Andreas Dresen's harrowing cancer drama Stopped On Track has been awarded the Gold Prize for Best Film at yesterday's German Academy Awards. The film also won best Actor for Milan Peschel, best direction for Dresen, and best supporting actor for Otto Mellies.
The most awards were won by Roland Emmerich's Studio Babelsberg filmed American co-production, Anonymous, which took away 6 awards for: cinematography, editing, production design, costume design, sound design, and make-up.
The controversial neo-Nazi film Combat Girls received three awards, including Best Film in Bronze, best actress for Alina Levshin, and best screenplay for David Wnendt.
The best supporting actress award was presented to Dagmar Menzel for her role in Cracks in the Shell.
Best film music went to the film Hell, while Best Film in Silver went to Christian Petzold's East German set drama Barbara.
The best documentary award went to Gerhard Richter - Painting, and the best children's film went to Winter's Daughter.
The inaugural Bernd Eichinger award for contribution to German Cinema was presented to Michael "Bully" Herbig, who amongst other films, was co-producer and lead actor in Leander Haussmann's film Hotel Lux.
The prestigious Lifetime Achievement Award was presented to veteran German cinematographer, latterly working in Hollywood with such filmmakers as Martin Scorsese, Michael Ballhaus.
Peter Krausz
Wednesday, April 25. 2012
MEETING LEANDER HAUSSMANN
At a sold-out screening of Leander’s new film Hotel Lux in Melbourne, he turned to me at the start of the film and said: “if they laugh now then I have them, if not, it will be difficult”. The scene was the first appearance of Jűrgen Vogel dressed up as Hitler, awaiting his performance in a 1933 Cabaret style show satirizing Hitler and Stalin. The audience was silent; Leander was concerned. “Comedy is the riskiest thing to pull off in cinema, drama is much easier. Making fun of difficult historic situations can be hard for the audience, but it is the best way of ensuring it never happens again.” He then stated: “Dictators hate comedians, and artists are the first ones to be eliminated by these totalitarian regimes; dictators do not have a sense of humour”.
Leander Haussmann was born in East Germany and lived for 30 years under the communist/Stasi regime until the fall of the wall in 1989. That sense of liberation was overwhelming for him, but life in the former DDR (German Democratic Republic) was not all bad, with Western music, television and culture surreptitiously available and forming his view of the world and his cinematic career. Previously he had been an actor as well as a theatre director of many productions, and indeed his theatre work continues. Recently he directed a production of Die Fledermaus in Munich which created a great deal of controversy. The move into filmmaking was a natural progression for him, and allowed him to develop his comedic approach to various topics and themes, as a way of laughing at various situations to make a point.
He has made over 12 films, with varying budgets and producers, but the important thing for him is making films his own way without interference. His breakthrough film that won a number of awards including the German Film Awards best screenplay was Sun Alley, which being his first major film, suffered originally from some production interference. It was only when Leander wrested control of the film back from the producers that he was able to complete and edit the film his way. That the film turned out to be successful, especially for his amusing look at teenagers on the Eastern side of Berlin in the 70s, an unusual approach to what has usually been dealt with as drama, vindicated his comedic style to serious topics. The film also utlized plenty of Western music, demonstrating his abiding interest in a wide range of music in all his films to underline story elements. He commented to me after a screening and Q & A of the film that he likes Sun Alley very much and that it stands up very well, 13 years after its first release.
Leander’s other films include the FIPRESCI award winning Herr Lehmann, the amusing take on East German soldiers’ experiences NVA, a romantic comedy based on two Australian authors’ book (Alan & Barbara Pease) on the differences between the sexes Why Men Don’t Listen and Women Can’t Read Maps, and the other film playing at this year’s festival Robert Zimmerman is Tangled Up in Love, a younger man and older woman romantic comedy with some amusing set pieces and witty dialogue. His comments about James Garfunkel (Art’s son, who has a small role as himself in the film), demonstrated Leander’s keen observation of people and his essential humanity and concern for others. The lead actress in the film was also going through some personal crises/issues which he helped her with during the shoot.
It is apparent that Leander will always make comedy films, which he reiterates is so hard to get right, and indeed he mentioned that prestigious film awards rarely go to comedies. His influences include Chaplin, Lubitsch, Tarantino, and surprisingly, David Lean (Dr. Zhivago), but the latter is perhaps not so surprising given the lush use of music and the sweeping production design/cinematography.
Back to Hotel Lux, Leander’s biggest film, with an 11 million Euro budget and a veteran producer on board (Schtonk) who was happy with Leander’s script (eventually, after a few drafts). Apart from other private investors, the biggest coup for Leander was getting Michael ‘Bully” Herbig a very well regarded German comedian who loved the story and assisted with producing the film. A fair bit of the money was spent on special effects and recreating the hotel on German locations. Leander was also keen to get Jűrgen Vogel on board to assist with audience response, and casting Thekla Reuten, the major Dutch actress (Twin Sisters), took a while as he needed the right actress to play such a complex role. Surprisingly, the film received a lukewarm response in Germany, and as yet has not made back its budget. Leander commented that virtually no German films did well in Germany over the last year, despite 20% of German audiences supporting German films. “Only Til Schweiger makes money” he amusingly remarked. Hotel Lux has been nominated for 3 German Film Awards, to be presented on April 27, in the categories of: production design, cinematography and costume design. He is not enamoured by these awards: “they only go to serious films and comedies always miss out”. He is also quite disdainful about the Film Academy which according to him, comprises few filmmakers, and mostly people who only like dramas and sneer at comedies. His formula of melding tragedy with humour is not favoured by the majority of the membership.
