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1
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Keep the glasses on.
Looks good.
2
00:00:13,140 --> 00:00:14,940
I don’t normally wear them.
3
00:00:15,100 --> 00:00:18,180
I like it with the glasses and the jacket.
4
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That’s not the point.
5
00:00:20,660 --> 00:00:22,340
Whether I like your looks?
6
00:00:34,740 --> 00:00:38,300
I have to check myself again and again
7
00:00:39,020 --> 00:00:41,540
because I am totally biased towards you
8
00:00:42,060 --> 00:00:45,500
due to your movies.
9
00:00:46,860 --> 00:00:49,860
Every character you have ever developed
10
00:00:50,180 --> 00:00:52,220
I’m projecting onto you.
11
00:00:53,980 --> 00:00:56,140
Well, that’s your problem.
12
00:00:56,260 --> 00:00:57,740
Yes, that’s my problem.
13
00:00:58,420 --> 00:01:00,540
I see Hermann in you.
I see Clarissa in you.
14
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I see Helga in you.
15
00:01:45,420 --> 00:01:47,820
I like your smile.
16
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That’s forced. It’s compulsory to smile.
17
00:01:54,860 --> 00:01:57,340
I once swore not to smile.
18
00:01:57,540 --> 00:02:00,060
Why is it so desirable not to smile?
19
00:02:00,420 --> 00:02:03,460
Because it’s a cliché.
Because everyone smiles.
20
00:02:04,780 --> 00:02:08,420
But you’re worth something
even when you are serious.
21
00:02:11,260 --> 00:02:15,460
EIGHT HUNDRED TIMES LONELY
22
00:02:16,100 --> 00:02:21,060
One day with German filmmaker
Edgar Reitz
23
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One row further back?
That’s not here...
24
00:02:53,980 --> 00:02:56,300
Susan’s Dance
25
00:02:58,060 --> 00:03:02,460
A film by
Edgar Reitz and Susanne Reitz
26
00:03:06,620 --> 00:03:09,620
That’s a tremendous curiosity
that that that...
27
00:03:10,380 --> 00:03:12,740
curiosity
that that that...
28
00:03:13,820 --> 00:03:15,540
expertise certain...
29
00:03:15,980 --> 00:03:18,540
that’s a tremendous curiosity
that that that...
30
00:03:20,140 --> 00:03:23,340
not primarily rational realisation
but realisation certainly.
31
00:03:24,140 --> 00:03:27,140
That’s a tremendous curiosity
that that that...
32
00:03:29,980 --> 00:03:32,660
A strong sense of seriousness
comes into it. Yes.
33
00:03:35,100 --> 00:03:37,220
What it does or runs because because
34
00:03:37,620 --> 00:03:40,060
a little child simply jumps
because it’s fun or runs?
35
00:03:40,220 --> 00:03:42,260
...because because...
36
00:03:42,540 --> 00:03:45,540
simply jumps because it’s fun or runs
37
00:03:45,820 --> 00:03:48,260
because because because it wants to run.
38
00:03:49,420 --> 00:03:52,020
That’s part of me somehow.
39
00:03:54,020 --> 00:03:56,020
That’s part of me somehow.
40
00:03:56,780 --> 00:03:59,540
I think then I’m missing something.
41
00:04:00,100 --> 00:04:02,180
Then I exist differently.
42
00:04:02,580 --> 00:04:05,700
When I feel I haven’t done it for a while
43
00:04:06,740 --> 00:04:09,740
then I’m missing something.
44
00:04:15,820 --> 00:04:17,860
Then I exist...
45
00:04:18,180 --> 00:04:21,780
Only dance. Only dance...
46
00:04:39,980 --> 00:04:43,980
Families always believe
that they know each other.
47
00:04:46,540 --> 00:04:49,100
My daughter Susanne
48
00:04:50,020 --> 00:04:52,140
has danced all her life.
49
00:04:53,340 --> 00:04:55,860
Started ballet when she was four
50
00:04:56,220 --> 00:04:58,380
and when she finished school
51
00:04:58,580 --> 00:05:01,580
I had forgotten I was still paying
52
00:05:01,940 --> 00:05:03,940
her dancing lessons.
53
00:05:04,780 --> 00:05:08,940
When being asked
what she wanted to do after school,
54
00:05:09,100 --> 00:05:12,660
she said: "I am a dancer and now
I’m going to be a choreographer."
55
00:05:13,060 --> 00:05:15,260
Then I said to myself,
56
00:05:15,500 --> 00:05:18,500
I now want to know
who my daughter is.
57
00:05:18,900 --> 00:05:20,860
So I made the film.
58
00:05:23,900 --> 00:05:26,060
Simply to portrait her.
59
00:05:27,260 --> 00:05:29,460
That’s when I noticed a few things.
60
00:05:30,420 --> 00:05:31,820
For example
61
00:05:32,780 --> 00:05:35,140
she is constantly observing
62
00:05:35,340 --> 00:05:38,060
her very movements,
63
00:05:38,580 --> 00:05:40,940
checking them for usability
64
00:05:43,860 --> 00:05:45,500
for her dancing
65
00:05:46,220 --> 00:05:48,300
or current choreography.
66
00:05:49,820 --> 00:05:52,420
Even more striking was
67
00:05:56,020 --> 00:05:58,940
how this ritualisation
68
00:05:59,140 --> 00:06:01,220
of her own movements
69
00:06:01,380 --> 00:06:04,100
reflected on her way of speaking:
70
00:06:05,700 --> 00:06:08,980
the repetition of short phrases
71
00:06:09,420 --> 00:06:12,460
within or at the beginning of sentences.
72
00:06:12,780 --> 00:06:15,340
I had noticed this in dancers as well
73
00:06:15,860 --> 00:06:20,300
I tried to address this in my montage
74
00:06:20,700 --> 00:06:22,620
in parallel to the movements.
75
00:06:24,140 --> 00:06:28,540
These loops were just filmed
from the cutting table.
76
00:06:29,940 --> 00:06:31,500
Maybe a question:
77
00:06:31,780 --> 00:06:34,620
You have worked very intensely
with sound and picture contrasts
78
00:06:34,780 --> 00:06:36,460
in the sense that the sound
79
00:06:36,620 --> 00:06:39,420
does not match the picture
or even contradicts it.
80
00:06:39,580 --> 00:06:42,020
Was that a natural development?
81
00:06:42,260 --> 00:06:44,380
Maybe even due to the cutting table
82
00:06:44,540 --> 00:06:47,740
where synchronicity had
to be established first?
83
00:06:48,100 --> 00:06:51,100
Or did you implement
that very consciously?
84
00:06:51,580 --> 00:06:54,020
It was a conscious break with tradition.
85
00:06:54,340 --> 00:06:57,380
Everyone always wants synchronicity.
86
00:06:58,500 --> 00:07:01,260
I’ve always found that surprising,
87
00:07:02,300 --> 00:07:06,140
because the moment picture
and sound are out of sync,
88
00:07:06,500 --> 00:07:09,460
the sound takes on a
whole new meaning.
89
00:07:10,140 --> 00:07:11,940
By making it asynchronous,
90
00:07:12,100 --> 00:07:15,380
the sound turns into her
thoughts, slides to the inside.
91
00:07:53,020 --> 00:07:56,020
Totally biased towards you.
92
00:07:57,220 --> 00:08:00,220
Biased, biased...
93
00:08:05,060 --> 00:08:08,060
I project onto you.
94
00:08:10,060 --> 00:08:13,060
I project onto you.
95
00:08:18,700 --> 00:08:20,060
Is it...?
96
00:08:27,780 --> 00:08:30,100
Ah, ok.
97
00:08:30,740 --> 00:08:32,460
I didn’t know that.
98
00:08:33,020 --> 00:08:36,020
Good thing we weren’t
climbing over it then.
99
00:08:39,100 --> 00:08:42,100
Turns into her thoughts.
100
00:08:42,700 --> 00:08:44,580
Then it slides to the inside.
101
00:08:46,580 --> 00:08:49,580
Turns into her thoughts.
102
00:08:50,060 --> 00:08:52,700
Then it slides to the inside.
103
00:08:55,300 --> 00:08:57,340
A real theatre.
104
00:08:59,100 --> 00:09:00,420
It’s a beautiful stage.
105
00:09:00,820 --> 00:09:03,620
All inspired by the theatre.
106
00:09:04,300 --> 00:09:06,220
In the early days,
107
00:09:06,660 --> 00:09:08,620
cinemas used to simply copy
108
00:09:08,780 --> 00:09:10,780
the way theatres were built,
109
00:09:12,100 --> 00:09:15,060
the stage replaced by a screen.
110
00:09:21,220 --> 00:09:24,220
Just imagine 800 people in here.
111
00:09:27,300 --> 00:09:29,340
The film starts
112
00:09:29,860 --> 00:09:33,300
and they are all on the same beat.
113
00:09:33,580 --> 00:09:36,060
Clocked by the film.
114
00:09:36,300 --> 00:09:38,140
And when the film is over
115
00:09:38,580 --> 00:09:41,220
it’s over for everyone.
Not just for one.
116
00:09:41,380 --> 00:09:42,860
That’s beautiful.
117
00:09:43,460 --> 00:09:45,620
Even though I know it’s naive,
118
00:09:45,740 --> 00:09:48,220
I still hope the need to
119
00:09:48,380 --> 00:09:51,260
experience something in community
120
00:09:51,380 --> 00:09:55,140
becomes as strong again
as with the theatre.
121
00:09:55,340 --> 00:09:57,460
But maybe we won’t be around then.
122
00:09:57,740 --> 00:09:59,740
But which community?
123
00:10:00,900 --> 00:10:03,980
The need to be in community
124
00:10:04,260 --> 00:10:08,540
also means that you somehow
feel a part of this community.
125
00:10:10,820 --> 00:10:13,100
Or that loneliness is increasingly
126
00:10:14,340 --> 00:10:17,580
experienced as a shortcoming.
127
00:10:18,340 --> 00:10:19,940
Exactly.
128
00:10:20,140 --> 00:10:23,060
But that’s also unifying.
129
00:10:24,980 --> 00:10:27,060
Everything feels much better
130
00:10:27,300 --> 00:10:30,260
when we notice there’s
an offer like the cinema,
131
00:10:30,420 --> 00:10:34,700
and when we go there all the
other lonely ones will come too.
