about cancer.

**[01:06:54]** We think about cancer.

**[01:06:55]** We think about cancer.

**[01:06:56]** We think about cancer.

**[01:06:57]** We think about cancer.

**[01:06:58]** We think about cancer.

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**[01:07:01]** We think about cancer.

**[01:07:02]** We think about cancer.

**[01:07:03]** We think about cancer.

**[01:07:04]** We think about cancer.

**[01:07:05]** We think about cancer.

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**[01:07:07]** We think about cancer.

**[01:07:08]** We think about cancer.

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**[01:07:24]** We think about cancer.

**[01:07:25]** We think about cancer.

**[01:07:26]** We think about cancer.

**[01:07:27]** We think about cancer.

**[01:07:28]** We think about cancer.

**[01:07:29]** We think about cancer.

**[01:07:30]** We think about cancer.

**[01:07:31]** We think about cancer.

**[01:07:32]** We think about cancer.

**[01:07:33]** We think about cancer.

**[01:07:34]** We think about cancer.

**[01:07:35]** We think about cancer.

**[01:07:36]** We think about cancer.

**[01:07:37]** We think about cancer.

**[01:07:38]** We think about cancer.

**[01:07:39]** We think about cancer.

**[01:07:40]** We think about cancer.

**[01:07:41]** We think about cancer.

**[01:07:42]** We think about cancer.

**[01:07:43]** We think about cancer.

**[01:07:44]** We think about cancer.

**[01:07:45]** We think about cancer.

**[01:07:46]** We think about cancer.

**[01:07:47]** We think about cancer.

**[01:07:48]** We think about cancer.

**[01:07:49]** We think about cancer.

**[01:07:50]** We think about cancer.

**[01:07:51]** We think about cancer.

**[01:07:52]** We think about cancer.

**[01:07:53]** We think about cancer.

**[01:07:54]** We think about cancer.

**[01:07:55]** We think about cancer.

**[01:07:56]** We think about cancer.

**[01:07:57]** We think about cancer.

**[01:07:58]** We think about cancer.

**[01:07:59]** We think about cancer.

**[01:08:00]** We think about cancer.

**[01:08:01]** We think about cancer.

**[01:08:02]** We think about cancer.

**[01:08:03]** We think about cancer.

**[01:08:04]** We think about cancer.

**[01:08:05]** We think about cancer.

**[01:08:06]** We think about cancer.

**[01:08:07]** We think about cancer.

**[01:08:08]** We think about cancer.

**[01:08:09]** We think about cancer.

**[01:08:10]** We think about cancer.

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**[01:08:16]** We think about cancer.