His next film, which he has already started working on with a good filmmaking friend, will be a comedy about a shark alert that turns into a huge disaster. For him, it is mocking the process of initiating an event that forms the kernel of this comedy. However with Leander you are never quite sure when he is serious, as he mentioned that you can google his website and watch them writing the screenplay in real time. He also says that there is so much interest in this “silly” idea that he has the money for the film already sewn up and actors beating a path to his door. Oddly he said nothing about the film he is supposedly scheduled to complete this year: Der Kleine Bruder. It was a real pleasure meeting Leander, and having a number of discussions with him, an example of a key filmmaker from the burgeoning German film industry.
Peter Krausz
Leander Haussmann was born in East Germany and lived for 30 years under the communist/Stasi regime until the fall of the wall in 1989. That sense of liberation was overwhelming for him, but life in the former DDR (German Democratic Republic) was not all bad, with Western music, television and culture surreptitiously available and forming his view of the world and his cinematic career. Previously he had been an actor as well as a theatre director of many productions, and indeed his theatre work continues. Recently he directed a production of Die Fledermaus in Munich which created a great deal of controversy. The move into filmmaking was a natural progression for him, and allowed him to develop his comedic approach to various topics and themes, as a way of laughing at various situations to make a point.
He has made over 12 films, with varying budgets and producers, but the important thing for him is making films his own way without interference. His breakthrough film that won a number of awards including the German Film Awards best screenplay was Sun Alley, which being his first major film, suffered originally from some production interference. It was only when Leander wrested control of the film back from the producers that he was able to complete and edit the film his way. That the film turned out to be successful, especially for his amusing look at teenagers on the Eastern side of Berlin in the 70s, an unusual approach to what has usually been dealt with as drama, vindicated his comedic style to serious topics. The film also utlized plenty of Western music, demonstrating his abiding interest in a wide range of music in all his films to underline story elements. He commented to me after a screening and Q & A of the film that he likes Sun Alley very much and that it stands up very well, 13 years after its first release.
Leander’s other films include the FIPRESCI award winning Herr Lehmann, the amusing take on East German soldiers’ experiences NVA, a romantic comedy based on two Australian authors’ book (Alan & Barbara Pease) on the differences between the sexes Why Men Don’t Listen and Women Can’t Read Maps, and the other film playing at this year’s festival Robert Zimmerman is Tangled Up in Love, a younger man and older woman romantic comedy with some amusing set pieces and witty dialogue. His comments about James Garfunkel (Art’s son, who has a small role as himself in the film), demonstrated Leander’s keen observation of people and his essential humanity and concern for others. The lead actress in the film was also going through some personal crises/issues which he helped her with during the shoot.
It is apparent that Leander will always make comedy films, which he reiterates is so hard to get right, and indeed he mentioned that prestigious film awards rarely go to comedies. His influences include Chaplin, Lubitsch, Tarantino, and surprisingly, David Lean (Dr. Zhivago), but the latter is perhaps not so surprising given the lush use of music and the sweeping production design/cinematography.
Back to Hotel Lux, Leander’s biggest film, with an 11 million Euro budget and a veteran producer on board (Schtonk) who was happy with Leander’s script (eventually, after a few drafts). Apart from other private investors, the biggest coup for Leander was getting Michael ‘Bully” Herbig a very well regarded German comedian who loved the story and assisted with producing the film. A fair bit of the money was spent on special effects and recreating the hotel on German locations. Leander was also keen to get Jűrgen Vogel on board to assist with audience response, and casting Thekla Reuten, the major Dutch actress (Twin Sisters), took a while as he needed the right actress to play such a complex role. Surprisingly, the film received a lukewarm response in Germany, and as yet has not made back its budget. Leander commented that virtually no German films did well in Germany over the last year, despite 20% of German audiences supporting German films. “Only Til Schweiger makes money” he amusingly remarked. Hotel Lux has been nominated for 3 German Film Awards, to be presented on April 27, in the categories of: production design, cinematography and costume design. He is not enamoured by these awards: “they only go to serious films and comedies always miss out”. He is also quite disdainful about the Film Academy which according to him, comprises few filmmakers, and mostly people who only like dramas and sneer at comedies. His formula of melding tragedy with humour is not favoured by the majority of the membership.
His next film, which he has already started working on with a good filmmaking friend, will be a comedy about a shark alert that turns into a huge disaster. For him, it is mocking the process of initiating an event that forms the kernel of this comedy. However with Leander you are never quite sure when he is serious, as he mentioned that you can google his website and watch them writing the screenplay in real time. He also says that there is so much interest in this “silly” idea that he has the money for the film already sewn up and actors beating a path to his door. Oddly he said nothing about the film he is supposedly scheduled to complete this year: Der Kleine Bruder. It was a real pleasure meeting Leander, and having a number of discussions with him, an example of a key filmmaker from the burgeoning German film industry.