132
00:10:43,300 --> 00:10:45,460
This is a lonely room, too.
133
00:10:46,340 --> 00:10:48,100
I don’t think so.
134
00:10:48,180 --> 00:10:50,020
It’s only waiting
135
00:10:50,220 --> 00:10:51,900
for thousands of people.
136
00:10:53,220 --> 00:10:56,220
Now it is lonely. Nobody’s here.
137
00:10:57,940 --> 00:11:00,420
But eight hundred times lonely.
138
00:12:54,700 --> 00:12:58,260
I’m one of those people
who recover in battle.
139
00:13:02,220 --> 00:13:04,980
I don’t like free time very much.
140
00:13:07,820 --> 00:13:12,420
Free time in the sense of
doing nothing panics me.
141
00:13:17,140 --> 00:13:20,180
I would also say, give me a good job
142
00:13:20,380 --> 00:13:22,860
and nothing can happen to me.
143
00:13:32,940 --> 00:13:36,060
All the many stories I have filmed
144
00:13:38,060 --> 00:13:42,180
have wiped out my personal
memory of all these stories.
145
00:13:46,900 --> 00:13:50,780
Take the story of Klärchen from "Heimat 1"...
146
00:13:52,220 --> 00:13:55,180
One day I got a call,
147
00:13:55,900 --> 00:13:58,100
there was this woman on the phone,
148
00:13:58,260 --> 00:14:00,300
who I couldn’t place.
149
00:14:00,420 --> 00:14:02,380
I had no idea who she was.
150
00:14:02,620 --> 00:14:05,940
And it was her, the original Klärchen.
151
00:14:06,940 --> 00:14:08,980
After she had seen the film,
152
00:14:09,140 --> 00:14:11,580
she called and wanted to talk about it.
153
00:14:11,740 --> 00:14:13,860
But I couldn’t speak to her,
154
00:14:14,020 --> 00:14:16,420
I felt too alienated from her.
155
00:14:16,580 --> 00:14:19,220
She seemed like a fake to me.
156
00:14:20,020 --> 00:14:23,300
I didn’t let her close to me again.
157
00:14:25,420 --> 00:14:27,500
In my opinion,
158
00:14:28,140 --> 00:14:33,020
filmmakers who exploit their
own biographies for their films,
159
00:14:33,580 --> 00:14:38,740
are wiping out their personal
lives by making these films.
160
00:14:39,900 --> 00:14:44,780
So after having turned all my friends
into films, I won’t have any left.
161
00:14:45,940 --> 00:14:47,860
But that’s terribly sad.
162
00:14:49,500 --> 00:14:54,060
Yes. That’s what turning
reality into art or fiction does.
163
00:14:55,700 --> 00:14:58,220
It isn’t a harmless process.
164
00:14:58,900 --> 00:15:01,140
Only the facts remain.
165
00:15:01,300 --> 00:15:03,300
Only the skin remains.
166
00:15:07,660 --> 00:15:11,540
The emotional depth is gone,
167
00:15:11,860 --> 00:15:14,020
it has been transferred to the film.
168
00:15:14,620 --> 00:15:18,180
But then thousands of people
can be moved by the film
169
00:15:18,340 --> 00:15:20,100
when they see it.
170
00:15:27,020 --> 00:15:30,740
You’ve never looked at it
that way, but that’s how it is.
171
00:15:33,580 --> 00:15:37,100
When the content of a
narrative or a film
172
00:15:37,380 --> 00:15:40,860
is fed by personal experience,
173
00:15:46,060 --> 00:15:50,460
you mustn’t take this as
a personal statement
174
00:15:50,580 --> 00:15:53,140
or something private.
175
00:15:58,420 --> 00:16:02,060
It needs to take the leap
176
00:16:02,220 --> 00:16:06,220
from the personal
to the general level.
177
00:16:07,140 --> 00:16:10,860
The private has no artistic validity.
178
00:16:13,820 --> 00:16:18,700
There are artists who are
great self-promoters,
179
00:16:19,220 --> 00:16:21,500
I’m not one of them.
180
00:16:21,860 --> 00:16:25,500
For me the art work
always comes first.
181
00:16:27,740 --> 00:16:30,780
It’s always about the work I do,
182
00:16:30,940 --> 00:16:32,860
the film I make.
183
00:16:32,980 --> 00:16:35,100
It’s the product that counts,
184
00:16:35,220 --> 00:16:36,740
not the person.
185
00:16:38,900 --> 00:16:42,180
I’ve recently been in Switzerland,
186
00:16:42,340 --> 00:16:46,820
where I took a cable car
to the mountain top.
187
00:16:47,900 --> 00:16:50,820
In my cable car were a family
188
00:16:51,540 --> 00:16:55,660
with kids aged seven to ten.
189
00:16:55,820 --> 00:16:59,820
The kids were constantly taking selfies
190
00:17:00,020 --> 00:17:03,580
and filming themselves
191
00:17:04,460 --> 00:17:08,060
even when we arrived at the top.
192
00:17:08,780 --> 00:17:11,220
Wherever I looked,
193
00:17:11,340 --> 00:17:13,860
people were taking
pictures of themselves.
194
00:17:15,220 --> 00:17:17,180
Shocking actually,
195
00:17:17,300 --> 00:17:19,660
since it was such a bright day
196
00:17:19,820 --> 00:17:22,460
with exceptionally
good visibility.
197
00:17:23,100 --> 00:17:25,820
You could see a hundred kilometers
198
00:17:25,940 --> 00:17:28,220
into the mountains.
199
00:17:28,580 --> 00:17:31,100
An overwhelming sight.
200
00:17:31,260 --> 00:17:35,140
And what people do
is film themselves!
201
00:17:37,100 --> 00:17:41,660
They didn’t absorb any
of this spectacular nature.
202
00:18:17,620 --> 00:18:21,660
I’ve realised that the
films are the films,
203
00:18:24,500 --> 00:18:26,540
and the man,
204
00:18:26,740 --> 00:18:29,340
the person behind those films
205
00:18:29,540 --> 00:18:33,220
can also be seen
detached from his work.
206
00:18:33,660 --> 00:18:35,420
Or can he?
207
00:18:35,900 --> 00:18:37,820
Sure can.
208
00:18:41,860 --> 00:18:44,940
I’ve been writing a kind of
209
00:18:45,140 --> 00:18:48,060
autobiography for a while.
210
00:18:50,500 --> 00:18:52,820
I wonder whether it is possible
211
00:18:52,980 --> 00:18:55,700
to detach my life story
from my films
212
00:18:55,860 --> 00:18:58,100
and tell it separately.
213
00:18:58,660 --> 00:19:00,700
Well, I can’t either.
214
00:19:02,140 --> 00:19:06,180
When you ask me, how
old my son was in 1983,
215
00:19:06,900 --> 00:19:09,020
I have to think first about
216
00:19:09,260 --> 00:19:12,020
the film I was making at the time.
217
00:19:14,820 --> 00:19:18,500
When I picture him
as part of the team
218
00:19:18,700 --> 00:19:21,940
or still at home asking
about his daddy
219
00:19:22,100 --> 00:19:24,580
being away filming –
220
00:19:25,860 --> 00:19:29,700
only then do I know how
old he must have been.
221
00:19:30,220 --> 00:19:33,300
A film is like a magnetic field.
222
00:19:34,140 --> 00:19:36,740
All the rest of your life
223
00:19:36,900 --> 00:19:39,700
is aligned by this magnetic field.
224
00:19:43,060 --> 00:19:47,500
The first film sheds light
on your biography.
225
00:19:52,220 --> 00:19:55,220
Does it have recognisable features?
226
00:19:56,060 --> 00:19:59,380
Before, it has all been in a mess.
227
00:19:59,540 --> 00:20:01,340
Confused.
228
00:20:03,900 --> 00:20:06,060
Well, in your case,
229
00:20:06,540 --> 00:20:09,100
you grew up in such hard times.
230
00:20:09,260 --> 00:20:12,140
How old were you
when the war broke out?
231
00:20:13,140 --> 00:20:16,900
I was six, just starting school.
232
00:20:22,300 --> 00:20:25,740
At that age you don’t
see the big picture,
233
00:20:25,900 --> 00:20:27,860
the history.
234
00:20:32,780 --> 00:20:37,020
A child of six doesn’t know
235
00:20:39,780 --> 00:20:43,260
about governments and politics.
236
00:20:44,740 --> 00:20:46,900
At this age,
237
00:20:47,020 --> 00:20:50,580
you’re still exploring
your own little world.
238
00:20:53,540 --> 00:20:55,900
You are still wondering
239
00:20:56,020 --> 00:20:58,660
about the things around the corner,
240
00:20:58,820 --> 00:21:01,540
beyond your parents’ house.
241
00:21:02,100 --> 00:21:04,940
Take the way to school, for example.
242
00:21:05,100 --> 00:21:08,460
It’s so new, so unknown
243
00:21:09,020 --> 00:21:11,220
that you don’t even realise
244
00:21:11,380 --> 00:21:14,260
whether it is war or not.
245
00:21:18,100 --> 00:21:21,100
But how old were you
when the war was over?
246
00:21:21,380 --> 00:21:23,060
Twelve years old.
247
00:21:23,260 --> 00:21:25,380
So quite a bit older.
248
00:21:28,580 --> 00:21:32,460
I felt a lot older than two years later.
249
00:21:34,900 --> 00:21:37,460
Because when the war was over,
250
00:21:37,620 --> 00:21:40,940
I started making up for
my lost childhood.
251
00:21:44,220 --> 00:21:46,620
As a ten-year-old boy
252
00:21:47,340 --> 00:21:51,260
living in a household with no father
253
00:21:53,940 --> 00:21:56,980
nor any other males,
254
00:22:01,060 --> 00:22:03,500
the women, the mothers
255
00:22:03,660 --> 00:22:06,940
treated you like a man
from very early on.
256
00:22:09,820 --> 00:22:13,900
Suddenly you had to bear
this huge responsibility.
