The Kick – An Interview with Andres Veiel

The Kick - An Interview with Andres Veiel

The Kick – An Interview with Andres Veiel

  In an idiosyncratic synthesis of film and theater staged Andres Veiel The kick in an analytical psychological profile of a brutal murder in 2002 sparked nationwide horror: In Potzlow, a village in the Uckermark three young men from the extreme right milieu maltraitierten a friendly 17-year-old. One of them killed him along the lines of a scene from the U.S. film “American History X.

Why this film was the trigger for action?

Andres Veiel: American History X is a film of his message against her right-wing violence. This has also Marcel Schoenfeld – the perpetrator, who jumped to the head of the victim – later described it. The scene is shown where the curb kick, thwarted in their aesthetic means that intention. The killer in American History X is after the jump for a hero, he is running in slow motion to his younger brother, who unreservedly for this, has done what he admires. The victims and their sufferings are hidden in the movie. Marcel Schonfeld has not so identified with the message, but with a violent aesthetic that this quasi undermined.

Is it possible, as described in the media education to speak of the so-called animation thesis?

Andres Veiel: The murder was not planned. He arose from the situation out. There was a leapfrog. First, it should Marinus “frightened fear” are. He should bite into the edge of a feeding trough. But it was from the cruel “game” by the memory of the film scene suddenly bloody reality: The perpetrator actually jumped to the head of the victim. There are in Germany and Switzerland, two other cases, where the film served as action triggers for a curb kick. I am not saying that we should ban such movies. But one must be aware that some few viewers then no longer distinguish between reality and fiction.

What prompted you to occupy themselves so intensively with the events of Potzlow too?

Andres Veiel: During the trial the perpetrators have been reduced to cold, untouchable monster, right-wing perpetrators without remorse, without Reflection. The whole village was under the general suspicion to cover the action. In the media and in politics were the usual formulaic clichés cited as a cause of violence, hopelessness, alcoholism, unemployment. Even at second glance, the case is clear that these allocations will help speed any further. In most debates, the offenders were locked in a cage monster. I wanted to get there from the beginning. We must imagine the perpetrators as human beings. We give them a biography. That is the real challenge.
That has always something frightening, but liberating. The perpetrators come from a family home, as there are hundreds of thousands in this country. Two of the three perpetrators had one perspective: They had just started an apprenticeship. This normal-eerie background makes the offense so threatening and moves at the same time very close to each of us. It has happened Potzlow but Potzlow is almost everywhere. Compared to the more recent right-wing violence against them Potzlow murder is singular. But our deep hole trying to provide a toolkit for the analysis of other cases. In other words, if you deal with the question “What can you do against right-wing violence, which can be changed,” you have to deal with a case once uncompromisingly. We have tried …

As your research looked locally?

Andres Veiel: From September 2004 to April 2005, the playwright Gesine Schmidt, Maxim Gorki Theater, and I regularly got into the Uckermark. We have asked questions, the perpetrators, the friends of the victim, the villagers. In the beginning, nobody wanted to talk to us. Even the village priest, in which we suspected he was the beachhead in the outside world, said: ‘Please stay in Berlin. We want anyone here. As has already had the press and the media wave left a significant crop damage. It is spread from one village fascistic been mentioned. This is a vicious circle: As a whole village will be placed on time, in conjunction with this act, the villagers retire, are angry and hurt and closing. And this is another confirmation for many journalists: it is much worse because no one speaks, the crowd all.

, We were able to build trust among the parties for months. We made the experience that there is a need to talk. There is the ambivalence between the silence, the veiling, and the desire to talk, then at least on the subject. We have taken our interlocutors seriously. This was contrary to their experience, no longer needed – and therefore no longer be heard. In our discussions it was soon felt by the alleged apathy and non-reflective any more. Has helped us in that we had a lot of time. Us was not about immediate exploitation. We have gone to the parents of offenders three times without recording device, and have spoken with them and listened. It was only the fourth time we have dared to even set up a tape recorder.

But how can even a former socialist country ruled by neo-Nazism ever incurred?

Andres Veiel: The murder of Marinus Schoeberl has for me also a political dimension. By discussing the fact, is thus also addressed the question of processing turnaround experiences. If one takes the case Potzlow, then begin falling on an economic and a social derived karstification. Formerly of 700 jobs of LPG are initially left only two. There are too few apprenticeships. We must move away in order to become something. Schools will be merged, rural social experiences fall apart. In the village no longer takes place. This leads to a monopoly of the youth culture, a tendency prevails, and this is often the right one. The political youth crime in disadvantaged areas to 20 to 30 percent higher than elsewhere. There is a clear correlation between an economically and socially neglected region and a striking increase in juvenile crime. But the economic-social karstification alone does not explain the action. Only the eldest brother, Mark Schonfeld was professionally without perspective.

If you deal with, indeed, one touched with it a piece of German history. There are roots, there are role models, there are grandparents. The victim was described by the perpetrators as a Jew. Marinus should admit that he is a Jew and was then struck together. There was a lot of set pieces of historical quotes. We have interested us for what the perpetrators, but also their parents know about it.

Who do you follow in the structure of the kick, and it is filmed theater or theatrical film?

Andres Veiel I’ve noticed in rehearsals for the play at times that I approached very close to the actors, thinking almost in close-ups have. This does not work for the stage. They must play on the theater is still a large room, thinking thus in long shots. At that moment it was clear to me that I want to do with the subject matter is also a movie. The first idea was: With the camera I want to bring out the microscopic fine structure of the text. I knew that I could tell that same story, a seemingly new. What in the theater is empty, fills the screen in the cinema. The film brings the cast ran close, showing her face as a landscape. This will tell on a different level. We work in the film with an eye mark, a twitch of his mouth, with a trembling hand.

What considerations have you gone to the cinematic rendition?

Andres Veiel: In the cinematic staging, we have much on facial expressions and gestures reduced respected. Finally, we have saved in this way, the close-up. We just do not see any faces studio. But there is a face to the landscape of a rootless, troubled soul. That made me interested. I wanted to break out of the corset of the theater long shot. For this I need the cinema audience, who no longer has the discretion to choose the long shot in itself, offer something different. We have set pauses, looks renewed, celebrated the silence. It unfolds, another subtext of the characters. Thus, the film works quite differently than the play, he gets a different rhythm. We open another soundboard.

Plus the soundtrack, which is always underestimated. I have thought even during the filming that we will not work with music, but to develop sound with little noise. The place was for a huge treasure trove. It sounds as if they are randomly occurring sounds, but it’s been left nothing to chance.

The reactions at the Berlinale has shown, the film exerts these simple means a strong undertow. Which can not escape the audience.

(Jean Lüdeke)

Title: The Kick – An Interview with Andres Veiel

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