Peter Krausz
Sunday, April 22. 2012
SUMMER WINDOW OPENS THE FESTIVAL OF GERMAN FILMS IN MELBOURNE
Around 500 people attended the opening night of Hendrik Handloegten’s romantic drama with a supernatural twist: Fenster zum Sommer/Summer Window. Looped into two cinemas at the Palace Cinema Como complex, the festival was simultaneously opened in both cinemas, with Hendrik in one cinema and Leander Haussman in the other. Melbourne loves its cultural film festivals, and now in its 11th year, the festival has developed a solid core audience, together with a good mix of German speakers, film buffs and film festival enthusiasts.
Summer Window is an unusual film as it traverses both the romantic drama genre, and the fantasy time traveller idea, with the film asking the question: Can you alter fate? It was terrific to see a beautiful widescreen digital print of the film, especially considering the fine location work in Germany and Finland. The contrast to previous opening night films was quite apparent, and together with the positive audience response, demonstrated the willingness of German filmmakers to present a wide range of genre films, as well as more idiosyncratic and challenging films. Indeed, all commented on the diversity of the program this year, and the willingness by writers/directors to both encapsulate, and step outside, traditional narrative boundaries.
Nina Hoss is a major figure in Germany, prominent on stage and screen, and she was front and centre in almost every scene, navigating her way through the perplexing situation of going back in time in which she finds herself. The rest of the cast similarly acquit themselves, highlighting the attention to detail by Hendrik in juggling the two time periods, and the resultant actions and emotions that arise. It was interesting to note that Hendrik shot the film in winter in Germany and summer in Finland, with naturally a three month gap between shooting schedules. This was somewhat unnerving for him due to the loss of continuity of the narrative, and a futile attempt to start assembling the film before the other seasonal sequences had been shot. Still, it all worked out in the end, with the rarity of a good fall of snow in Berlin to highlight the contrast with the sunny Helsinki climate in summer.
Also especially noteworthy is the fine music score which serves such an essential part of the film’s contrasting locations and dramatic arc. Discussions after the screening indicated that the audience was quite engaged by the film, but also experienced an unusual twist to a standard narrative, that in itself created some on-going discussion, while the enjoyable party in the foyer continued until very late. A comedian was organized, apart from some fine music and torch songs, to regale the audience at the party about the “5 Steps to Being German”. He was part of the Melbourne Comedy Festival, and for me, demonstrated the power of film. Well, ten days to go, and I am certainly looking forward to interacting with the audience, discussing the films, and interviewing the guests of the festival; the latter and more will appear in future blogs. Viel vergnűgen!
Peter Krausz
Summer Window is an unusual film as it traverses both the romantic drama genre, and the fantasy time traveller idea, with the film asking the question: Can you alter fate? It was terrific to see a beautiful widescreen digital print of the film, especially considering the fine location work in Germany and Finland. The contrast to previous opening night films was quite apparent, and together with the positive audience response, demonstrated the willingness of German filmmakers to present a wide range of genre films, as well as more idiosyncratic and challenging films. Indeed, all commented on the diversity of the program this year, and the willingness by writers/directors to both encapsulate, and step outside, traditional narrative boundaries.
Nina Hoss is a major figure in Germany, prominent on stage and screen, and she was front and centre in almost every scene, navigating her way through the perplexing situation of going back in time in which she finds herself. The rest of the cast similarly acquit themselves, highlighting the attention to detail by Hendrik in juggling the two time periods, and the resultant actions and emotions that arise. It was interesting to note that Hendrik shot the film in winter in Germany and summer in Finland, with naturally a three month gap between shooting schedules. This was somewhat unnerving for him due to the loss of continuity of the narrative, and a futile attempt to start assembling the film before the other seasonal sequences had been shot. Still, it all worked out in the end, with the rarity of a good fall of snow in Berlin to highlight the contrast with the sunny Helsinki climate in summer.
Also especially noteworthy is the fine music score which serves such an essential part of the film’s contrasting locations and dramatic arc. Discussions after the screening indicated that the audience was quite engaged by the film, but also experienced an unusual twist to a standard narrative, that in itself created some on-going discussion, while the enjoyable party in the foyer continued until very late. A comedian was organized, apart from some fine music and torch songs, to regale the audience at the party about the “5 Steps to Being German”. He was part of the Melbourne Comedy Festival, and for me, demonstrated the power of film. Well, ten days to go, and I am certainly looking forward to interacting with the audience, discussing the films, and interviewing the guests of the festival; the latter and more will appear in future blogs. Viel vergnűgen!
Peter Krausz
Monday, March 26. 2012
KRIEGERIN/COMBAT GIRLS: A Compelling and controversial film
When I attended the Munich Film festival in June 2011, there was a lot of “buzz” about a film that had just been completed in time for the festival. The themes of neo-Nazism and hatred of immigrants were part of David Wnendt’s script and direction for his graduating film from the Konrad Wolf Film School, and there was a lot of interest and controversy stirred up by these ideas. Set in the Eastern part of Germany and starring a young woman who gravitates towards a neo-Nazi gang, the film created plenty of media interest when the press screening occurred ahead of the first public screening during the festival.