257
00:22:16,740 --> 00:22:19,460
In 1945,
258
00:22:19,620 --> 00:22:22,420
shortly before the American troops
259
00:22:22,580 --> 00:22:25,780
started marching into our village,
260
00:22:28,220 --> 00:22:31,940
I was responsible
for the bomb shelters.
261
00:22:35,260 --> 00:22:39,220
Me and my peer friends
secured the cellars,
262
00:22:40,100 --> 00:22:43,740
supported their ceilings with beams.
263
00:22:46,820 --> 00:22:49,940
Then, using a car battery,
264
00:22:50,060 --> 00:22:52,940
I installed emergency lighting.
265
00:22:53,140 --> 00:22:55,460
It was my responsibility to ensure
266
00:22:55,620 --> 00:22:57,900
that the whole family would survive
267
00:22:58,020 --> 00:23:00,660
down there for days, maybe weeks,
268
00:23:03,420 --> 00:23:08,340
in case outside there would
be bombs or artillery fire.
269
00:23:11,180 --> 00:23:13,220
You never knew.
270
00:23:15,180 --> 00:23:18,340
This, I believe,
is crucial about war:
271
00:23:18,460 --> 00:23:20,180
You never know
272
00:23:20,300 --> 00:23:24,100
if and when it’s going to hit
273
00:23:25,420 --> 00:23:27,700
and how hard.
274
00:24:08,220 --> 00:24:11,340
How was the relationship
to your father?
275
00:24:11,500 --> 00:24:14,420
He had quite an influence on you,
276
00:24:14,580 --> 00:24:17,380
even though you didn’t get
to spend much time together.
277
00:24:17,540 --> 00:24:19,420
We did.
278
00:24:19,540 --> 00:24:22,900
There had been incredibly
profound experiences.
279
00:24:25,300 --> 00:24:27,580
We did DIY stuff together,
280
00:24:27,700 --> 00:24:30,780
built things, made devices.
281
00:24:30,940 --> 00:24:33,980
I’ve described this in a book once.
282
00:24:34,180 --> 00:24:38,140
Making radios together was one thing.
283
00:24:42,820 --> 00:24:45,220
He influenced my entire
284
00:24:45,380 --> 00:24:48,620
understanding of scientific things.
285
00:24:48,780 --> 00:24:51,860
He was an autodidact in this field,
286
00:24:52,020 --> 00:24:56,180
because he had never
gone to secondary school.
287
00:24:58,100 --> 00:25:00,700
But as a clockmaker
288
00:25:00,820 --> 00:25:04,460
he’d acquired his technical
and scientific skills
289
00:25:04,700 --> 00:25:08,380
through self-study and autodidactics.
290
00:25:09,020 --> 00:25:11,660
He was very good at mathematics.
291
00:25:13,580 --> 00:25:16,020
After the war,
292
00:25:16,180 --> 00:25:19,100
he helped me with maths in school
293
00:25:19,300 --> 00:25:22,100
and always motivated me
294
00:25:23,740 --> 00:25:27,260
so that I became a very good student
295
00:25:27,380 --> 00:25:31,980
in maths, physics,
chemistry, everything.
296
00:25:36,980 --> 00:25:39,700
Because of father’s passion
297
00:25:39,860 --> 00:25:43,260
to immerse himself in
these things with me.
298
00:25:43,460 --> 00:25:47,820
So he influenced me much
more than the teachers.
299
00:25:51,900 --> 00:25:55,540
It was his dream for me
to become an engineer.
300
00:26:00,940 --> 00:26:03,460
Arts were scary to him.
301
00:26:03,580 --> 00:26:06,180
Didn’t like them at all.
302
00:26:07,860 --> 00:26:12,500
Even long after I had
made my first big films,
303
00:26:14,260 --> 00:26:18,260
he still didn’t accept the
way things were taking.
304
00:26:18,900 --> 00:26:20,540
Told me,
305
00:26:20,620 --> 00:26:24,500
"One day you’ll understand
that you can’t live off this.
306
00:26:24,660 --> 00:26:28,620
And then it’s back to
studying engineering."
307
00:26:33,380 --> 00:26:37,420
When I started studying
in Munich I told father
308
00:26:37,540 --> 00:26:41,140
I was studying engineering at
the technical university.
309
00:26:44,740 --> 00:26:46,340
The truth was
310
00:26:46,460 --> 00:26:48,500
I went to the LMU
(University of Munich)
311
00:26:48,620 --> 00:26:50,860
and enrolled in theatre studies.
312
00:26:51,020 --> 00:26:52,860
But he didn’t know that.
313
00:26:53,020 --> 00:26:57,020
I never told my parents
what I was really studying.
314
00:27:36,500 --> 00:27:39,260
Did he talk about the war with you?
315
00:27:40,060 --> 00:27:41,860
About himself?
316
00:27:42,020 --> 00:27:44,020
The whole generation
317
00:27:44,660 --> 00:27:48,100
repressed their war experiences.
318
00:27:48,260 --> 00:27:52,380
Very typical of all German fathers.
319
00:27:57,820 --> 00:28:01,540
They all were very young
when the war began.
320
00:28:02,140 --> 00:28:05,380
Imagine being 27 years old,
321
00:28:05,540 --> 00:28:07,500
having two kids,
322
00:28:08,220 --> 00:28:12,100
having all sorts of projects
and then the war breaks out.
323
00:28:12,340 --> 00:28:14,620
The war interrupts everything
324
00:28:14,780 --> 00:28:17,100
and lasts for five years.
325
00:28:17,260 --> 00:28:20,420
Then you return, being 32.
326
00:28:22,740 --> 00:28:26,340
So you say, "I’m going
to forget all this shit
327
00:28:26,500 --> 00:28:29,420
and finally start living my life."
328
00:28:29,580 --> 00:28:32,940
They all tried starting a life
329
00:28:33,060 --> 00:28:37,660
that hadn’t really started
properly before.
330
00:28:38,540 --> 00:28:42,780
This was the impulse
in the 1940ies and 50ies
331
00:28:44,620 --> 00:28:49,860
of almost everyone of this
generation in Germany.
332
00:28:51,300 --> 00:28:53,940
They all felt like saying,
333
00:28:54,060 --> 00:28:56,660
"Let life begin!"
334
00:28:56,820 --> 00:28:59,300
But my generation had a problem
335
00:28:59,420 --> 00:29:01,900
when we started making films:
336
00:29:02,020 --> 00:29:03,860
there was no space for us.
337
00:29:04,020 --> 00:29:05,820
They all told us:
338
00:29:05,980 --> 00:29:09,260
Easy, hold your horses,
it’s our turn now.
339
00:29:09,420 --> 00:29:11,220
Next generation – so what?
340
00:29:11,340 --> 00:29:15,420
You can wait a good
10 to 20 years for a place.
341
00:29:16,940 --> 00:29:20,500
There were no film schools
in Germany then.
342
00:29:20,660 --> 00:29:24,540
And there weren’t any
vacancies in any companies,
343
00:29:24,700 --> 00:29:27,820
not even a trainee job or anything
344
00:29:28,060 --> 00:29:30,780
because my parent’s generation
345
00:29:30,940 --> 00:29:34,780
were all in there helping
themselves first.
346
00:29:37,140 --> 00:29:41,100
Let’s not forget how young they were.
347
00:29:43,980 --> 00:29:47,620
They were like you are now
when the war was over.
348
00:29:51,260 --> 00:29:55,060
They didn’t accept their
kids telling them,
349
00:29:55,220 --> 00:29:58,500
"Now get out of here."
Obviously.
350
00:30:15,540 --> 00:30:16,980
Ok. Go!
351
00:30:25,660 --> 00:30:26,740
Yes.
352
00:30:27,300 --> 00:30:29,100
Please be quiet!
353
00:30:39,740 --> 00:30:43,140
Christian, shoot his feet from
behind when he’s walking.
354
00:30:49,500 --> 00:30:51,020
Where do we start?
355
00:31:02,500 --> 00:31:05,500
Some. But not much.
356
00:31:18,140 --> 00:31:22,020
From down there through this
tree root should be even better.
357
00:31:27,540 --> 00:31:29,620
As a close-up in the foreground.
358
00:31:38,460 --> 00:31:39,780
Hello.
359
00:31:40,300 --> 00:31:41,340
Hi.
360
00:31:45,740 --> 00:31:47,340
Jule gives everything.
361
00:31:47,620 --> 00:31:49,540
I’m totally enthusiastic about you.
362
00:31:49,740 --> 00:31:53,380
You have such strong arms.
No man could do that.
363
00:31:54,420 --> 00:31:57,740
No need to turn this into
a feministic issue.
364
00:32:04,340 --> 00:32:06,460
I’m sitting comfortably. And you?
365
00:32:06,620 --> 00:32:08,220
Not quite.
366
00:32:09,620 --> 00:32:11,020
Well.
367
00:32:11,140 --> 00:32:12,620
That’s better now.
368
00:32:18,100 --> 00:32:22,540
I first asked myself:
369
00:32:25,740 --> 00:32:28,580
What’s German in German film?
370
00:32:33,260 --> 00:32:36,220
As if it were something different
371
00:32:36,380 --> 00:32:39,780
from French film, or Spanish, or Italian,
372
00:32:39,940 --> 00:32:42,060
or even American film.
373
00:32:42,260 --> 00:32:44,020
And it is something different.
374
00:32:44,380 --> 00:32:47,300
That’s why I also asked my colleagues,
375
00:32:47,460 --> 00:32:50,780
"What’s German in German film?
376
00:32:50,940 --> 00:32:54,220
Or what do you even
perceive as German?"
377
00:32:56,340 --> 00:32:59,060
My generation
378
00:32:59,820 --> 00:33:02,820
has spent their lives very much
379
00:33:03,100 --> 00:33:05,900
turning their backs on all
forms of nationalism
380
00:33:06,020 --> 00:33:10,620
or politically motivated orientation
to "Heimat" (homeland).
381
00:33:10,980 --> 00:33:14,500
What most of my colleagues
thought of was "forest".
382
00:33:15,140 --> 00:33:18,740
They all had this forest feeling
383
00:33:18,900 --> 00:33:21,900
which also showed in all
those interviews.
384
00:33:25,220 --> 00:33:29,060
In the 18th and up to the 19th century,
385
00:33:30,220 --> 00:33:33,780
travelling in Germany was
still a risky endeavor
386
00:33:33,940 --> 00:33:37,700
because you had to cross endless forests.