**[01:08:17]** We think about cancer.

**[01:08:18]** We think about cancer.

**[01:08:19]** We think about cancer.

**[01:08:20]** We think about cancer.

**[01:08:21]** We think about cancer.

**[01:08:22]** We think about cancer.

**[01:08:23]** We think about cancer.

**[01:08:24]** We think about cancer.

**[01:08:25]** We think about cancer.

**[01:08:26]** We think about cancer.

**[01:08:27]** We think about cancer.

**[01:08:28]** We think about cancer.

**[01:08:29]** We think about cancer.

**[01:08:30]** We think about cancer.

**[01:08:31]** We think about cancer.

**[01:08:32]** We think about cancer.

**[01:08:33]** We think about cancer.

**[01:08:34]** We think about cancer.

**[01:08:35]** We think about cancer.

**[01:08:36]** We think about cancer.

**[01:08:37]** We think about cancer.

**[01:08:38]** We think about cancer.

**[01:08:39]** We think about cancer.

**[01:08:40]** We think about cancer.

**[01:08:41]** We think about cancer.

**[01:08:42]** We think about cancer.

**[01:08:43]** We think about cancer.

**[01:08:44]** We think about cancer.

**[01:08:45]** We think about cancer.

**[01:08:46]** We think about cancer.

**[01:08:47]** We think about cancer.

**[01:08:48]** We think about cancer.

**[01:08:49]** We think about cancer.

**[01:08:50]** We think about cancer.

**[01:08:51]** We think about cancer.

**[01:08:52]** We think about cancer.

**[01:08:53]** We think about cancer.

**[01:08:54]** We think about cancer.

**[01:08:55]** We think about cancer.

**[01:08:56]** We think about cancer.

**[01:08:57]** We think about cancer.

**[01:08:58]** We think about cancer.

**[01:08:59]** We think about cancer.

**[01:09:00]** We think about cancer.

**[01:09:01]** We think about cancer.

**[01:09:02]** We think about cancer.

**[01:09:03]** We think about cancer.

**[01:09:04]** We think about cancer.

**[01:09:05]** We think about cancer.

**[01:09:06]** We think about cancer.

**[01:09:07]** We think about cancer.

**[01:09:08]** We think about cancer.

**[01:09:09]** We think about cancer.

**[01:09:10]** We think about cancer.

**[01:09:11]** We think about cancer.

**[01:09:12]** We think about cancer.

**[01:09:13]** We think about cancer.

**[01:09:14]** We think about cancer.

**[01:09:15]** We think about cancer.

**[01:09:16]** We think about cancer.

**[01:09:17]** We think about cancer.

**[01:09:18]** We think about cancer.

**[01:09:19]** We think about cancer.

**[01:09:20]** We think about cancer.

**[01:09:21]** We think about cancer.

**[01:09:22]** We think about cancer.

**[01:09:23]** We think about cancer.

**[01:09:24]** We think about cancer.

**[01:09:25]** We think about cancer.

**[01:09:26]** We think about cancer.

**[01:09:27]** We think about cancer.

**[01:09:28]** We think about cancer.

**[01:09:29]** We think about cancer.

**[01:09:30]** We think about cancer.

**[01:09:31]** We think about cancer.

**[01:09:32]** We think about cancer.

**[01:09:33]** We think about cancer.

**[01:09:34]** We think about cancer.

**[01:09:35]** We think about cancer.

**[01:09:36]** We think about cancer.

**[01:09:37]** We think about cancer.

**[01:09:38]** We think about cancer.

**[01:09:39]** We think about cancer.

**[01:09:40]** We think about cancer.

**[01:09:41]** We think about cancer.

**[01:09:42]** We think about cancer.

**[01:09:43]** We think about cancer.

**[01:09:44]** We think about cancer.

**[01:09:46]** We think about cancer.

**[01:09:47]** We think about cancer.

**[01:09:48]** We think about cancer.

**[01:09:49]** We think about cancer.

**[01:09:50]** We think about cancer.

**[01:09:51]** We think about cancer.

**[01:09:52]** We think about cancer.

**[01:09:53]** We think about cancer.

**[01:09:54]** We think about cancer.

**[01:09:55]** We think about cancer.

**[01:09:56]** We think about cancer.

**[01:09:57]** We think about cancer.

**[01:09:58]** We think about cancer.

**[01:09:59]** www.hradeckesluzby.cz

**[01:10:00]** So it stopped me, nothing was happening, the whole world was just frozen.

**[01:10:05]** I didn’t have any creative period at all, I was totally down,

**[01:10:10]** I felt like I knew nothing, like nothing was working for me.

**[01:10:13]** So I just kept going to the forest, enjoying at least some kind of social distancing.

**[01:10:23]** And now, as things are picking up again, the whole society is hyped and everyone jumped back in,

**[01:10:32]** and there’s this huge pressure to catch up on everything, so I said,

**[01:10:38]** this is a great opportunity to set how I will handle projects and learn to say no.

**[01:10:44]** And to learn that if I have to say no, I shouldn’t even hesitate,

**[01:10:48]** because I get really nervous about these things, but it was great, thank you.

**[01:10:52]** Those are challenges, I understand.

**[01:10:57]** So I’m still somehow searching for balance and probably will my whole life.

**[01:11:02]** That’s probably completely normal, and if I had to give a key, I don’t have one.

**[01:11:08]** I think I heard in your talk that you said an artist should do something

**[01:11:16]** and also do something else, so I think that was the direction of the question.

**[01:11:21]** But I’ll start right at the beginning.

**[01:11:24]** How did you come up with painting on photographs? How did that happen?

**[01:11:32]** I’ve always had a bit of a problem with a clean surface.

**[01:11:37]** I’m a bit messy too, so I need some chaos and some mess.

**[01:11:43]** What you meant by love in the video was nice.

**[01:11:47]** So for me, it opened great doors in the sense that, wow, I have a whole world of things here,

**[01:11:56]** which I can record on some medium and then respond to it in the illustration.

**[01:12:00]** And I'm definitely not an innovator in this.

**[01:12:06]** It's simply combining illustration, photo or animation, and live-action film.

**[01:12:11]** This has been around, I don't know, maybe since the beginning of animated film,

**[01:12:15]** like the old Alice in Wonderland from around 1927 or something like that,

**[01:12:21]** that's exactly this combination.

**[01:12:23]** It's just not such a common technique,

**[01:12:28]** because you basically have to deal with everything twice in terms of time and cost.

**[01:12:34]** If you want to shoot a combined film like this, you have to make it both live-action and animated,

**[01:12:39]** so it's logically a bit more demanding.

**[01:12:42]** But I just really enjoy that it can connect to all kinds of topics.

**[01:12:47]** From things for adults to children, it's a world where you just continue to shape reality.

**[01:12:58]** Did Instagram, those social networks, help you?

**[01:13:03]** Do you consider yourself an influencer, Liška?

**[01:13:06]** That's a popular word.

**[01:13:09]** I don't consider myself an influencer, but mainly I'm no longer interested in the world of social networks.

