1. Please tell us about your journey with this project.
A: LOOK UP—The Science of Cultural Evolution has been a transformative journey for us both. It began as an intuitive leap—two professionals from different fields united by a shared question: How can we illuminate the hidden threads between personal growth and cultural change? We started with years of research and soul-searching conversations, gradually realizing that our academic papers and therapy sessions needed a new medium to truly breathe. Neither of us had made a film before, so stepping into cinema felt like setting out on an uncharted path. We embraced the unknown, learning the language of film as we went. There were moments when the project seemed to take on a life of its own—revealing connections and meanings we hadn’t initially planned. For example, during editing we overlaid a verbatim reading of our scientific manuscript onto striking imagery, and the synergy gave us chills. It was as if the film itself was guiding us, showing that when you approach creation with authenticity and care, the process will surprise you in beautiful ways. From early brainstorming in cozy library corners to filming across Norway’s fjords and forests, every step was a lesson in collaboration and trust. Now, seeing LOOK UP recognized by festivals and reaching audiences around the world, we feel we’ve come full circle. What began as a personal quest has grown into a collective conversation. And in many ways, this journey is still unfolding—each new viewer, each question like this interview, becomes part of the film’s living journey.
2. What do you think about this project and its main agenda?
A: We see LOOK UP as more than a film; it’s a gentle call to awareness. At its heart, this project is about interconnectedness—how our individual minds and hearts weave into a larger cultural fabric. Our intent (or “agenda,” if you will) is to bridge rigorous science with spiritual insight in a way that inspires action. We believe the film stands as a bridge between psychology, culture, and hope. It delves into how humanity’s shared wisdom can address our most pressing challenges, from climate change to collective loneliness. We poured our academic knowledge and therapeutic understanding into the project, but always filtered it through a poetic lens so it speaks to both the intellect and the soul. In practical terms, that meant grounding every big idea in relatable stories or evocative visuals. We think of LOOK UP as an invitation: an invitation to pause and reflect on the invisible forces—beliefs, stories, values—that shape our world. The main goal was never to preach or lecture, but to plant seeds of curiosity. If one viewer, after watching, starts a meaningful conversation about cultural change or feels a renewed sense of responsibility toward others, then the project has succeeded in its agenda. Ultimately, we view LOOK UP as a living inquiry. It doesn’t offer facile solutions; instead, it urges viewers to look up—beyond daily distractions—and rediscover a sense of shared purpose. That, we feel, is the film’s true mission: to remind us that cultural evolution begins in each of us, in the choices we make and the empathy we extend.
3. You are a therapist and academic—why did you make this film?
A: In many ways, making this documentary was a natural extension of our work as a therapist and an academic. We made LOOK UP because we realized that the insights we encountered in the therapy room and the research lab deserved a wider audience, one that might never read a scientific paper or attend a workshop. As a therapist, Nini witnesses individual transformations—small victories of the human spirit—every day. As an academic, Espen explores broad patterns of cultural change and emergent ideas. We asked ourselves: what if we could combine those perspectives and tell a story that speaks both to the heart and the mind? Cinema felt like the ideal medium for that. We often say that film is a universal language. Through visuals, music, and narrative, it can convey complex ideas in a way that touches people emotionally. We made this film to communicate concepts that normally live in textbooks or private conversations, and to do so in a way that moves people. There’s also a philosophical reason: both of us have been seeking a bridge between the scientific and the spiritual in our careers. We’ve published papers, conducted therapy, written essays—but film allowed us to embody those ideas, to show rather than just tell. It was a chance to step out of our comfort zones (the clinic and the university) and practice what we preach about growth and creativity. Ultimately, we made LOOK UP because we felt a sense of responsibility. In therapy and academia, you often illuminate problems—through film, we hoped to illuminate possibilities. This documentary is our way of translating years of learning into an experience that anyone can engage with, regardless of their background. It’s an offering born from our dual passions: healing and knowledge. By making this film, we continue our work in a new arena, driven by the same question that drives a good therapy session or a good research project: What truth needs to be told, and how can it help us evolve?