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Monday, March 19. 2012
FESTIVAL OF GERMAN FILMS 2012 HIGHLIGHTS THE DIVERSITY OF FILMMAKING IN GERMANY AND BEYOND
The Eleventh Annual Festival of German Films 2012 demonstrates the strength, and the diversity of genres, of the German film industry. With 37 films being screened this year, the range and quality of ideas, themes, and approaches indicate a real vibrancy in German cinema. The full details of all films are listed on the website, but a snapshot follows.
At the Munich Film festival 2011 I discovered some excellent films, with very strong responses from the audience. The films selected for our festival in Australia, include: Kriegerin/Combat Girls a confronting film about a woman trapped by her hatred for other cultures and enhanced by mixing with a neo-Nazi gang; Hell, by a first-time filmmaker whose vision of a post-apocalyptic world is extraordinary and chilling; Taboo. the story of poet Georg Trakl and his personal demons as well as his relationship with his sister; Sennentuntschi, Switzerland’s first horror film which will evoke a strong response from the audience.
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At the Munich Film festival 2011 I discovered some excellent films, with very strong responses from the audience. The films selected for our festival in Australia, include: Kriegerin/Combat Girls a confronting film about a woman trapped by her hatred for other cultures and enhanced by mixing with a neo-Nazi gang; Hell, by a first-time filmmaker whose vision of a post-apocalyptic world is extraordinary and chilling; Taboo. the story of poet Georg Trakl and his personal demons as well as his relationship with his sister; Sennentuntschi, Switzerland’s first horror film which will evoke a strong response from the audience.
Continue reading "FESTIVAL OF GERMAN FILMS ... »
Saturday, April 23. 2011
MEETING BURGHART KLAUSSNER
One of the main guests of this year’s Festival of German Films, actor Burghart Klaussner, has appeared in over 70 films and television productions. He participated in two Q & As with me during his visit, and was keen to discuss his career, and especially the three films he was in that played at the festival.
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Saturday, April 16. 2011
GERMAN FILM ACADEMY AWARDS: THE LOLAS
This year's German Film Academy Awards highlighted an interesting mixture of awards to popular releases as well as the more art-house releases.
VINCENT WILL MEER/VINCENT WANTS TO SEA was awarded the Gold Prize for best film, as well as the best actor award to Florian David Fitz in his bravura performance as a young man with Tourette's.
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VINCENT WILL MEER/VINCENT WANTS TO SEA was awarded the Gold Prize for best film, as well as the best actor award to Florian David Fitz in his bravura performance as a young man with Tourette's.
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Monday, April 4. 2011
CELEBRATING 10 YEARS of THE FESTIVAL OF GERMAN FILMS
It is quite amazing to realize that the Festival of German Films, which began as a small festival in 2002, has spiralled into such a major event, this year featuring 37 films plus short films and documentaries. This reflects the way the German film industry has expanded so rapidly with a renewed vigour, producing well over 100 feature films per year, and highlighting a wealth of genres, styles and themes. As usual we have an excellent array of films from a variety of writers and directors, as well as a cavalcade of actors recognizable to most audiences. There will be more blogs featuring interviews, reviews and comments during the festival, but I wanted to mention here the tenth anniversary screenings of German films at this festival; some have been screened before and some others were films that passed us by that can now be shown. A quick run-down follows:
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Friday, April 30. 2010
ERICA FISCHER IN MELBOURNE
One of the highlights of the Festival of German Films this year was the screening of Aimee and Jaguar based on the novel written by Erica Fischer. Erica was a guest of the festival and it was a pleasure to host a brief Q & A with her in Melbourne.
When the opportunity to write the story as a book was offered to her, Erica aimed to do as much research as possible. She was able to interview Lily Wust in some detail as she was still alive (indeed she lived until 2005) and provided many stories and anecdotes about her relationship with Felice and the unhappiness she faced in 1944 when Felice was sent to a concentration camp.
It was incredible to consider that a Nazi (Lily) who was married to a German soldier and had four children, could possibly have a lesbian relationship with a Jewish woman (Felice) during World War 2; and to make matters worse, Felice was working as a journalist without revealing her Jewish heritage, and working for the underground against the Nazis. Hence her life was continually in peril, and could end at any time.
Erica, with her Jewish background, was a little uneasy about Lily and her lack of acknowledgement of her Nazi affiliations. Still, Lily was able to relay some important incidents and experiences which made the book so meticulous and thorough. The book became a best-seller and was destined to become a film.
There is some regret with Erica that she was not asked to work on the screenplay of the film, released in 1998. Although she felt that Rona Munro and (director) Max Fäberböck did a good adaptation, she felt that she could have added more emotion and detail to the narrative. Erica also felt that the two actresses, although very good (Maria Schrader as Felice, and Juliane Köhler as Lily) were somewhat miscast in terms of age, especially Juliane. The film was very successful and actually drew more attention to Erica’s book, so there was a strong, symbiotic relationship between book and film.
Erica has written a book about her own background: Himmelstrasse, and has written many articles on feminist and cultural issues, but never achieved the recognition that Aimee & Jaguar gave her. The audience at the screening in Melbourne, almost a full house, all stayed to hear Erica’s description of writing the book, and her views on the film.