**[01:13:18]** It's too much. It's more annoying than useful.

**[01:13:24]** Because it's very intense, a very toxic environment,

**[01:13:32]** full of demands.

**[01:13:38]** People want to sell you something, show you things, and so on.

**[01:13:43]** And as I thought, describing the early days of that platform,

**[01:13:47]** when it opened some doors to creativity.

**[01:13:52]** I just remember it like that and it will never go back to that.

**[01:13:56]** I understand that at that time it probably wasn't very lucrative for creators on that social network,

**[01:14:03]** but I hope something new will appear in this field.

**[01:14:09]** But it did give you a boost, right?

**[01:14:11]** Even the work. If some beginner artist were watching us here,

**[01:14:19]** what would you advise them? Because everyone looks to social networks.

**[01:14:24]** It's clear. It's basically a loudspeaker,

**[01:14:31]** where you can present your work and don't have to keep it hidden in a drawer,

**[01:14:38]** but you can send it out into the world, even not under your own name sometimes.

**[01:14:42]** But now, with the algorithms and how it's set up,

**[01:14:47]** it has to be sensational, fast, dramatic, crazy,

**[01:14:54]** to get any numbers, to be shown to people,

**[01:14:57]** so it's all wrong in terms of creating something nice and creative.

**[01:15:05]** For me, it was a springboard because I had the chance

**[01:15:13]** to present my work publicly so some people would notice it,

**[01:15:19]** and then maybe start some collaboration with them,

**[01:15:23]** whether it was those photography events I mentioned,

**[01:15:26]** or even some institutions.

**[01:15:28]** And now it just works a bit differently again.

**[01:15:33]** So you're saying...

**[01:15:34]** They're already very skeptical about it.

**[01:15:36]** And the path to establish some cooperation with someone?

**[01:15:39]** To establish some cooperation with someone.

**[01:15:44]** It's hard.

**[01:15:47]** It probably can still work in some way,

**[01:15:51]** but it's much more complicated.

**[01:15:56]** So that it actually means something, so it doesn't push you to create content,

**[01:16:01]** that has nothing to do with your work,

**[01:16:04]** just because you're adapting it to the platform.

**[01:16:07]** And that's exactly where I want to get to.

**[01:16:10]** The shaping of how it should actually be,

**[01:16:14]** versus the free mind and believing in it,

**[01:16:18]** and actually doing things on your own,

**[01:16:20]** that's probably really hard now, right?

**[01:16:23]** I think so.

**[01:16:24]** It's hard even for you now, when you...

**[01:16:26]** And I don't want to mention the bank now, because we like it,

**[01:16:28]** and Tomáš Salamón appeared here.

**[01:16:30]** But maybe some brand somewhere,

**[01:16:33]** you already have the option to say no.

**[01:16:35]** But there are many people who still don't have that option,

**[01:16:38]** because again...

**[01:16:40]** What to do about it?

**[01:16:42]** What to do about it? That's a good question.

**[01:16:47]** I don't know if I have a complete answer.

**[01:16:50]** It's not easy in this world.

**[01:16:53]** Just last week, I had an interview

**[01:16:56]** with a guy who is doing some research

**[01:16:59]** for the Ministry of Culture after covid,

**[01:17:02]** because they want to make some changes in

**[01:17:05]** the position of the artist in the sphere,

**[01:17:08]** whether it's tax, financial,

**[01:17:11]** or purely social.

**[01:17:14]** And I said, wow, now?

**[01:17:17]** Great, finally someone started doing something about it,

**[01:17:20]** because it's such a hostile field for us.

**[01:17:25]** Whether administratively it doesn't make sense,

**[01:17:29]** to navigate it,

**[01:17:32]** so that it somehow works normally.

**[01:17:35]** I've actually spent my whole life trying a bit

**[01:17:38]** to somehow bypass things,

**[01:17:41]** so I could somehow exist

**[01:17:44]** and do this work.

**[01:17:47]** I recently heard something interesting.