387
00:33:39,100 --> 00:33:43,460
German villages must have
been horrible back then.
388
00:33:43,860 --> 00:33:45,580
Dirty.
389
00:33:47,820 --> 00:33:50,940
Their inhabitants somber forest dwellers
390
00:33:51,540 --> 00:33:55,980
with shaggy beards – our ancestors.
391
00:33:56,100 --> 00:33:59,740
That wasn’t even five or six generations ago.
392
00:34:15,380 --> 00:34:19,340
There is a certain longing
393
00:34:21,740 --> 00:34:24,900
for a mystical place of opportunity.
394
00:34:27,220 --> 00:34:30,260
In fairy tales the stories
always take place
395
00:34:30,700 --> 00:34:34,940
"in a time when wishing still helped".
396
00:34:36,060 --> 00:34:39,100
This sentence has always inspired me.
397
00:34:43,500 --> 00:34:45,980
As if there ever was a time
398
00:34:46,180 --> 00:34:48,500
when wishing for something
399
00:34:48,660 --> 00:34:51,740
was all it would take
to make it come true.
400
00:34:51,900 --> 00:34:55,180
The forest is also a place of longing
401
00:34:58,700 --> 00:35:02,860
because you always wonder
what’s beyond it.
402
00:35:05,220 --> 00:35:09,500
In fairy tales you always
lose your way there.
403
00:35:14,140 --> 00:35:18,020
This corresponds to my biography.
404
00:35:26,380 --> 00:35:30,180
I was always on the look-out
405
00:35:30,460 --> 00:35:34,740
for faraway wish fulfillment
and magical wonders.
406
00:35:36,300 --> 00:35:39,140
I lost my way home in the process
407
00:35:40,100 --> 00:35:42,940
which now is no longer open to me.
408
00:35:46,340 --> 00:35:49,500
This also has to do with what
I’ve said earlier about...
409
00:35:49,660 --> 00:35:51,020
Memory.
410
00:35:51,220 --> 00:35:53,620
...memories and role models.
411
00:35:54,340 --> 00:35:57,300
You dismantle them.
412
00:35:57,700 --> 00:35:59,900
Were you aware of what was going to
413
00:36:00,140 --> 00:36:03,820
happen when you made
your first films?
414
00:36:04,460 --> 00:36:06,540
Not at all.
415
00:36:07,220 --> 00:36:10,220
Knowing it now, would you do it again?
416
00:36:12,940 --> 00:36:16,660
That’s hard to say
because there’s no "again".
417
00:36:16,780 --> 00:36:18,740
Nothing ever repeats itself.
418
00:36:19,340 --> 00:36:23,340
Especially not the exact same
decision you have had to make.
419
00:36:26,940 --> 00:36:30,620
I still think it was the right thing to do
420
00:36:33,780 --> 00:36:37,380
even though I have often regretted it.
421
00:36:40,420 --> 00:36:43,940
There were times in my life
when I was wondering
422
00:36:44,100 --> 00:36:47,780
which unlucky star had
made me a filmmaker.
423
00:36:48,580 --> 00:36:51,300
Because I spent decades
424
00:36:51,460 --> 00:36:55,420
without it bringing me even
the smallest bit of luck.
425
00:36:57,300 --> 00:37:00,420
I had the biggest crisis of my life
426
00:37:00,580 --> 00:37:03,940
following the production of
"The Tailor from Ulm".
427
00:37:04,060 --> 00:37:07,260
This film mattered so much to me.
428
00:37:08,140 --> 00:37:11,860
I had worked on it and
429
00:37:12,060 --> 00:37:15,580
thought about it for years.
430
00:37:19,260 --> 00:37:22,620
Being a historic costume film,
431
00:37:22,740 --> 00:37:25,260
it was very expensive.
432
00:37:25,380 --> 00:37:28,340
And when it was finally done,
433
00:37:29,180 --> 00:37:34,100
a review in "Der Spiegel"
turned it into a disaster.
434
00:37:35,980 --> 00:37:38,420
After only one week
435
00:37:38,580 --> 00:37:42,500
the film vanished from the cinemas.
436
00:37:42,980 --> 00:37:46,260
Nobody wanted to watch it afterwards.
437
00:37:46,420 --> 00:37:51,020
So after "The Tailor from Ulm"
I was ruined.
438
00:37:53,260 --> 00:37:57,420
Financially and mentally.
439
00:37:58,740 --> 00:38:02,220
I somehow felt at odds with myself,
440
00:38:02,380 --> 00:38:05,420
thought I had picked the wrong job,
441
00:38:05,540 --> 00:38:08,820
made the wrong decisions.
442
00:38:11,540 --> 00:38:14,700
I was 43 and thought
443
00:38:14,860 --> 00:38:17,620
there is just enough time
444
00:38:17,780 --> 00:38:20,300
for me to change course
445
00:38:20,460 --> 00:38:23,620
and find another job,
446
00:38:23,780 --> 00:38:26,780
head into a different direction.
447
00:38:26,980 --> 00:38:29,620
I got a tax claim
448
00:38:29,780 --> 00:38:32,860
I would never be able to settle.
449
00:38:33,620 --> 00:38:35,620
And on top of it all
450
00:38:35,780 --> 00:38:37,940
we got divorced that same autumn.
451
00:38:38,060 --> 00:38:41,940
So I lost my home and
didn’t know where to sleep.
452
00:38:42,180 --> 00:38:45,260
Everything was gone and pledged.
453
00:38:45,980 --> 00:38:50,620
I found refuge in some
friends’ flat over Christmas
454
00:38:54,380 --> 00:38:57,980
and started writing my autobiography.
455
00:38:58,940 --> 00:39:03,260
I was especially interested in
exploring the development from
456
00:39:03,420 --> 00:39:08,180
a family background of craftsmen
in rural Hunsrück to filmmaker.
457
00:39:09,060 --> 00:39:11,180
I suddenly realised that
458
00:39:11,460 --> 00:39:15,180
I didn’t really know my
grandparents’ biography,
459
00:39:15,580 --> 00:39:19,620
so I filled the blanks
with my imagination.
460
00:39:20,900 --> 00:39:24,340
I just wrote the story as I thought
461
00:39:24,500 --> 00:39:27,220
it could have been
462
00:39:29,940 --> 00:39:33,620
and that became the
starting point of "Heimat".
463
00:39:34,980 --> 00:39:38,620
When being successful,
it’s easy to be mistaken.
464
00:39:39,140 --> 00:39:42,660
Failure makes you realise
where you stand.
465
00:41:44,060 --> 00:41:47,900
I think this is where we overlap:
466
00:41:48,100 --> 00:41:51,140
living in the same country,
467
00:41:51,260 --> 00:41:54,540
in the same unconscious tradition.
468
00:41:54,700 --> 00:41:58,420
This is beyond the issue of generation.
469
00:41:59,300 --> 00:42:01,420
This is the link between us.
470
00:42:01,580 --> 00:42:04,660
Without our knowing it, I think.
471
00:42:10,900 --> 00:42:13,380
The history of film, which is the
472
00:42:13,500 --> 00:42:16,180
"Oberhausen Manifesto" for us,
473
00:42:16,340 --> 00:42:19,900
has had an impact on
our filmmaking too.
474
00:42:20,140 --> 00:42:21,980
You could see it like that.
475
00:42:22,180 --> 00:42:24,420
I’m very good at recognising
476
00:42:24,580 --> 00:42:27,100
the typical German filmmaker’s air.
477
00:42:27,380 --> 00:42:29,740
I was one of the group signing
478
00:42:29,860 --> 00:42:33,020
the so called "Oberhausen Manifesto".
479
00:42:35,340 --> 00:42:38,700
We used to meet once a week
480
00:42:38,860 --> 00:42:42,300
in an adjacent room of a Chinese
restaurant for a year.
481
00:42:42,580 --> 00:42:44,420
Then we said, "Look at us,
482
00:42:44,580 --> 00:42:48,380
we are the generation of
the short film makers.
483
00:42:48,540 --> 00:42:51,980
We are winning international awards,
484
00:42:52,140 --> 00:42:56,220
and the German feature film still
doesn’t get respect anywhere.
485
00:42:56,620 --> 00:43:00,460
The Nazi era that ended with the war,
486
00:43:00,580 --> 00:43:03,980
is only now coming to an end in film."
487
00:43:04,820 --> 00:43:07,780
"We have to carry this thought
488
00:43:08,020 --> 00:43:10,820
out into the world", someone said.
489
00:43:10,980 --> 00:43:13,380
And then the first sentence of the
490
00:43:13,500 --> 00:43:16,580
"Oberhausen Manifesto"
was written on a napkin.
491
00:43:16,700 --> 00:43:18,660
It went:
492
00:43:18,780 --> 00:43:22,220
The collapse of the UFA indicates
493
00:43:23,500 --> 00:43:25,700
that a stale thought of the
494
00:43:25,860 --> 00:43:28,460
Nazi era has come to an end.
495
00:43:28,620 --> 00:43:30,140
Full stop.
496
00:43:30,500 --> 00:43:33,580
This became the first sentence.
497
00:43:34,260 --> 00:43:36,260
It goes on:
498
00:43:36,460 --> 00:43:39,740
We, the young generation, demand...
499
00:43:41,700 --> 00:43:44,500
In winter we went to Oberhausen,
500
00:43:44,620 --> 00:43:47,620
you know, Oberhausener Festival
501
00:43:47,740 --> 00:43:50,140
now "International Short Film
Festival Oberhausen".
502
00:43:51,140 --> 00:43:54,060
That’s where we felt at home.
503
00:43:54,260 --> 00:43:58,340
That’s where we were able
to show our films for years.
504
00:43:58,540 --> 00:44:01,220
Where we read the manifesto.
505
00:44:01,780 --> 00:44:05,380
Hilmar Hoffmann, directing
this festival at the time,
506
00:44:05,540 --> 00:44:08,540
had made this possible by
opening doors for us.
507
00:44:08,860 --> 00:44:13,180
He would listen when we told him
we wanted to do stuff there.
508
00:44:17,180 --> 00:44:20,660
For him as an employee
of the city council,
509
00:44:21,300 --> 00:44:25,300
a city official, that was quite something.