Finally, Erica revealed that Lily lived very quietly after the war, but achieved a new notoriety when Erica’s book was published, allowing Lily to “come out” and openly discuss her homosexuality and love affair with Felice. Indeed it was not until the age of 80 that Lily experienced the excitement of visiting a gay club, and living an open life without fear of condemnation. However for Erica, Lily’s avoidance of discussing her Nazism was a problem, which Lily, according to Erica, should have acknowledged publicly. Lily appreciated the film and did some interviews right up until her death in 2005.
You can read more about Erica’s books, background and other writings and events, on her website: www.erica-fischer.de Note that the website is all in German.
Her email address is: ef@textetage.com
Aimee & Jaguar is readily available on DVD in Australia, courtesy of Umbrella Entertainment, and includes some extras including interviews with the lead actresses and the director.
When the opportunity to write the story as a book was offered to her, Erica aimed to do as much research as possible. She was able to interview Lily Wust in some detail as she was still alive (indeed she lived until 2005) and provided many stories and anecdotes about her relationship with Felice and the unhappiness she faced in 1944 when Felice was sent to a concentration camp.
It was incredible to consider that a Nazi (Lily) who was married to a German soldier and had four children, could possibly have a lesbian relationship with a Jewish woman (Felice) during World War 2; and to make matters worse, Felice was working as a journalist without revealing her Jewish heritage, and working for the underground against the Nazis. Hence her life was continually in peril, and could end at any time.
Erica, with her Jewish background, was a little uneasy about Lily and her lack of acknowledgement of her Nazi affiliations. Still, Lily was able to relay some important incidents and experiences which made the book so meticulous and thorough. The book became a best-seller and was destined to become a film.
There is some regret with Erica that she was not asked to work on the screenplay of the film, released in 1998. Although she felt that Rona Munro and (director) Max Fäberböck did a good adaptation, she felt that she could have added more emotion and detail to the narrative. Erica also felt that the two actresses, although very good (Maria Schrader as Felice, and Juliane Köhler as Lily) were somewhat miscast in terms of age, especially Juliane. The film was very successful and actually drew more attention to Erica’s book, so there was a strong, symbiotic relationship between book and film.
Erica has written a book about her own background: Himmelstrasse, and has written many articles on feminist and cultural issues, but never achieved the recognition that Aimee & Jaguar gave her. The audience at the screening in Melbourne, almost a full house, all stayed to hear Erica’s description of writing the book, and her views on the film.
Finally, Erica revealed that Lily lived very quietly after the war, but achieved a new notoriety when Erica’s book was published, allowing Lily to “come out” and openly discuss her homosexuality and love affair with Felice. Indeed it was not until the age of 80 that Lily experienced the excitement of visiting a gay club, and living an open life without fear of condemnation. However for Erica, Lily’s avoidance of discussing her Nazism was a problem, which Lily, according to Erica, should have acknowledged publicly. Lily appreciated the film and did some interviews right up until her death in 2005.
You can read more about Erica’s books, background and other writings and events, on her website: www.erica-fischer.de Note that the website is all in German.
Her email address is: ef@textetage.com
Aimee & Jaguar is readily available on DVD in Australia, courtesy of Umbrella Entertainment, and includes some extras including interviews with the lead actresses and the director.
Tuesday, April 27. 2010
IN CONVERSATION WITH SONKE WORTMANN Part 2
IN CONVERSATION WITH SONKE WORTMANN Part 2
PK: The Miracle of Bern (set in 1954 when Germany unexpectedly won the soccer World Cup) was well received in Australia.
SW: This was a very personal project for me. I was a professional soccer player, but had to give it up because I was just not good enough. That was when I decided to go to film school as I have always loved the movies. In fact I was very surprised when the Munich Film School accepted me. This film allowed me to combine my two career passions. I also followed up this film with a documentary in 2006 on Germany competing at the World Cup. I was able to sit on the bench and talk with all the players, which was a great experience for me. I am regarded more as a soccer expert though, than a film expert, which I find annoying.
PK: At Film School in the 1980s, which filmmakers were respected and influenced you?
SW: Of course the main filmmakers at the time were Fassbinder, Herzog and Wenders. I found them a bit dreary, very art-house, and I wanted a different approach to making my films. Twenty years later, we have a better variety of films, and they are also successful films both at the box-office in Germany and at Film Festivals. It is so good to see that 27% of admissions to German cinemas are for German films.
(As an aside I commented to Sönke that in Australia we would love it if even 7% of cinema ticket sales were for Australian films!). It is also worth noting that Germany produces over 100 films each year, and certainly not all of them are successful.
PK: I was very impressed with Kleine Haie (1992, “Little Sharks" with an early performance by Jürgen Vogel).
SW: Yes, the film was popular (and has been repeated many times on German television), but it is hard for me to watch my films. I always want to improve them, to do better.
PK: Let’s talk about your Hollywood experience, with the film “Hollywood Sign” (starring Burt Reynolds, Tom Berenger and Rod Steiger, a crime caper movie) you made in 2001. (Sönke lived in the USA for four years).