4. Tell us more about yourselves.
A: We sometimes joke that we are two sides of the same coin. Our lives took different routes, but they converged on the same goal of understanding human nature and culture. Nini Caroline Skarpaas Myhrvold began her journey in the realms of environmental therapy and trauma-sensitive care. She spent years working closely with people and nature, exploring how healing often comes from reconnecting with our environment and ourselves. This path eventually led her to pursue an Executive MBA, because she wanted to learn how to create change not just at the individual level but within organizations and communities as well. Espen Jan Folmo, on the other hand, navigated the academic world. Trained as a psychologist (with a PhD under his belt), he delved into research on how minds develop and how spiritual perspectives can enrich our understanding of psychology. He’s always been fascinated by the big picture—the evolution of ideas across history and cultures, which naturally includes how our shared culture can grow and adapt. Together, we form an interdisciplinary duo. We are partners in creativity (and also partners in life, which adds a special layer to our collaboration). One of us brings the hands-on experience of guiding personal growth; the other brings the analytical rigor of science and a penchant for philosophical inquiry. What we share is a deep curiosity and a love of storytelling. We’re also both perpetual students at heart—whether it’s studying ancient wisdom, modern neuroscience, or the craft of filmmaking itself. Beyond our titles of therapist and academic, we’re simply two people who believe in the transformative power of ideas. We love hiking and talking about everything from Carl Jung to quantum physics, often wondering how all those pieces connect. LOOK UP is a reflection of who we are: it’s as interdisciplinary as our dinner table conversations. In short, we’re a pair of lifelong learners who felt compelled to step behind the camera. We hope that who we are—Norwegians rooted in our local culture yet globally engaged in ideas—comes through in the film’s sincerity. We bring our whole selves to our work, and LOOK UP is the most personal professional project either of us has ever undertaken.
5. Are you creating another project of this kind?
A: The creative voyage certainly doesn’t end with LOOK UP. This film opened a door for us, and we’re already dreaming up what lies beyond it. In fact, we often find ourselves scribbling down ideas for future projects that build on the themes of LOOK UP. While we can’t announce a specific new film just yet, we can share that we are in the exploration phase for our next project. It will likely be another documentary, as we’re still enamored with the art form, but we’re not limiting ourselves on subject matter. One idea on our minds is diving even deeper into the topic of collective consciousness—perhaps an experimental piece that pushes the boundaries of traditional documentary storytelling. We’ve discussed creating a kind of cinematic “time capsule,” something that could speak not only to audiences today but also to future generations (and even, in a whimsical sense, to our ancestors). This reflects our fascination with how stories travel through time. Another avenue we’re exploring is a shorter series of documentary essays, possibly focusing on positive examples of cultural evolution happening around the world right now—think of it as LOOK AROUND to complement LOOK UP. What we can say for sure is that the spirit of this project will carry forward. The interdisciplinary, reflective approach—blending science, art, and spirituality—will continue to guide our work. We feel we’ve tapped into a vein of something vital and we’re not about to stop digging. So yes, another project (or several) is very much on the horizon. This first film was in many ways a proof of concept that such a blend of ideas could resonate with people. The warm reception has emboldened us. We’re excited to continue this journey and to see how our next project will evolve. In the creative process, just as in evolution, every ending is a new beginning.
6. What have been some of the hardest roles or obstacles in your career?
A: Both of us have worn many hats in our professional lives—researcher, therapist, writer, now filmmaker—and each role has come with its own set of challenges. Perhaps the hardest obstacle in this filmmaking chapter was stepping into the role of directors without formal training. Imagine coming from academia and therapy, fields with established rules and methods, into the wild arena of indie filmmaking where no one hands you a manual. We had to learn everything on the fly: how to translate abstract ideas into visual scenes, how to manage a crew and a tight budget, how to make decisions under the inevitable pressure of too little time or money. It was humbling to go from being experts in our respective fields to novices in a new medium. But that humility became an asset—it made us open to learning from everyone around us. We also grappled with the challenge of balancing our analytical minds with creative freedom. As an academic, Espen is used to structure and evidence; as a therapist, Nini is used to listening and guiding rather than overtly crafting a narrative. Making a film demanded that we sometimes silence the inner critic or scholar and let intuition take the lead. There were moments in the editing room where our analytical side would say, “Explain this concept more,” but the artist in us had to say, “Let the image speak, let the silence breathe.” Finding that balance was not always easy. On a more personal note, one of the hardest roles has simply been persevering in the face of doubt—both external and internal. When you venture off the beaten path (like making an unconventional documentary), you inevitably encounter skeptics. Some colleagues wondered if we were “wasting time” or drifting from our careers. Funding bodies weren’t sure what box to put us in. Even our own inner voices occasionally whispered, “What if this doesn’t work?” Overcoming those doubts was a significant hurdle. We did it by constantly returning to our why—remembering the purpose behind the film—and by supporting each other. Whenever one of us felt discouraged, the other would serve as a reminder of the vision we held. In sum, the obstacles have ranged from practical (learning equipment, distribution logistics) to deeply personal (imposter syndrome, creative vulnerability). But each challenge, in retrospect, was a kind of teacher. We often reminded ourselves of a principle we hold dear: don’t fight the obstacle, understand it. Just as in therapy, understanding a problem is the first step to overcoming it. Every setback with LOOK UP—whether a scene that didn’t work or a door that closed—forced us to be more creative and more resilient. And those are lessons we’ll carry into whatever we do next.