510
00:44:31,340 --> 00:44:35,300
We were getting a lot of press attention
511
00:44:35,420 --> 00:44:38,820
for months which finally turned the tide.
512
00:44:39,740 --> 00:44:42,980
"We demand the New German
Feature Film be created",
513
00:44:43,100 --> 00:44:45,180
they would cite.
514
00:44:45,820 --> 00:44:48,660
This was also setting a trap
515
00:44:48,780 --> 00:44:50,780
for many of us
516
00:44:51,620 --> 00:44:53,980
because none of the 26
517
00:44:54,140 --> 00:44:56,220
who signed the manifesto
518
00:44:56,380 --> 00:44:59,620
had actually made feature films.
519
00:45:00,300 --> 00:45:02,340
Ok, not none.
520
00:45:02,500 --> 00:45:05,580
I had, Kluge had, Schamoni had.
521
00:45:06,500 --> 00:45:10,140
Maybe six out of the 26 actually
522
00:45:11,180 --> 00:45:14,020
made a feature film afterwards.
523
00:45:15,980 --> 00:45:20,220
The others could not live up
to this self-imposed claim.
524
00:45:20,940 --> 00:45:23,380
Making movies also means
525
00:45:25,140 --> 00:45:29,140
to not be intimidated by societal forces.
526
00:45:30,780 --> 00:45:33,660
You can’t talk about a filmmaker
527
00:45:33,820 --> 00:45:37,100
and pretend it’s all about art only.
528
00:45:37,380 --> 00:45:41,340
Of course it’s not exclusively
about art all your life.
529
00:45:42,820 --> 00:45:46,020
Looking back on my last 50 years,
530
00:45:47,940 --> 00:45:49,980
I would say
531
00:45:52,380 --> 00:45:56,460
I only spent three or four years with art.
532
00:45:56,940 --> 00:45:59,660
The rest of the time
533
00:45:59,820 --> 00:46:02,500
was dedicated to survival
534
00:46:02,660 --> 00:46:05,620
and claiming territory.
535
00:46:08,540 --> 00:46:11,740
A film about a filmmaker’s life
536
00:46:13,740 --> 00:46:16,740
should mention this fighting.
537
00:46:17,820 --> 00:46:20,060
Film is an art that’s part of this world,
538
00:46:20,220 --> 00:46:22,940
not part of an other world.
539
00:46:23,100 --> 00:46:25,940
You have to prove yourself in this world.
540
00:46:28,180 --> 00:46:31,700
Filmmaking kids, watch a good film!
541
00:46:36,180 --> 00:46:38,260
hanging hungers
waiting woman
542
00:46:38,380 --> 00:46:40,580
destroying all of us
Ulysses
543
00:46:47,060 --> 00:46:49,860
Lust for Love
544
00:46:50,660 --> 00:46:53,460
A film by Edgar Reitz
545
00:47:08,780 --> 00:47:10,900
White with blue and cress.
546
00:47:11,500 --> 00:47:13,660
White with red and green.
547
00:47:13,860 --> 00:47:15,980
Red with blue and gold.
548
00:47:16,380 --> 00:47:19,020
Red with blue. Red with green.
549
00:47:19,180 --> 00:47:21,860
Red with white. Red with black.
550
00:47:22,380 --> 00:47:24,220
Blue with yellow.
551
00:47:25,300 --> 00:47:27,340
Blue with red?
552
00:47:27,620 --> 00:47:30,660
Blue with white?
Yellow with black green.
553
00:47:31,180 --> 00:47:33,020
Yellow with indigo.
554
00:47:33,540 --> 00:47:35,300
Ultramarine.
555
00:47:35,460 --> 00:47:36,700
Cyan blue.
556
00:47:36,820 --> 00:47:39,380
Turquoise. Ice blue.
Opal.
557
00:47:39,540 --> 00:47:41,220
Neptune blue.
558
00:47:41,380 --> 00:47:44,860
Nile green. Lake green. Malachite green.
559
00:47:45,500 --> 00:47:47,620
Veronese green. Leaf green.
560
00:47:47,820 --> 00:47:49,700
Moss green. Lemon.
561
00:47:50,140 --> 00:47:52,860
Yellow. Gold. Croc. Cress.
562
00:47:53,100 --> 00:47:55,860
Salmon. Scarlet. Red.
563
00:47:56,700 --> 00:47:58,900
Amaranth red. Purple.
564
00:47:59,380 --> 00:48:01,540
Vio. Amethyst.
565
00:48:02,180 --> 00:48:04,020
Indigo.
566
00:49:00,580 --> 00:49:02,220
Yuck!
567
00:49:02,860 --> 00:49:06,940
The only thing of interest in the
world is the human face.
568
00:49:07,220 --> 00:49:09,660
Here are only cranes, lines,
569
00:49:10,060 --> 00:49:12,100
all dead matter.
570
00:49:16,580 --> 00:49:18,780
Do a nice Caspar David Friedrich
571
00:49:18,900 --> 00:49:21,300
with me coming from below.
572
00:49:22,500 --> 00:49:24,420
No, you from above.
573
00:49:25,660 --> 00:49:28,620
Would you call yourself a romantic?
574
00:49:30,260 --> 00:49:33,580
I have done from time to time.
575
00:49:35,700 --> 00:49:39,180
I’d need to explain "romantic".
576
00:49:39,980 --> 00:49:42,220
What’s one’s take on reality?
577
00:49:42,420 --> 00:49:45,540
On the relation between "I" and world?
578
00:49:47,140 --> 00:49:49,660
For me the world has always been
579
00:49:50,180 --> 00:49:52,580
a product of imagination.
580
00:49:52,700 --> 00:49:56,780
I wander about the world
and wonder: Who has created it?
581
00:49:56,940 --> 00:50:00,020
If there is anything I can relate to,
582
00:50:00,180 --> 00:50:02,500
it’s people’s dreams.
583
00:50:02,620 --> 00:50:05,700
You need to be scared of them.
584
00:50:06,780 --> 00:50:08,940
People have horrendous dreams.
585
00:50:09,060 --> 00:50:12,220
What they imagine and bring into being
586
00:50:12,340 --> 00:50:14,580
is horrible to mankind.
587
00:50:14,900 --> 00:50:18,300
Dictators getting themselves armies
588
00:50:18,420 --> 00:50:21,540
and nuclear bombs. And things
that can destroy everything.
589
00:50:21,700 --> 00:50:24,380
They dream of utter disaster
590
00:50:24,500 --> 00:50:27,900
and are able to realise just that.
591
00:50:28,020 --> 00:50:30,340
But there are also productive,
592
00:50:30,500 --> 00:50:33,780
beautiful, loving dreams.
593
00:50:36,660 --> 00:50:39,500
Nothing is nature.
594
00:50:40,220 --> 00:50:44,340
Everything is projection and imagination.
595
00:51:22,380 --> 00:51:24,380
Christmas at the hospital.
596
00:51:25,140 --> 00:51:27,940
An absurd setting by the night nurse:
597
00:51:28,100 --> 00:51:30,140
a Christmas tree,
598
00:51:30,260 --> 00:51:32,340
a record player playing,
599
00:51:32,500 --> 00:51:35,620
a sudden silence in the
otherwise noisy house.
600
00:51:35,780 --> 00:51:38,860
In my room a woman in childbed.
601
00:51:39,500 --> 00:51:42,460
I should see the happiness
of motherhood.
602
00:51:43,140 --> 00:51:44,860
While still having a fever,
603
00:51:44,980 --> 00:51:47,660
I start reading Musil’s
"Man Without Qualities".
604
00:51:47,780 --> 00:51:50,980
I’m imagining the life
of a different Clarissa.
605
00:51:51,140 --> 00:51:54,660
A woman of the same name
but very strange to me.
606
00:51:54,940 --> 00:51:57,660
The slowness of the novel
607
00:51:57,780 --> 00:52:00,660
corresponds to the slowness of recovery.
608
00:52:03,580 --> 00:52:05,340
Eyes.
609
00:52:05,420 --> 00:52:07,580
She’s seeing many eyes.
610
00:52:07,980 --> 00:52:11,300
She’s having so many
human experiences.
611
00:52:11,420 --> 00:52:14,300
She understands that the human soul
612
00:52:14,420 --> 00:52:17,060
speaks through people’s eyes.
613
00:52:20,420 --> 00:52:23,980
Blue – faithfulness – femininity
614
00:52:26,580 --> 00:52:29,620
Brown – unfaithfulness – masculinity
615
00:52:31,100 --> 00:52:34,220
O, come, little children,
616
00:52:35,140 --> 00:52:38,140
O, come one and all,
617
00:52:39,700 --> 00:52:42,700
O come to the manger
618
00:52:43,300 --> 00:52:46,300
in Bethlehem’s stall.
619
00:52:47,060 --> 00:52:48,220
Green.
620
00:52:49,140 --> 00:52:52,900
Our upbringing and all societal processes
621
00:52:53,020 --> 00:52:55,780
are based on things being supposedly
622
00:52:55,900 --> 00:52:57,660
true in a certain way.
623
00:52:58,500 --> 00:53:00,420
A mother, for instance,
624
00:53:00,540 --> 00:53:02,540
loves her child.
625
00:53:02,980 --> 00:53:05,300
It’s a given.
626
00:53:05,780 --> 00:53:09,340
Everything a mother does
is for the child’s good.
627
00:53:10,700 --> 00:53:13,460
In reality, that’s not true.
–Exactly.
628
00:53:13,860 --> 00:53:17,180
No mother loves her child at all times.
629
00:53:17,580 --> 00:53:21,100
She often even refuses to become aware
630
00:53:21,380 --> 00:53:24,140
that there are moments
631
00:53:24,380 --> 00:53:27,540
when she hates her child.
632
00:53:30,460 --> 00:53:33,660
When she is done with tolerance
633
00:53:33,780 --> 00:53:36,380
and won’t act out of love.
634
00:53:36,500 --> 00:53:38,380
And where may you do that?
635
00:53:38,740 --> 00:53:41,140
In your films you may.
636
00:53:41,380 --> 00:53:44,580
It becomes clear that that’s absolutely ok.
637
00:53:44,700 --> 00:53:46,900
Yes. Normally, that’s not allowed.