**[01:17:50]** I was talking with Václav Cílek,

**[01:17:53]** about why we were discussing something,

**[01:17:56]** that societies are measured by that,

**[01:17:59]** and that you can quite well track

**[01:18:02]** how poetry is published.

**[01:18:05]** And that years ago, thousands of books were published,

**[01:18:08]** and now, when you look at it,

**[01:18:11]** it's not even a tenth of that.

**[01:18:14]** Where does it get lost and why does it get lost?

**[01:18:17]** It's quite interesting.

**[01:18:20]** And when I saw your video from Iceland,

**[01:18:23]** I thought I'd sit down and draw something.

**[01:18:26]** But when I saw the work so far

**[01:18:29]** and how long the process takes,

**[01:18:32]** it's not exactly easy.

**[01:18:35]** But at the same time, it's great.

**[01:18:38]** It's a lot of fun.

**[01:18:41]** I'm asking about your workflow here.

**[01:18:44]** Do you create every day,

**[01:18:47]** or what does it look like for you?

**[01:18:50]** It's a bit of a mix.

**[01:18:53]** Some people have to do unpleasant things,

**[01:18:56]** like replying to emails and such.

**[01:18:59]** I have a great new manager now,

**[01:19:02]** so it's much easier.

**[01:19:05]** At the same time, often with the fact

**[01:19:08]** that I have complete freedom,

**[01:19:11]** I just take off and go to the forest to think,

**[01:19:14]** because I feel like I want to

**[01:19:18]** and need to think about something new again,

**[01:19:21]** or that I have a bit more space in my head for it,

**[01:19:24]** to do this.

**[01:19:27]** Or I think about what else I do.

**[01:19:30]** Or maybe I’m driving around town

**[01:19:33]** looking for some materials.

**[01:19:36]** Yesterday I was repotting cyclamens.

**[01:19:39]** I do things like that too.

**[01:19:42]** And it’s those kinds of things,

**[01:19:46]** and it’s that it’s nice for you,

**[01:19:49]** because I also introduced the breakfast with that,

**[01:19:52]** that I’m walking through the city and just going.

**[01:19:55]** You understand?

**[01:19:58]** I have to get to point B.

**[01:20:00]** I don’t really look around much, so...

**[01:20:03]** I do look around, and I travel a lot for this,

**[01:20:09]** because it completely fulfills and entertains me

**[01:20:12]** and it makes total sense to spend money on traveling,

**[01:20:18]** because then you have the view of different regions, people, and everything

**[01:20:23]** mediated by your own experience.

**[01:20:26]** For me, in my work, it’s something different

**[01:20:29]** than just watching videos on YouTube or looking at photos.

**[01:20:32]** But yeah, sometimes I walk and imagine things there,

**[01:20:37]** what it will be like, so I’m a bit crazy, but...

**[01:20:40]** At the same time, it’s getting more and more complicated,

**[01:20:46]** that sometimes I catch myself having to focus more,

**[01:20:50]** that I even try to train my brain a bit,

**[01:20:54]** so it keeps doing this, because I don’t want to give it up.

**[01:20:57]** It used to be that I’d come up with everything there,

**[01:21:00]** and now it’s slower and I don’t know,

**[01:21:02]** if my brain is just lazier or I don’t know.

**[01:21:08]** Is there a commercial collaboration, Eliška, that is your dream?

**[01:21:15]** Oh, I don’t know, off the top of my head.

**[01:21:19]** I definitely said something somewhere,

**[01:21:20]** there would be parodies, now I’m saying something completely different.

**[01:21:25]** That’s not a catch.

**[01:21:30]** And if you have a company you said yes to,

**[01:21:33]** I’d like to draw for them.

**[01:21:39]** I probably can’t name just one.

**[01:21:41]** If you said it to the camera, maybe they’d reach out.

**[01:21:43]** Yeah, I get that, but I don’t know.

**[01:21:46]** But an important question was asked here and it’s been liked a lot.

**[01:21:51]** What are your personal values

**[01:21:53]** and how do they reflect in your illustrations?

**[01:21:55]** It's Slovak, so let's source it.