SW: It was great to have the opportunity, a dream come true, to make a film in Hollywood, but the film was a complete failure at the Box-Office. I thought the film was OK, but was not good enough (and in most countries went straight to video/DVD). It was fun making the movie, especially working with three good actors. I thought Paul Thomas Anderson’s film “Boogie Nights” was excellent, and Burt Reynolds did such a good job in that film as a comeback for him, so it was great to have him in my film.
I must say though that there were days on the set when it wasn’t easy. Two out of the three of them would be in a good mood each day, they were a wild bunch, and the moods always changed. Tom was very difficult to work with, but we got through it.
I am glad I had the experience in Hollywood, but I did learn that Europe is a much better place to work and make films, I do not need Hollywood anymore.
PK: You produced “Treasure of the White Falcons”, a children’s/teen film playing the festival. Can you talk about that film? I was impressed by the production values.
SW: I like kids stories that take children seriously, in an entertaining way, not an educational way. This is a film for adults as well, and is serious, fun and melodramatic. I didn’t direct it (it was directed by Christian Zübert) but I liked the story very much. Films made for children in Germany are mostly intelligent, and they don’t look down on (or patronize) children. Filmmakers in the last 20 years have learnt a lot about making films for an audience.
PK: Do you have your next film planned yet?
SW: Not really, I have a few ideas but nothing definite. I will make a film soon as I have a family to look after (Sönke and his wife have 3 children). I am looking at a smaller film after the big budget “Pope Joan”.
PK: It has been great talking to you, and look forward to meeting you when you arrive in Melbourne. Have you seen any films recently that you liked or didn’t like?
SW: I really liked “Avatar” in 3D, I was blown away how amazing it was
PK: 20 films will be released in 3D in the next 12 months, do you think the new technology will overwhelm the need for a good story/script?
SW: Maybe; it will take a few years before the scripts for 3D films improve. I have not seen it, but I heard “Clash of the Titans” is disappointing.
Post-script: I eventually met Sönke in Melbourne and hosted the Q & A with him after a screening of “Pope Joan”. The audience was intrigued about the film, especially about the feminist/religious issues it raises. He also revealed that he saw “The Hurt Locker” on the plane and he quite liked it, but wasn’t sure it was an Oscar worthy film.
PK: The Miracle of Bern (set in 1954 when Germany unexpectedly won the soccer World Cup) was well received in Australia.
SW: This was a very personal project for me. I was a professional soccer player, but had to give it up because I was just not good enough. That was when I decided to go to film school as I have always loved the movies. In fact I was very surprised when the Munich Film School accepted me. This film allowed me to combine my two career passions. I also followed up this film with a documentary in 2006 on Germany competing at the World Cup. I was able to sit on the bench and talk with all the players, which was a great experience for me. I am regarded more as a soccer expert though, than a film expert, which I find annoying.
PK: At Film School in the 1980s, which filmmakers were respected and influenced you?
SW: Of course the main filmmakers at the time were Fassbinder, Herzog and Wenders. I found them a bit dreary, very art-house, and I wanted a different approach to making my films. Twenty years later, we have a better variety of films, and they are also successful films both at the box-office in Germany and at Film Festivals. It is so good to see that 27% of admissions to German cinemas are for German films.
(As an aside I commented to Sönke that in Australia we would love it if even 7% of cinema ticket sales were for Australian films!). It is also worth noting that Germany produces over 100 films each year, and certainly not all of them are successful.
PK: I was very impressed with Kleine Haie (1992, “Little Sharks" with an early performance by Jürgen Vogel).
SW: Yes, the film was popular (and has been repeated many times on German television), but it is hard for me to watch my films. I always want to improve them, to do better.
PK: Let’s talk about your Hollywood experience, with the film “Hollywood Sign” (starring Burt Reynolds, Tom Berenger and Rod Steiger, a crime caper movie) you made in 2001. (Sönke lived in the USA for four years).
SW: It was great to have the opportunity, a dream come true, to make a film in Hollywood, but the film was a complete failure at the Box-Office. I thought the film was OK, but was not good enough (and in most countries went straight to video/DVD). It was fun making the movie, especially working with three good actors. I thought Paul Thomas Anderson’s film “Boogie Nights” was excellent, and Burt Reynolds did such a good job in that film as a comeback for him, so it was great to have him in my film.
I must say though that there were days on the set when it wasn’t easy. Two out of the three of them would be in a good mood each day, they were a wild bunch, and the moods always changed. Tom was very difficult to work with, but we got through it.
I am glad I had the experience in Hollywood, but I did learn that Europe is a much better place to work and make films, I do not need Hollywood anymore.
PK: You produced “Treasure of the White Falcons”, a children’s/teen film playing the festival. Can you talk about that film? I was impressed by the production values.
SW: I like kids stories that take children seriously, in an entertaining way, not an educational way. This is a film for adults as well, and is serious, fun and melodramatic. I didn’t direct it (it was directed by Christian Zübert) but I liked the story very much. Films made for children in Germany are mostly intelligent, and they don’t look down on (or patronize) children. Filmmakers in the last 20 years have learnt a lot about making films for an audience.
PK: Do you have your next film planned yet?