638
00:53:46,980 --> 00:53:48,180
Exactly.
639
00:53:48,300 --> 00:53:51,940
The world always asks for certainty.
640
00:53:52,780 --> 00:53:55,140
The good guy wins.
641
00:53:55,780 --> 00:53:58,660
This is one of the most important claims
642
00:53:58,780 --> 00:54:00,940
but it betrays the audience.
643
00:54:01,060 --> 00:54:04,340
They are told, ’When you are
a good guy, you will win’.
644
00:54:04,460 --> 00:54:05,860
Not true!
645
00:54:05,980 --> 00:54:08,980
Nobody wins because they are good.
646
00:54:09,100 --> 00:54:11,700
Neither do they win politically.
647
00:54:13,020 --> 00:54:15,700
But so we have been told by Hollywood
648
00:54:15,820 --> 00:54:17,980
for hundred years.
649
00:54:19,100 --> 00:54:22,420
This is why ambivalence
becomes a big issue.
650
00:54:22,940 --> 00:54:25,820
People want to meet...
–Morality.
651
00:54:26,060 --> 00:54:27,940
social norms somehow
652
00:54:28,100 --> 00:54:31,180
and are ashamed when
they don’t manage to.
653
00:54:31,300 --> 00:54:33,700
But nobody does.
654
00:54:34,780 --> 00:54:37,660
So everyone must be
ashamed of themselves.
655
00:54:39,100 --> 00:54:42,900
Or say it’s ok.
–Or say, ’That’s life’.
656
00:54:44,340 --> 00:54:47,300
My films say, ’That’s life’.
657
00:55:11,260 --> 00:55:14,260
O you joyful,
658
00:55:18,100 --> 00:55:20,940
O you blessed,
659
00:55:31,380 --> 00:55:34,380
grace-bringing Christmas time!
660
00:55:52,380 --> 00:55:54,820
Even though it’s just an empty room
661
00:55:55,100 --> 00:55:57,700
you see, it’s an incredibly moving scene.
662
00:55:58,660 --> 00:56:00,420
For me anyway.
663
00:56:01,020 --> 00:56:02,940
A feeling of abandonment,
664
00:56:03,860 --> 00:56:06,100
of being abandoned.
665
00:56:07,820 --> 00:56:11,060
I remember writing this scene.
666
00:56:11,180 --> 00:56:15,660
I was writing the film script for
"Heimat 2" all by myself.
667
00:56:18,220 --> 00:56:21,700
And I got into a very strange state
668
00:56:28,780 --> 00:56:31,780
because that’s a profound pain.
669
00:56:33,020 --> 00:56:36,580
It has to do with this Christmas idyll
670
00:56:37,580 --> 00:56:40,700
bearing an underlying childhood promise
671
00:56:40,820 --> 00:56:43,500
rooted in our culture.
672
00:56:43,940 --> 00:56:46,540
It’s where we look for
some kind of redemption
673
00:56:46,660 --> 00:56:49,140
where it’s never to be found.
674
00:56:49,340 --> 00:56:52,140
This is what I really want to show:
675
00:56:52,260 --> 00:56:55,820
the loss of childhood forever.
676
00:56:56,380 --> 00:56:59,380
Leaving your childhood behind.
677
00:57:02,820 --> 00:57:05,780
This is why I had to
678
00:57:05,940 --> 00:57:08,540
write the script on my own.
679
00:57:13,580 --> 00:57:17,100
I had been looking for co-authors at first
680
00:57:18,020 --> 00:57:20,700
but they all told me,
681
00:57:20,820 --> 00:57:23,940
"You have got to do this on your own.
682
00:57:26,060 --> 00:57:28,860
Nobody can help you with that."
683
00:57:31,020 --> 00:57:33,500
In "Heimat"
684
00:57:35,500 --> 00:57:38,420
you have been involved personally
685
00:57:38,580 --> 00:57:41,900
because many events being
described in the film
686
00:57:42,180 --> 00:57:44,980
are based on personal experiences.
687
00:57:45,740 --> 00:57:48,100
What happens to honesty
688
00:57:48,260 --> 00:57:50,460
when while writing
689
00:57:50,580 --> 00:57:52,740
you remember a situation
690
00:57:52,860 --> 00:57:55,180
that was painful?
691
00:57:55,300 --> 00:57:57,740
A quarrel for example.
692
00:58:00,340 --> 00:58:04,140
I have no problem with being dishonest.
693
00:58:07,620 --> 00:58:10,340
I want to feel free
694
00:58:10,460 --> 00:58:13,180
to tell the story as I see fit.
695
00:58:13,540 --> 00:58:16,500
This is not about justifying what I do
696
00:58:16,820 --> 00:58:21,620
because I don’t consider myself
being involved as a person at all.
697
00:58:25,420 --> 00:58:29,260
If I base one of my
character’s experiences
698
00:58:29,580 --> 00:58:32,780
on my own
699
00:58:34,340 --> 00:58:37,940
the image might be reliable
at the beginning.
700
00:58:38,140 --> 00:58:40,660
But as the story develops
701
00:58:40,780 --> 00:58:45,060
I am free to change everything
according to my imagination.
702
00:58:47,580 --> 00:58:49,500
How long did it take you to write?
703
00:58:49,740 --> 00:58:51,460
About three years.
704
00:58:55,700 --> 00:58:58,700
I worked very consistently,
705
00:59:03,220 --> 00:59:06,220
being at my workplace
706
00:59:06,340 --> 00:59:10,340
at a reliable time like a bricklayer.
707
00:59:11,940 --> 00:59:15,220
Every morning at 8 or 9 o’clock
708
00:59:15,340 --> 00:59:18,300
I sit at my desk
709
00:59:20,940 --> 00:59:24,620
regardless of whether I feel creative.
710
00:59:24,780 --> 00:59:27,020
It isn’t important
711
00:59:27,140 --> 00:59:29,620
whether I am in the mood for it.
712
00:59:30,140 --> 00:59:34,340
Because when you have acquired a skill
or knowledge of something,
713
00:59:34,660 --> 00:59:37,820
it doesn’t vanish just because
you are not in the mood.
714
00:59:39,300 --> 00:59:41,140
That’s comforting.
715
00:59:41,580 --> 00:59:44,620
So you are not the type that
manically tires himself out.
716
00:59:44,780 --> 00:59:47,540
You structure your life with full
discipline according to a plan.
717
00:59:47,660 --> 00:59:50,300
It’s hard for my to stop working at night.
718
00:59:51,580 --> 00:59:54,100
And working nights gradually
719
00:59:54,220 --> 00:59:57,060
weakens your impulses because
720
00:59:57,260 --> 01:00:00,980
there is nothing you experience but work.
721
01:00:05,100 --> 01:00:08,100
So my work suffers
722
01:00:08,260 --> 01:00:11,100
when I stop seeing people
723
01:00:11,220 --> 01:00:13,540
because I live in a
724
01:00:13,620 --> 01:00:16,540
counter-rhythm to everyone else.
725
01:00:18,140 --> 01:00:21,580
You get into a state of solitude
726
01:00:21,700 --> 01:00:24,780
which isn’t very productive either.
727
01:00:27,140 --> 01:00:29,580
"Your train leaves at 35."
728
01:00:30,020 --> 01:00:31,900
"Are you done?"
729
01:00:38,020 --> 01:00:40,460
There is a new model of
a tub in front for babies.
730
01:00:40,580 --> 01:00:41,980
Made of wood.
731
01:00:42,100 --> 01:00:43,380
Yes.
732
01:00:51,980 --> 01:00:55,620
Mr Reitz, could you look in
Ms. Hepp’s direction, please?
733
01:00:59,100 --> 01:01:02,660
Finding your second home
("Heimat 2")
734
01:01:04,620 --> 01:01:08,140
I see in the great narrative context
735
01:01:12,260 --> 01:01:16,420
of Goethe’s "Elective Affinities"
736
01:01:22,220 --> 01:01:25,460
describing that you are born twice
737
01:01:25,580 --> 01:01:27,460
in your life.
738
01:01:27,900 --> 01:01:31,260
The first time physically from your mother
739
01:01:31,620 --> 01:01:33,980
at a given place and time.
740
01:01:34,300 --> 01:01:37,460
The second time from your own mind.
741
01:01:38,980 --> 01:01:42,980
Namely the design I make of myself
742
01:01:43,060 --> 01:01:45,660
and which I aspire to realise.
743
01:01:45,900 --> 01:01:48,740
In this context you start looking
744
01:01:48,860 --> 01:01:52,020
for other relationships
than the natural ones.
745
01:01:52,140 --> 01:01:55,380
That’s where the "Elective Affinities"
come in.
746
01:01:55,500 --> 01:01:58,940
Later in life there will
be other people closer
747
01:01:59,260 --> 01:02:02,780
to you than father and mother,
brother and sister.
748
01:02:02,900 --> 01:02:06,140
They are connected to you
through love and work
749
01:02:06,260 --> 01:02:09,340
and things you have in common.
750
01:02:09,700 --> 01:02:13,580
This utopia of the elective affinities
751
01:02:13,700 --> 01:02:17,340
I call second home ("Heimat 2").
752
01:02:17,660 --> 01:02:20,500
It has made the film under the title of
753
01:02:20,740 --> 01:02:24,620
"Heimat 2" so very successful in Italy.
754
01:02:25,380 --> 01:02:28,220
The topic that cropped up
755
01:02:28,340 --> 01:02:30,380
again and again
756
01:02:30,500 --> 01:02:33,620
was ambivalence.
757
01:02:34,900 --> 01:02:38,980
Finally we are allowed
to enjoy being alive.
758
01:02:41,620 --> 01:02:44,740
The film bringing this up
759
01:02:44,860 --> 01:02:47,540
came as a redemption and
760
01:02:47,700 --> 01:02:51,140
led to its massive popularity.
761
01:02:51,340 --> 01:02:54,780
Why are the Italians so
good at grasping this?
762
01:02:55,500 --> 01:02:58,060
Compared to the Germans?
763
01:02:58,180 --> 01:03:01,180
People were wondering about that.
764
01:03:01,300 --> 01:03:03,180
In Germany,
765
01:03:03,300 --> 01:03:05,860
"Heimat 1" was the greater success
766
01:03:05,980 --> 01:03:08,700
when being broadcast.