**[01:21:59]** And by the way, there's also a question about whether

**[01:22:01]** you have any timeline, besides

**[01:22:03]** planning to go to Ostrava and when,

**[01:22:05]** but if you have any timeline for Slovakia

**[01:22:08]** with your exhibition.

**[01:22:09]** But first, the first question.

**[01:22:11]** First, values.

**[01:22:12]** Well, those are the values.

**[01:22:15]** I guess I don't know, I won't give you levels, you know,

**[01:22:20]** one, two, three.

**[01:22:21]** But I hold freedom very highly,

**[01:22:23]** which is extremely important to me.

**[01:22:26]** And then, of course, family,

**[01:22:29]** because of which I'm in this environment

**[01:22:33]** and they have a big influence on me.

**[01:22:35]** And for example, my mom, since she's also in the arts,

**[01:22:38]** we have such a beautiful feedback loop

**[01:22:42]** in the things we create,

**[01:22:44]** honest, which is great to have someone like that beside you.

**[01:22:50]** But at the same time, we became very close after the treatment,

**[01:22:56]** it just set the family dynamic a bit differently,

**[01:22:59]** that perception.

**[01:23:00]** And friends, without a doubt.

**[01:23:03]** I love having friends all over the world.

**[01:23:06]** Right now, I'm texting and calling on WhatsApp

**[01:23:09]** with Maasai guys from Tanzania,

**[01:23:12]** and it's really fun.

**[01:23:14]** So that level of friends too.

**[01:23:16]** And of course, health.

**[01:23:19]** I don't even need to comment, it's fundamental.

**[01:23:22]** Not only my health,

**[01:23:25]** but also the health of the people I care about around me.

**[01:23:29]** Would you come back to work in New York

**[01:23:31]** if they offered you now?

**[01:23:34]** For two months.

**[01:23:37]** Was it really that bad there?

**[01:23:39]** No, I am, and it was also because of the work,

**[01:23:41]** that I would do a different job somewhere else,

**[01:23:43]** but I was about 20 weeks pregnant,

**[01:23:45]** and I just couldn't bring myself to say,

**[01:23:48]** no, this just won't work.

**[01:23:50]** Now, I would approach it completely differently.

**[01:23:53]** And this is also the straightforward part I talked about with you,

**[01:23:56]** about preparation, that we often hear

**[01:23:58]** about generations XYZ and so on,

**[01:24:00]** and how companies don't know how to handle it,

**[01:24:03]** and so they look to us,

**[01:24:05]** a few people from those companies look to us.

**[01:24:08]** What do you think? How to make it easier?

**[01:24:10]** Or how to actually work with this?

**[01:24:14]** I'm the creative type.

**[01:24:16]** I also have the corporate perspective,

**[01:24:19]** and I don't know if it's possible in these positions.

**[01:24:23]** But for me, it's primarily about freedom

**[01:24:27]** and some trust in the person,

**[01:24:32]** that they will do the work even if they're at home.

**[01:24:37]** But I understand there are people who won't do it.

**[01:24:40]** I also sometimes employ people and it's hell.

**[01:24:44]** But I think that when a person does something that fulfills them

**[01:24:48]** and that they enjoy, they will do it well.

**[01:24:52]** And when they feel some distrust

**[01:24:56]** from someone who is supposedly in charge,

**[01:24:59]** for me, that's a very restricting thing.

**[01:25:02]** I just completely shut down and say,

**[01:25:05]** now I can work. But I don't do anything. And that's not right.

**[01:25:08]** It's just unpleasant.

**[01:25:11]** But I understand that some hierarchy has to function.

**[01:25:14]** But it's good to be a bit more open,

**[01:25:19]** more honest, to communicate these things between each other.

**[01:25:24]** You just gave me this whole image.

**[01:25:28]** I was thinking about how a young artist should start,

**[01:25:32]** or a young female artist. Do you have in mind,

**[01:25:35]** or does it even exist, that you would take someone

**[01:25:38]** for an apprenticeship?

**[01:25:41]** That someone would say, Eliška, I want to work with you here,

**[01:25:44]** and I'll be close by,

**[01:25:47]** just to watch over your shoulder.

