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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:09,220 --> 00:00:12,500 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 00:00:18,380 --> 00:00:20,460 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 00:01:00,940 --> 00:01:02,380 I see Helga in you. 15 00:01:45,420 --> 00:01:47,820 I like your smile. 16 00:01:49,220 --> 00:01:52,780 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 00:02:25,100 --> 00:02:27,900 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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