SW: Not really, I have a few ideas but nothing definite. I will make a film soon as I have a family to look after (Sönke and his wife have 3 children). I am looking at a smaller film after the big budget “Pope Joan”.
PK: It has been great talking to you, and look forward to meeting you when you arrive in Melbourne. Have you seen any films recently that you liked or didn’t like?
SW: I really liked “Avatar” in 3D, I was blown away how amazing it was
PK: 20 films will be released in 3D in the next 12 months, do you think the new technology will overwhelm the need for a good story/script?
SW: Maybe; it will take a few years before the scripts for 3D films improve. I have not seen it, but I heard “Clash of the Titans” is disappointing.
Post-script: I eventually met Sönke in Melbourne and hosted the Q & A with him after a screening of “Pope Joan”. The audience was intrigued about the film, especially about the feminist/religious issues it raises. He also revealed that he saw “The Hurt Locker” on the plane and he quite liked it, but wasn’t sure it was an Oscar worthy film.
Friday, April 23. 2010
IN CONVERSATION WITH SONKE WORTMANN PART ONE
IN CONVERSATION WITH SÖNKE WORTMANN: GUEST OF THE FESTIVAL OF GERMAN FILM 2010 PART ONE
I recorded an interview with Sönke a few days before he was planning to board a plane (volcanic ash notwithstanding) and visit Australia for the first time, as a special guest of the 9th Festival of German Film.
I asked about how it came about that he was able to direct the film Die Päpstin/Pope Joan, a big budget international German funded production.
SW: The novel by Donna Cross was very popular in Germany, but I didn’t read it (12 years later) until I was contacted by the producers of the film who wanted me to direct it. As soon as I read it I knew it would make a good film. It is such an intriguing story with international appeal so I was pleased to be able to make it. Originally Volker Schlondorff was going to direct the film, but the script was never right. Then he gave up on the film and the producers asked me to direct it. I had to rework the script with 7 screenwriters until we got it right. Donna acted as an adviser on the film.
PK: Was Johanna Wokalek your first choice in the lead role?
SW: She has an excellent reputation in Viennese theatre and I felt she was right for the role. I did consider asking Cate Blanchett, who I knew had played male/female roles successfully, but I thought she would be far too busy. Johanna is perfect in the role.
(As an aside, Franka Potente was also under consideration for the Pope Joan role, but she was unavailable)
PK: Speaking of Australians though, you did choose David Wenham for a key role. How did that come about?
SW: I admired his performances in The Boys, which played at the Berlinale, as well as The Lord of the Rings trilogy and an Australian Western I saw him in written by Nick Cave (The Proposition).
Also I very much liked John Goodman in The Big Lebowski and he fitted perfectly the physical description of The Pope in the book.
PK: Did you see the 1972 version of the story (Pope Joan, a UK Production directed by Michael Anderson and starring Liv Ullmann, Franco Nero, Maximillian Schell and Olivia de Havilland)?
SW: Of course I did, it is essential to fully prepare for such a big movie by doing research. Let’s say I had to improve on that version, which I felt was boring and typical of films made in the 1970s.
Critics note: The 1972 version is set in both the 9th Century and contemporary times and involves a woman “reincarnated” through psychoanalytic memories from the 9th Century. The film is a turgid, occasionally violent, mostly inconsistent drama which proved to be a film that definitely required a remake!
PK: How successful was your film in Germany?
SW: Very successful, it sold almost 3 million tickets, and that was because of the novel’s popularity and the good cast in my film.
(Note: at time of writing the film was nominated for three 2010 German Film Awards)
PK: Were there any protests by Catholics, or any criticisms of the film from a religious perspective?
SW: The film certainly goes against Catholic teaching related to women’s role in the Church, and that God’s will only allows men in religious roles, with the Pope chosen by God (which excludes women). But there were no protests; I think they learned from the experience of protesting at (the anti-semitic) Passion of the Christ (Mel Gibson’s film) which actually increased the box-office takings for that film.
PK: Also playing in this year’s Festival of German film is Der Bewegte Mann/Maybe Maybe Not which was a nice change of image for Til Schweiger.
SW: Yes, it was before he became a major international star but he was very happy with the story. The film is now 15 years old, and turned out to be the most popular film screened in Germany in the 90s. It was only a small film, and a comedy, but it was liked by so many people.
I recorded an interview with Sönke a few days before he was planning to board a plane (volcanic ash notwithstanding) and visit Australia for the first time, as a special guest of the 9th Festival of German Film.
I asked about how it came about that he was able to direct the film Die Päpstin/Pope Joan, a big budget international German funded production.
SW: The novel by Donna Cross was very popular in Germany, but I didn’t read it (12 years later) until I was contacted by the producers of the film who wanted me to direct it. As soon as I read it I knew it would make a good film. It is such an intriguing story with international appeal so I was pleased to be able to make it. Originally Volker Schlondorff was going to direct the film, but the script was never right. Then he gave up on the film and the producers asked me to direct it. I had to rework the script with 7 screenwriters until we got it right. Donna acted as an adviser on the film.
PK: Was Johanna Wokalek your first choice in the lead role?
SW: She has an excellent reputation in Viennese theatre and I felt she was right for the role. I did consider asking Cate Blanchett, who I knew had played male/female roles successfully, but I thought she would be far too busy. Johanna is perfect in the role.