**[01:25:50]** I think I had maybe two or three interns.

**[01:25:56]** And that's always for a week, and they need that stamp

**[01:25:59]** and it’s a bit of a hassle for them.

**[01:26:03]** Why not?

**[01:26:06]** I don’t want to come off as rude.

**[01:26:09]** No, I find it quite likable.

**[01:26:12]** Although I don’t know if I have anything to pass on to them,

**[01:26:15]** because everyone has to figure it out a bit on their own.

**[01:26:18]** But on the other hand,

**[01:26:21]** in practical terms,

**[01:26:24]** when you graduate from art school,

**[01:26:27]** no one really tells you how to file a tax return.

**[01:26:31]** Or how to price your work.

**[01:26:34]** Not at all.

**[01:26:37]** Absolutely not a topic in those schools,

**[01:26:40]** which surprises me completely.

**[01:26:43]** This is exactly the question from Martina.

**[01:26:46]** Is it easy for you to price yourself appropriately

**[01:26:49]** financially?

**[01:26:52]** How does one learn that?

**[01:26:55]** I’m starting to wonder if any young people don’t know

**[01:26:58]** how to price their collaboration,

**[01:27:01]** they can write to me on Instagram and I’ll try to advise them.

**[01:27:04]** There’s no simple answer.

**[01:27:07]** It usually depends on the circumstances.

**[01:27:10]** It depends on the company.

**[01:27:13]** It depends on how long it will take.

**[01:27:16]** It depends if they want sketches or have full trust

**[01:27:19]** and just deliver finished work.

**[01:27:22]** You get information on how to price only through experience,

**[01:27:25]** and nothing else.

**[01:27:28]** I remember the first years when I had no advice

**[01:27:31]** from older, more experienced veterans.

**[01:27:34]** And who talks about money?

**[01:27:40]** Not diplomatically or generally.

**[01:27:46]** It’s often controversial among people.

**[01:27:49]** I’m happy to advise when I know how.

**[01:27:56]** Not always, but it’s not easy.

**[01:27:59]** This is the starting point for these people.

**[01:28:02]** For example, I, because Brian Brackvist is about business

**[01:28:08]** and so on, I've been hearing more and more often,

**[01:28:11]** that the guys and girls who built those startups

**[01:28:14]** give back a lot.

**[01:28:17]** Do you feel that's true in the art world too?

**[01:28:20]** Or is it more like, since we're fighting there,

**[01:28:23]** it's a more competitive environment, because in nonprofits

**[01:28:26]** that's actually the interesting environment for me in this regard.

**[01:28:29]** I never expected it, but when I got into it,

**[01:28:32]** I saw that the competition is often much more than it should be.

**[01:28:35]** Yeah, that's true, that always surprises me too.

**[01:28:38]** Competition in the nonprofit sector

**[01:28:41]** for example among nonprofits dealing with oncology,

**[01:28:44]** seems to me...

**[01:28:47]** I don't understand why it even exists there, but it does.

**[01:28:50]** Anyway... I just forgot the question.

**[01:28:53]** Yeah...

**[01:28:56]** Well...

**[01:28:59]** I don't know if it's really getting better.

**[01:29:02]** At the same time, as I'm just

**[01:29:05]** growing older and not focusing on it,

**[01:29:08]** I'm not really up to date on it.

**[01:29:11]** But maybe it would really help

**[01:29:14]** if at least some basics were taught at school

**[01:29:17]** to people about how they should operate in practice.

**[01:29:20]** Are you considering crowdfunding for the bald project?

**[01:29:23]** We've already done it.

**[01:29:26]** Which is actually

**[01:29:29]** a great foundation for the project,

**[01:29:32]** which we are drawing from.

**[01:29:35]** So we really thank everyone for the many donations

**[01:29:38]** we received thanks to that crowdfunding.

**[01:29:41]** And maybe we'll do more for the app,

**[01:29:44]** but at the same time, I don't know, I can't say now.

**[01:29:47]** There are still questions here about

**[01:29:50]** when you'll be in Ostrava, how it will be in Slovakia, etc.