7. What are your thoughts on the global entertainment industry today, including AI in film?
A: We find ourselves at a fascinating crossroads in global entertainment. On one hand, storytelling has never been more international—films and series from every corner of the world are a click away, crossing cultural boundaries with ease. On the other hand, the sheer volume of content out there means that truly meaningful stories risk being drowned in a sea of algorithm-curated feed. We’re heartened to see that audiences globally still have an appetite for fresh, authentic voices. There’s a renaissance of independent cinema and documentaries, which suggests that even amid blockbuster franchises and binge-worthy streaming series, there’s room for the reflective and experimental. At the same time, the industry as a whole grapples with questions of sustainability, diversity, and artistic freedom. We believe the best cinema today is that which challenges us—emotionally and intellectually—no matter what country it comes from. As for AI in film, it’s both an exciting and cautionary development. We’ve already seen AI being used in visual effects, de-aging actors, even editing trailers. And more experimentally, there are AI-driven short films and scripts being generated. The prospect of AI customizing a film’s narrative in real-time for individual viewers, or creating entire dream-like worlds via virtual reality, is not science fiction anymore. This technology holds incredible creative potential. It could democratize filmmaking, reduce tedious aspects of production, and even help visualize ideas that were previously unfilmable. However, we’re also wary. AI is a tool—it has no soul or moral compass of its own. If the global industry uses AI merely to boost engagement metrics or churn out formulaic content faster, we risk turning cinema into a cold product, losing the human touch that makes storytelling art. We often talk about films as either “weapons of mass transformation” or “weapons of mass distraction.” A transformative film challenges entrenched beliefs and sparks new ideas, whereas a distracting one just entertains briefly without lasting impact. AI could be used for either of these ends. Our hope is that filmmakers and studios use AI to enhance human creativity, not to replace it. For instance, AI might help generate multiple story scenarios, but it will still require a human director’s vision to choose the path that carries meaning and emotional truth. Globally, the industry should also strive for transparency and ethics with these new technologies—audiences have a right to know when something on screen is AI-generated, and artists deserve protection so their styles and voices aren’t mimicked or exploited without consent. In essence, we’re optimistic about the synergy of technology and creativity, but we also feel strongly that the core purpose of filmmaking must remain human. No matter how advanced our tools become, the global audience will always crave stories that speak to the human condition. AI can assist in the telling, but the heart of the story—that spark of connection—comes from us, not from a machine.
8. What are your thoughts on Norway’s film industry?
A: We’re proud products of Norway’s film ecosystem, and we have great respect for how our local industry has evolved. Norway’s film industry may be relatively small on the global stage, but it has a distinctive voice that resonates beyond its size. There’s a strong tradition of authenticity and craft in Norwegian cinema. Perhaps it’s influenced by our dramatic landscapes and long, introspective winters, but Norwegian films often carry a reflective, patient energy. Whether it’s a quiet character study set in the Arctic darkness or a bold documentary tackling social issues, our films tend to value substance over spectacle. We appreciate that immensely. In recent years, Norway has seen a surge of talent gaining international recognition—from the hauntingly beautiful dramas of directors like Joachim Trier to innovative TV series that have found global fanbases. This shows that even without the scale of Hollywood or Bollywood, Norwegian storytellers can make a universal impact by being true to our perspective. We also want to highlight the support system here. Coming from Norway, we benefited from a culture that supports the arts—be it through public film funds, grants, or a community of creators willing to help each other. There’s a sense of creative freedom in Norway; we feel we can take risks and experiment, knowing that the measure of success isn’t just box office returns but also cultural value. Norway’s industry is embracing diversity and new voices more than ever, with indigenous Sami stories and immigrant perspectives starting to emerge on screen alongside the classic Norwegian fare. That’s an exciting development, showing an openness to evolve. Of course, like any industry, we have challenges: financing can be limited, and local filmmakers often have to wear multiple hats (much like we did) to get a project off the ground. But perhaps that has also become a strength—Norwegian filmmakers are resourceful and passionate, driven by love for storytelling rather than commercialism alone. For us personally, being part of Norway’s film community means carrying forward a legacy of introspective filmmaking, respect for nature, and social conscience. We feel that influence in LOOK UP. Even though our documentary speaks to global issues, we suspect its soul is very Norwegian in its contemplative tone and search for deeper meaning. In summary, we think Norway’s film industry is a gem: small but luminous. It proves that you don’t need to be loud to be heard—you just need to speak from the heart, and people around the world will listen.
