|is europe going to hell? | fisher of men | human capital | ... more|
|oval > films > time is racing by|
I knew from the start that I wanted to take the chance to make a very personal film. I wanted to dare an inward look and minimize the external input, e.g. by limiting the duration. Hence I chose to partially shoot on Beta, in order to focus my energy solely on the content instead of trying to get enough funds to be able to only use film. Besides I hoped that a lot of rushes would give me more freedom for experiments. A personal, non-commercial film does not mean to me that I don’t have to think of “the spectator”. I feel an honest need to communicate and try to express myself in a form intelligible to me and others. I believe that others are interested in that which interests me. Finding a subject took a long time and many detours. At first I wanted to make an associative film about “The Egg”. In researching on the subject I noticed that the field of sexuality intrigued me most in it. Thus it came that I elected it as a subject-matter, although or because I regarded myself as someone very afraid of sexuality. My two closest friends said the same about themselves, so I decided to film with them.
I called on those two friends and held preliminary talks that were meant to remove their apprehension. In the first interviews my female friend was hemming and hawing and our conversation was partially unintelligible to outsiders. This led me to assume that the three of us had to get involved into the conversation and that I could not just play the role of the interviewer but that I had to participate on an equal footing, that is as a friend. Moreover I intended to experiment with body pictures as a way of attaining a broader level. I wanted pictures from the life of my friends to render their persons more graspable.
began with shooting the first round of talks, which was already very
rich and exciting. Then we shot respectively two weeks in Denmark with
Armgard and two other in Amsterdam with Max. It is during these weeks
that my camera woman and I quite spontaneously made those body pictures.
We set out and focused on the landscapes and objects we came across.
We rejected the idea of doing some of the shooting in the studio.
The respective functions
gave rise to difficulties inside of the team at the beginning. Thomas
Schlottmann often did not have the heart as a sound engineer to make
suggestions on an equal footing lest he might influence me too much.
Bernadette Paassen sometimes felt left in the lurch by me.
I tried to do much of the cutting myself between the diverse shooting sequences as well as after completion of the shooting. Some sequences or scenes were a success but I was unable to develop a productive concept for the whole picture on my own. I was lacking the necessary distance. I found the teamwork with Dörte Völz-Mammarella most enriching and exciting. I had difficulty parting with a great lot of good material, the real scenes with my friends. I would probably not have managed it on my own but I recognized that there was no concept allowing to make use of those. They contrasted with the abstract pictures and the topics as too realistic and seemed incongruous or mundane. We decided to refrain from portraying personalities and to make a universal film.
We chiefly had to
find the sound level or music that fits the pictures in between the
conversations. I was unable to get along with the first musician I’d
hired as he had a different idea of the movie from mine so that I had
to discard all of his sound track. I experimented with sounds together
with Christoph Engelke, my sound mixer, as well as with canned music
and samples I had recorded myself with various musicians as a theme
a picture or independently from any picture. As time went by I noticed
how sensitive these images really are. After a month of experimentation
we realized that we were better aware of what we wanted but incapable
of carrying it out, which meant that we had to look for a composer once
again. This time I succeeded in persuading Ulrich Reuter, a musician
I was well acquainted with, to use our recordings to design a sound
track for the entire movie, which I still think fulfils its function
is europe going to hell? - fisher of men - human capital - merry christmas - half a chance - I love me... - temps forts - cora - grandma maertens - supermerle
fedra - time is racing by - letter from march 12th - omen - clemi escapes - smaller talk - which film - meeting - who is lili? - the german lunchtable