Two films at the festival this year, LET SLEEPING DOGS LIE by Pauline Roenneberg and THE BALLAD FROM WEDNESDAY TO THURSDAY by Christoph Otto, take a particularly improvisational approach, with vastly different results that range from dramedy to social commentary. How does one get from brilliant moments on set to a finished film? Pauline Roenneberg, Lea Drinda, Corinna Harfouch, Christoph Otto, Magdalena Laubisch, and Jan Bonny discuss this.