9. Would you like to work in the broader film industry beyond documentaries?
A: Absolutely. We both fell in love with the filmmaking process through LOOK UP, and it has opened our eyes to the vast possibilities of cinematic storytelling. While documentaries are dear to us—because they allow us to engage with reality and ideas directly—we are very much intrigued by the prospect of exploring other genres and forms. In fact, when we watch our favorite narrative films by Tarkovsky or Kubrick or even visionary sci-fi stories, we often catch ourselves thinking, What would it be like to create a fictional film with our philosophical lens? So yes, we would consider working beyond documentaries, whether that means a narrative feature film, a series, or some hybrid experimental project. The key for us is that any project, documentary or not, carries the interdisciplinary, reflective spirit that we cherish. We’re storytellers before we’re documentarians. Our background in psychotherapy and academia gives us a trove of human stories and concepts that could be expressed in many ways. We can imagine, for example, writing a screenplay for a feature film that dramatizes some of the ideas from LOOK UP in a fictional context—perhaps a character-driven journey that brings cultural evolution to life through metaphor and drama. We’re also interested in the burgeoning space of interactive media and virtual reality experiences as forms of storytelling. These might not fit the traditional “film” mold, but they certainly belong to the broader audiovisual narrative world. Venturing beyond documentaries would allow us to flex different creative muscles. We’d relish the chance to collaborate with writers, actors, and other creative professionals to craft stories with dialogue and characters, something LOOK UP didn’t involve since it was largely essayistic in style. At the same time, we feel a sense of loyalty to the documentary format—it’s given us our start, and there are many real-world issues and stories we still want to explore. Rather than abandoning one for the other, we envision a career that spans formats. Think of it as speaking multiple dialects of the same language. Whether it’s a documentary or a fictional drama, the language is cinema—what changes is the dialect or accent. We’d like to be fluent in more than one. So, if the question is would we work in the broader film industry: our answer is a confident yes. We’re open to where the muse and opportunities lead us, be it directing a narrative feature, producing a series, or even consulting on projects that align with our expertise. In the end, we’re passionate about any storytelling that enlightens and moves people. The medium might change, but our mission remains the same.
10. What would you like to say to young people about the passion for directing?
A: To any young, aspiring director reading this: cherish and nurture your passion, because it’s one of the most powerful forces you have. Directing is a craft, but it’s also a calling of sorts—a fusion of art and leadership and personal vision. Our first piece of advice is stay true to the story you need to tell. In today’s world, it’s easy to get caught up in trends, to mimic what’s popular in hopes of quick success. But remember the example of great artists like Johann Sebastian Bach, who was considered old-fashioned in his own time, or filmmakers like Andrei Tarkovsky, whose masterpieces were initially met with skepticism. Their work endured because they followed an inner compass, not the noise of the moment. So if your vision is out of step with the crowd, take heart—that might be the very sign that you’re onto something original. At the same time, be open to learning. Passion doesn’t mean refusing guidance or critique. In fact, passion will sustain you through the hard work of honing your craft. Learn the fundamentals of storytelling, experiment with the camera, watch a wide range of films (including those outside your comfort zone). Treat each project, no matter how small, as a chance to grow. And when mistakes inevitably happen—because they will—don’t shy away. Analyze them, understand them. We have a favorite quote from pianist András Schiff: “Don’t correct mistakes – understand them.” In directing, every setback or flaw is an invitation to deepen your understanding of the art and of yourself. We also encourage young directors to cultivate a life outside of film that feeds your creativity. Read literature, study psychology, travel, engage with people very different from you. The richest directors bring a wealth of life experience and knowledge into their film work. It’s no coincidence that some of the best films feel wise; their makers are curious students of life. On a more personal note, protect the love you have for filmmaking. The industry can be tough—filled with rejections, financial worries, and technical problems. In those moments, reconnect with why you wanted to direct in the first place. For us, it helps to think of directing as an act of service: you are serving the story, serving the audience, maybe even serving something sacred by bringing a new creation into the world. Keep that sense of purpose close to your heart. Lastly, remember that directing is a team endeavor. Even though we often celebrate directors as auteurs, the truth is that film is a profoundly collaborative medium. Respect your crew, listen to your collaborators, and foster an environment of kindness and curiosity on set. When others feel valued in your vision, they will go the extra mile to help you achieve it. Passion is contagious—if you keep yours alive, you’ll light up everyone around you. In essence: be bold in your vision, humble in your approach, and resilient in your spirit. If you can do that, you’ll not only find fulfillment in directing—you’ll also create work that truly resonates. And the world will be better for it. Good luck, and never stop looking up.