(As an aside, Franka Potente was also under consideration for the Pope Joan role, but she was unavailable)
PK: Speaking of Australians though, you did choose David Wenham for a key role. How did that come about?
SW: I admired his performances in The Boys, which played at the Berlinale, as well as The Lord of the Rings trilogy and an Australian Western I saw him in written by Nick Cave (The Proposition).
Also I very much liked John Goodman in The Big Lebowski and he fitted perfectly the physical description of The Pope in the book.
PK: Did you see the 1972 version of the story (Pope Joan, a UK Production directed by Michael Anderson and starring Liv Ullmann, Franco Nero, Maximillian Schell and Olivia de Havilland)?
SW: Of course I did, it is essential to fully prepare for such a big movie by doing research. Let’s say I had to improve on that version, which I felt was boring and typical of films made in the 1970s.
Critics note: The 1972 version is set in both the 9th Century and contemporary times and involves a woman “reincarnated” through psychoanalytic memories from the 9th Century. The film is a turgid, occasionally violent, mostly inconsistent drama which proved to be a film that definitely required a remake!
PK: How successful was your film in Germany?
SW: Very successful, it sold almost 3 million tickets, and that was because of the novel’s popularity and the good cast in my film.
(Note: at time of writing the film was nominated for three 2010 German Film Awards)
PK: Were there any protests by Catholics, or any criticisms of the film from a religious perspective?
SW: The film certainly goes against Catholic teaching related to women’s role in the Church, and that God’s will only allows men in religious roles, with the Pope chosen by God (which excludes women). But there were no protests; I think they learned from the experience of protesting at (the anti-semitic) Passion of the Christ (Mel Gibson’s film) which actually increased the box-office takings for that film.
PK: Also playing in this year’s Festival of German film is Der Bewegte Mann/Maybe Maybe Not which was a nice change of image for Til Schweiger.
SW: Yes, it was before he became a major international star but he was very happy with the story. The film is now 15 years old, and turned out to be the most popular film screened in Germany in the 90s. It was only a small film, and a comedy, but it was liked by so many people.
Tuesday, April 13. 2010
Overview of the Audi Festival of German Films 2010
INTRODUCING: A WEALTH OF GERMAN CINEMA
Peter Krausz
The high level of filmmaking activity in Germany continues unabated. With substantial public and private support for financing films, combined with the international success of so many films, the organisers are privileged to have the opportunity, and difficult task, to select films for Australia which reflect a variety of genres, regions, styles, approaches and stories. I think you will find all tastes and interests catered for in this comprehensive overview of some of the best German films available. Continue reading "Overview of the Audi ... »
Peter Krausz
The high level of filmmaking activity in Germany continues unabated. With substantial public and private support for financing films, combined with the international success of so many films, the organisers are privileged to have the opportunity, and difficult task, to select films for Australia which reflect a variety of genres, regions, styles, approaches and stories. I think you will find all tastes and interests catered for in this comprehensive overview of some of the best German films available. Continue reading "Overview of the Audi ... »
Monday, April 27. 2009
GERMAN FILM ACADEMY AWARDS: THE LOLAS 2009
There were many surprises at this year’s Lolas, with major productions: “Krabat” and “The Baader Meinhof Complex” missing out on any awards. “John Rabe” turned out to be the big winner, with Lolas going to: Ulrich Tukur, for best actor, as well as awards for best set design, best costume design and best film.
Continue reading "GERMAN FILM ACADEMY AWARDS: ... »
Continue reading "GERMAN FILM ACADEMY AWARDS: ... »
Friday, April 24. 2009
IN CONVERSATION WITH ROBERT STADLOBER
As with Anna Maria Műhe, it was a pleasure meeting Robert Stadlober, a serious actor and musician, who has distinct views on his career path and the way to achieve it. Robert has two films in this year’s festival: the coming of age teenage drama “Summer Storm” and the darkly brooding fantasy “Krabat”. At the two Q & As I ran with him, Robert displayed a very wicked sense of humour, with some hilarious stories about working on various films, and with finely developed views about German films and the film industry, as well as politics and society.
Continue reading "IN CONVERSATION WITH ROBERT ... »
Continue reading "IN CONVERSATION WITH ROBERT ... »
IN CONVERSATION WITH ANNA MARIA MUHE
During the festival I had the pleasure of meeting German actress Anna Maria Műhe, lead actress in Novemberkind/November Child, and hosting two Q & A sessions with her.She is certainly an unprepossessing person, very affable and interested in new experiences; visiting Australia was of great excitement to her. Yet she is very serious about her craft and very keen to establish herself as an actress with a wide range and versatility. She also has a wonderful sense of humour. When I asked her how she found out about her nomination for best actress in this year’s German Academy Awards (the Lolas), she remarked that she was watching morning television and an actress announced the nominees; she almost fell out of her chair when she heard that! She is thrilled just to be nominated, and she is competing with two established actresses: Martina Gedeck (“Baader Meinhof Komplex”) and Ursula Werner (“Wolke 9/Cloud 9”).
Continue reading "IN CONVERSATION WITH ANNA ... »
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