767
01:03:08,820 --> 01:03:11,140
Millions watching it,
768
01:03:11,260 --> 01:03:14,500
it was a real blockbuster in 1984.
769
01:03:15,380 --> 01:03:18,060
Homeland (Heimat) used
to be a taboo in Germany
770
01:03:18,180 --> 01:03:20,660
because of our terrible past.
771
01:03:20,780 --> 01:03:23,620
The nazis were using the term
772
01:03:23,780 --> 01:03:26,780
"Heimat" ideologically, imprinting it.
773
01:03:27,100 --> 01:03:29,220
In the post-war era "Heimat" was exploited
774
01:03:29,340 --> 01:03:32,380
for happy go lucky folklore
and tourism and the
775
01:03:32,500 --> 01:03:35,260
German heimatfilm (sentimental
film in an idealised regional setting).
776
01:03:35,700 --> 01:03:39,060
My film had the term "Heimat" relate
777
01:03:39,460 --> 01:03:43,780
to something natural, non-kitsch
for the first time.
778
01:03:44,020 --> 01:03:47,700
People were grateful for that.
779
01:03:48,100 --> 01:03:50,420
"Heimat 2"
780
01:03:50,540 --> 01:03:53,780
shows young artists and their dreams.
781
01:03:54,140 --> 01:03:57,060
Almost all protagonists
782
01:03:57,180 --> 01:04:00,180
have artistic aspirations
783
01:04:01,220 --> 01:04:04,900
as musicians, filmmakers,
784
01:04:05,180 --> 01:04:08,020
poets, writers.
785
01:04:14,820 --> 01:04:17,700
If the 19 year old daugther or son
786
01:04:17,860 --> 01:04:20,940
of an Italian family dreams
787
01:04:21,100 --> 01:04:23,940
of being an artist,
788
01:04:24,100 --> 01:04:27,300
the whole family will
be proud and happy.
789
01:04:27,660 --> 01:04:29,580
If a German family’s child
790
01:04:29,660 --> 01:04:32,540
wanted to become an artist,
791
01:04:32,660 --> 01:04:34,740
everyone would worry.
792
01:04:34,940 --> 01:04:37,420
For God’s sake,
793
01:04:37,580 --> 01:04:41,460
what is the poor boy going
to do with his life?
794
01:04:41,740 --> 01:04:44,540
He is going to be unhappy
795
01:04:44,660 --> 01:04:48,820
and it’s unacceptable for
the German family.
796
01:04:49,260 --> 01:04:51,900
That’s why the German audience
797
01:04:52,020 --> 01:04:54,740
didn’t like "Heimat 2".
798
01:04:55,300 --> 01:04:56,620
Hang on!
799
01:04:56,780 --> 01:04:59,540
The team have just started
portraying themselves
800
01:04:59,660 --> 01:05:01,580
in their revolutionary process.
801
01:05:01,700 --> 01:05:04,980
We’re filming each other
commenting the events.
802
01:05:05,100 --> 01:05:08,700
The revolutionary process
starts within each one of us.
803
01:05:08,820 --> 01:05:11,780
That has to go on record. Am I right?
804
01:05:28,860 --> 01:05:30,580
Sound running.
805
01:05:34,140 --> 01:05:36,420
Inventory 24 the first.
806
01:05:37,060 --> 01:05:38,700
Recording.
807
01:05:41,700 --> 01:05:44,980
Whoever exposes valuable
raw film these days
808
01:05:45,780 --> 01:05:47,940
bears responsibility.
809
01:05:48,580 --> 01:05:50,260
Responsibility
810
01:05:50,380 --> 01:05:52,420
for the social consciousness.
811
01:05:54,220 --> 01:05:56,620
Feature film
812
01:05:57,220 --> 01:05:59,700
can only painstakingly show
813
01:05:59,820 --> 01:06:03,180
what had been staged
and prepared for days
814
01:06:04,420 --> 01:06:06,540
What our eyes are seeing
815
01:06:06,660 --> 01:06:08,380
only becomes reality
816
01:06:10,300 --> 01:06:12,500
when we are actually feeling it.
817
01:06:12,580 --> 01:06:14,500
And then film it.
818
01:06:15,860 --> 01:06:17,740
Since the camera
819
01:06:17,820 --> 01:06:21,540
is only an emotionless machine,
820
01:06:22,860 --> 01:06:25,180
it doesn’t make sense
821
01:06:25,300 --> 01:06:29,340
to randomly point the camera
as is often done on TV.
822
01:06:32,700 --> 01:06:36,060
In order to get closer to truth
823
01:06:38,740 --> 01:06:40,740
the cameraman
824
01:06:40,860 --> 01:06:43,940
has to put his emotions into picture.
825
01:06:45,180 --> 01:06:47,660
Reality is not truth.
826
01:06:48,700 --> 01:06:51,580
Then there is "Heimat 3".
827
01:06:51,780 --> 01:06:54,300
An unfortunate title
828
01:06:56,220 --> 01:06:59,060
which reflects
829
01:06:59,460 --> 01:07:03,220
the unfortunate relationship with TV.
830
01:07:05,340 --> 01:07:08,020
I had suffered endlessly
831
01:07:08,140 --> 01:07:10,860
before I could finally make the film.
832
01:07:10,940 --> 01:07:14,140
Then German TV asked me
833
01:07:14,300 --> 01:07:17,020
to call it "Heimat 3".
834
01:07:17,500 --> 01:07:20,140
Which showed how totally
835
01:07:20,260 --> 01:07:22,660
they had misunderstood the project.
836
01:07:23,580 --> 01:07:25,900
The first film isn’t called "Heimat 1"
837
01:07:25,980 --> 01:07:28,300
but simply "Heimat – A Chronicle Of Germany".
The second is called
838
01:07:28,580 --> 01:07:32,460
"Die zweite Heimat –
Chronicle Of A Generation".
839
01:07:32,620 --> 01:07:36,020
In German that doesn’t mean "Heimat 2",
840
01:07:36,140 --> 01:07:38,580
but the term refers to
841
01:07:38,660 --> 01:07:41,020
an elective affinity
842
01:07:42,860 --> 01:07:46,340
or an adult home of your choice.
843
01:07:49,300 --> 01:07:52,060
So the title "Heimat 3"
844
01:07:52,660 --> 01:07:55,340
is misleading and wrong.
845
01:07:56,060 --> 01:07:58,260
It’s devastating
846
01:07:58,380 --> 01:08:01,900
that the people mistreating you so badly
847
01:08:02,180 --> 01:08:04,740
are only employees
848
01:08:04,900 --> 01:08:08,380
bound by instructions themselves.
849
01:08:09,580 --> 01:08:14,060
Even people in high positions
in broadcasting corporations.
850
01:08:14,860 --> 01:08:17,980
Writing the screenplay took me seven years.
851
01:08:18,060 --> 01:08:20,740
Eleven versions over seven years,
852
01:08:20,860 --> 01:08:24,700
one after the other getting
rejected and rewritten.
853
01:08:27,660 --> 01:08:31,220
I was keeping a diary all those years
854
01:08:32,420 --> 01:08:35,740
to make sure I won’t forget.
855
01:08:37,100 --> 01:08:40,660
It has been documented
for film studies forever.
856
01:08:40,980 --> 01:08:43,060
But it has also hurt you.
857
01:08:43,340 --> 01:08:44,380
Of course!
858
01:08:46,580 --> 01:08:49,500
After 50 years of filmmaking
859
01:08:50,420 --> 01:08:53,900
you suddenly find some young gun
860
01:08:54,180 --> 01:08:57,940
telling you how to film.
861
01:09:00,700 --> 01:09:03,700
That certainly hurt me.
862
01:09:04,180 --> 01:09:07,420
The WDR (West German
Broadcasting Corporation) told me
863
01:09:07,540 --> 01:09:09,940
to be grateful
864
01:09:10,020 --> 01:09:13,660
for having lived off them
for so many years.
865
01:09:15,180 --> 01:09:17,460
I’m not grateful!
866
01:09:17,580 --> 01:09:19,700
Because as a
867
01:09:19,820 --> 01:09:22,740
public broadcasting corporation
868
01:09:22,860 --> 01:09:27,140
it’s their damned duty to
foster the country’s talents.
869
01:09:28,540 --> 01:09:31,740
Being an editor with such a
broadcasting corporation
870
01:09:31,860 --> 01:09:35,260
managing an annual budget of 30 million,
871
01:09:35,780 --> 01:09:37,860
how does that make you feel?
872
01:09:38,020 --> 01:09:39,940
It’s not his money.
873
01:09:40,100 --> 01:09:42,100
It doesn’t belong to him.
874
01:09:42,260 --> 01:09:44,740
He hasn’t earned it.
875
01:09:45,020 --> 01:09:48,140
And all of them, with their pensions,
876
01:09:48,300 --> 01:09:51,620
early retirement and such,
877
01:09:51,820 --> 01:09:54,980
need to thank the audience.
878
01:09:55,140 --> 01:10:00,260
They must never forget that they have
a duty to fulfil toward the audience.
879
01:10:00,620 --> 01:10:04,500
And this duty can only be
to not dull their minds!
880
01:10:04,740 --> 01:10:07,220
And not keep from them
881
01:10:07,380 --> 01:10:10,220
what’s good and right.
882
01:10:10,460 --> 01:10:12,260
What an attitude to say,
883
01:10:12,380 --> 01:10:14,700
"This is beyond you"!
884
01:10:14,820 --> 01:10:16,860
What an arrogance to say
885
01:10:16,980 --> 01:10:20,420
that a programme is too
good for the people!
886
01:10:20,620 --> 01:10:23,180
What kind of attitude is that?
887
01:10:37,220 --> 01:10:40,100
"Heimat" has often been described
888
01:10:40,220 --> 01:10:42,620
as a universe,
889
01:10:43,180 --> 01:10:45,940
a universe of life.
890
01:10:49,780 --> 01:10:52,140
Every situation it shows
891
01:10:52,300 --> 01:10:54,780
I wanted to mirror life
892
01:10:55,540 --> 01:10:58,660
and the mistakes we make.
893
01:11:12,420 --> 01:11:15,780
I think we have locked ourselves in.