**[01:29:53]** So try sending those.

**[01:29:56]** They can find and see.

**[01:30:00]** How could I put that on the web, for example?

**[01:30:01]** Jesus, my news website.

**[01:30:09]** I'll put it there in the evening.

**[01:30:13]** Alright.

**[01:30:14]** Okay, I'll put it there.

**[01:30:15]** So you'll put it there in the evening.

**[01:30:16]** Or tomorrow evening.

**[01:30:19]** The thing is, I always emphasize here that

**[01:30:23]** Brain and Backwards shouldn't just end with people watching it,

**[01:30:26]** but that it should lead to some discussion or some action.

**[01:30:29]** So I'm glad you’re taking that away, Ališka.

**[01:30:31]** That's good.

**[01:30:33]** I want to thank you so much for your presentation and for what you do.

**[01:30:37]** And maybe also wish you a happy birthday,

**[01:30:42]** which is coming up soon.

**[01:30:44]** So happy birthday and many thanks.

**[01:30:46]** Thank you.

**[01:30:50]** Well.

**[01:30:51]** Thank you very much.

**[01:30:54]** Well.

**[01:30:55]** And maybe now everyone who watched and somehow liked it,

**[01:31:03]** more or less, please write in the comments how it affected you.

**[01:31:09]** Now stars should appear on the slide.

**[01:31:13]** Five stars means you liked it a lot.

**[01:31:15]** One star means it wasn’t worth it, so thanks for the five.

**[01:31:18]** They’re also under the broadcast here.

**[01:31:22]** I’d be very happy if we stick to why we actually do these breakfasts,

**[01:31:28]** which is to really spark some discussion.

**[01:31:31]** We heard a lot today.

**[01:31:34]** It would be great if you, whether in the library where you’re watching, at work with colleagues,

**[01:31:40]** or at home with your loved ones, sat down and somehow discussed

**[01:31:44]** your aha moments, what you liked, what you didn’t, what surprised you.

**[01:31:47]** That would be really nice.

**[01:31:49]** We do that traditionally as well.

**[01:31:52]** We do it as part of something called Brain and Breakfast Digestive,

**[01:31:56]** where we can discuss what lingers with us with Eliška.

**[01:32:01]** It will be on March 31st at noon.

**[01:32:05]** That means you can take a break from work and enjoy this discussion.

**[01:32:10]** I’m inviting a number of interesting guests who have something to say about what we talk about.

**[01:32:16]** I’m happy that one of the guests will be Týna Hrnčář,

**[01:32:20]** who might talk about the future of art and so on.

**[01:32:24]** So definitely join us.

**[01:32:27]** Red Button as such runs lots and lots of projects and interesting things.

**[01:32:32]** One of them is the book of the month.

**[01:32:34]** For April, Krištof from the BrainVR duo recommended it.

**[01:32:40]** So definitely check out why and what book it is.

**[01:32:46]** And of course, follow Red Button.edu, because there is a ton of content there.

**[01:32:53]** Not just content to watch, but company visits and many events,

**[01:32:59]** which we organize to share know-how and make sure nothing gets lost.

**[01:33:06]** Our next breakfast will somewhat follow up on today's with Eliška.

**[01:33:14]** On April 24th at 8:30, Peťa Skondoranis will come, a person deeply involved

**[01:33:20]** in company culture and how things work in companies.

**[01:33:24]** The topic will be uniqueness. Peťa and I talked a lot about it.

**[01:33:28]** It won’t be a simple take like 'company culture is this and done like that'.

**[01:33:33]** Peťa will approach it from many different perspectives.

**[01:33:36]** So if the topic of uniqueness combined with company culture, life,

**[01:33:41]** and some kind of uniqueness that we are building on interests you and you want to dive deep,

**[01:33:46]** join us on April 24th at 8:30 here in Arkády or on Red Button Edu.

**[01:33:51]** Thank you once again for coming. Thank you for watching with Eliška.

**[01:33:54]** Many thanks for the lecture. Have a great day. Thanks. Bye and see you.

**[01:34:03]** www.arkade-systems.cz

**[01:34:07]** www.arkade-systems.cz