894
01:11:22,500 --> 01:11:24,780
We didn’t go down that far, did we?
895
01:11:29,820 --> 01:11:32,860
This is like a scene in a play.
896
01:11:40,780 --> 01:11:42,980
There’s a technical room.
897
01:11:43,220 --> 01:11:45,060
You can’t go further!
898
01:11:48,580 --> 01:11:52,300
Let’s see what a cinema
looks like from the inside.
899
01:11:59,700 --> 01:12:02,060
Now we are getting back inside
through the front door.
900
01:12:03,180 --> 01:12:06,860
You got to come too.
Otherwise you won’t get out.
901
01:12:41,380 --> 01:12:43,100
Unbelievable.
902
01:12:46,300 --> 01:12:48,540
Quite a few of them
903
01:12:48,620 --> 01:12:50,660
are not alive anymore.
904
01:12:52,460 --> 01:12:55,460
Vadim Glowna.
905
01:13:00,340 --> 01:13:02,260
from "Heimat":
906
01:13:03,860 --> 01:13:05,460
Petra,
907
01:13:05,780 --> 01:13:07,340
Mr Edel,
908
01:13:07,780 --> 01:13:09,260
Elke,
909
01:13:10,740 --> 01:13:12,220
Marita,
910
01:13:14,060 --> 01:13:15,820
the Edgarian...
911
01:13:19,300 --> 01:13:22,580
Willi died on us while we were shooting.
912
01:13:22,980 --> 01:13:23,980
Yes.
913
01:13:27,660 --> 01:13:29,580
Also dead.
914
01:13:35,220 --> 01:13:37,220
The horse from "Cardillac".
915
01:13:38,260 --> 01:13:40,980
Hermännchen, Werner Herzog.
916
01:13:41,580 --> 01:13:44,340
Tales Of The Dumster Kid. Christine.
917
01:13:45,900 --> 01:13:48,460
Salome from "Heimat 3".
918
01:13:50,420 --> 01:13:52,620
Kluge with moustache.
919
01:13:57,940 --> 01:14:00,820
Leni Riefenstahl, unbelievable.
920
01:14:03,020 --> 01:14:04,820
Peter Kubelka,
921
01:14:06,060 --> 01:14:08,300
famous filmmaker,
922
01:14:08,460 --> 01:14:11,180
experimental filmmaker from Vienna.
923
01:14:13,900 --> 01:14:15,420
My Florinchen.
924
01:14:18,500 --> 01:14:19,780
Oh my!
925
01:14:20,380 --> 01:14:22,620
Quite a gathering.
926
01:14:26,260 --> 01:14:29,500
The lead in your "Heimat" films, Clarissa,
927
01:14:29,780 --> 01:14:34,420
is your wife in real life.
928
01:14:35,940 --> 01:14:38,740
Salome Kammer, singer and actress.
What’s so special about her?
929
01:14:41,780 --> 01:14:44,500
That’s hard to describe.
930
01:14:47,020 --> 01:14:50,500
The reasons for getting along so well
931
01:14:51,540 --> 01:14:54,180
had been there already, long before
932
01:14:54,300 --> 01:14:57,020
we even got to know each other.
933
01:14:57,860 --> 01:15:00,820
We have been together for
more than 30 years.
934
01:15:00,980 --> 01:15:02,900
That’s a long time.
935
01:15:04,020 --> 01:15:06,540
There had been two women
before that, though.
936
01:15:06,700 --> 01:15:09,180
Yes, I was married twice.
937
01:15:10,580 --> 01:15:13,580
You are always looking for someone,
938
01:15:14,860 --> 01:15:18,300
but when you have found
the right one, you stop.
939
01:15:19,220 --> 01:15:22,220
So, love exists after all?
940
01:15:23,820 --> 01:15:28,180
I don’t know whether or not it’s
just love. There’s more to it.
941
01:15:29,940 --> 01:15:31,860
I loved all of them.
942
01:15:37,580 --> 01:15:39,740
Love, too,
943
01:15:39,900 --> 01:15:43,060
is a utopia without boundaries.
944
01:15:47,660 --> 01:15:50,820
Being in love
945
01:15:51,380 --> 01:15:54,500
always means believing it’s forever.
946
01:15:56,620 --> 01:15:59,020
It contains an aspect of eternity.
947
01:16:00,100 --> 01:16:02,300
Without this claim to eternity
948
01:16:02,420 --> 01:16:04,700
it wouldn’t be true.
949
01:16:05,980 --> 01:16:10,220
But, we are repressing the
fact that nothing is forever.
950
01:16:13,620 --> 01:16:17,420
But you shouldn’t be disappointed.
951
01:16:20,820 --> 01:16:23,620
The feeling to be alive,
952
01:16:25,460 --> 01:16:29,140
to be part of the natural flow of things
953
01:16:29,820 --> 01:16:32,580
is far more important.
954
01:16:32,860 --> 01:16:35,580
It’s not about results.
955
01:16:38,180 --> 01:16:41,940
Making films, too, isn’t about success.
956
01:16:43,180 --> 01:16:46,100
Because success is static.
957
01:17:04,300 --> 01:17:08,540
Only as long as we wish for
things that cannot be fulfilled,
958
01:17:08,780 --> 01:17:12,460
do we have a creative power in us.
959
01:17:32,660 --> 01:17:35,980
If I could make a wish,
960
01:17:37,740 --> 01:17:40,980
I’d be in a dilemma.
961
01:17:44,740 --> 01:17:48,100
Would I wish for bad times?
962
01:17:48,580 --> 01:17:51,460
Good times?
963
01:17:53,820 --> 01:17:56,540
If I could make a wish,
964
01:17:59,060 --> 01:18:02,740
I’d rather wish
for a little bit of happiness.
965
01:18:06,100 --> 01:18:09,780
Too much happiness would have me
966
01:18:10,380 --> 01:18:14,140
longing for being sad again.
967
01:18:20,660 --> 01:18:24,100
How come you think
968
01:18:25,020 --> 01:18:27,980
it’s only your suffering,
969
01:18:29,500 --> 01:18:32,900
your pain that’s great?
970
01:18:34,700 --> 01:18:37,780
Don’t make a wish,
971
01:18:38,340 --> 01:18:41,260
you stupid child,
972
01:18:45,420 --> 01:18:48,820
its beauty only lasts
973
01:18:49,780 --> 01:18:53,180
until fulfilled.
974
01:18:57,180 --> 01:19:00,180
If I could make a wish,
975
01:19:02,700 --> 01:19:05,700
I’d be in a dilemma.
976
01:19:10,460 --> 01:19:13,460
Would I wish for bad times?
977
01:19:13,860 --> 01:19:16,660
Good times?
978
01:19:19,980 --> 01:19:22,980
If I could make a wish,
979
01:19:25,460 --> 01:19:28,460
I’d rather wish
for a little bit of happiness.
980
01:19:30,460 --> 01:19:33,460
Too much happiness
981
01:19:34,100 --> 01:19:37,100
would have me longing
982
01:19:37,540 --> 01:19:40,460
for being sad again.
983
01:19:46,980 --> 01:19:50,420
This is your favourite song
and it was sung by your wife.
984
01:19:50,620 --> 01:19:51,860
Yes.
985
01:19:53,300 --> 01:19:56,140
One of the greatest wishes
986
01:19:56,300 --> 01:19:59,220
I’ve always had
987
01:19:59,340 --> 01:20:02,700
and mankind along with me is:
988
01:20:04,500 --> 01:20:06,380
Stay!
989
01:20:06,660 --> 01:20:09,300
The great moments in life
990
01:20:09,420 --> 01:20:12,220
pass so quickly.
991
01:20:14,580 --> 01:20:18,980
And the wish that they
aren’t is never fulfilled.
992
01:20:28,620 --> 01:20:31,300
So.
- Empty.
993
01:20:54,500 --> 01:20:57,060
What films tell you about
994
01:20:57,180 --> 01:21:00,260
is always the passing of time
995
01:21:00,420 --> 01:21:03,060
and the end of a shot.
996
01:21:05,580 --> 01:21:07,980
That’s why saying goodbye
997
01:21:08,140 --> 01:21:10,540
is the best movie theme there is.
998
01:21:10,700 --> 01:21:13,340
It’s also saying goodbye to the theme.
999
01:21:13,540 --> 01:21:16,180
It’s saying goodbye
1000
01:21:16,500 --> 01:21:20,260
to the memory stored within it.
1001
01:21:21,540 --> 01:21:24,060
But there is comfort:
1002
01:21:24,220 --> 01:21:29,180
we filmmakers can preserve time.
1003
01:21:41,420 --> 01:21:45,220
with Edgar Reitz and Anna Hepp
1004
01:21:46,820 --> 01:21:50,660
Written, directed and produced by
1005
01:21:52,380 --> 01:21:56,100
Conceptual Advisor
1006
01:21:58,140 --> 01:22:01,380
Editor
1007
01:22:04,340 --> 01:22:07,940
Script Editor
1008
01:22:09,380 --> 01:22:13,140
Director of Photography
1009
01:22:15,020 --> 01:22:19,020
Production Sound Mixer
Production Sound Assistant
1010
01:22:20,500 --> 01:22:24,180
Set Photography
1011
01:22:25,860 --> 01:22:29,860
Sound Design
1012
01:22:31,500 --> 01:22:34,620
Sound Mix
1013
01:22:37,300 --> 01:22:40,020
Colour Grading
1014
01:22:42,940 --> 01:22:46,140
Production Manager
1015
01:22:48,020 --> 01:22:51,740
English Translation
1016
01:22:53,940 --> 01:22:55,980
Transcript and Subtitles
1017
01:22:56,140 --> 01:22:59,260
Subtitle re-spotting
Frank Hammer
1018
01:23:00,100 --> 01:23:04,300
Music
by courtesy of
1019
01:23:08,420 --> 01:23:11,580
Film Extracts
by courtesy of Edgar Reitz Film Stiftung
1020
01:23:14,020 --> 01:23:17,820
Thanks to
1021
01:23:32,220 --> 01:23:36,220
Special thanks to
1022
01:23:44,100 --> 01:23:48,100
Produced by
1023
01:23:50,260 --> 01:23:54,260
With the support of
69143
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