“The television has become a dangerous drug” – Interview with Hans Weingartner about his movie “Free Rainer – Dein Fernseher liar”

The television has become a dangerous drug - Interview with Hans Weingartner about his movie Free Rainer - Dein Fernseher liar

“The television has become a dangerous drug” – Interview with Hans Weingartner about his movie “Free Rainer – Dein Fernseher liar”

  Even before its release in German cinemas, Hans Weingartner’s new film makes Free Rainer – Dein Fernseher liar! for plenty to talk about in the press and among those viewers who have seen the film already. www.kino zeit.de met the director-in preview of his film in Mannheim to talk about his new film, the power of quotas and the difficulty in turning.

I know that the comparison with (# ) The Edukators do not like, but Free Rainer – Dein Fernseher lying! seems mainly to be in his position but a continuation of your second film. This suggests that in this attitude a lot of your own shows. Hans Weingartner How much is it actually in Free Rainer?
If you make author’s film, then one’s own attitude toward the world always goes into the movies. It is all about what I think or feel, and what moves me. With Free Rainer, it is true that I am convinced that our culture here is to go down the drain that we are about to give up our mind. Television has become a dangerous drug.

What have you noticed that that the development goes in this direction? Was there a specific trigger for the decision to make this about a movie?

The point was surely did when it started with the whole “Big Brother” shows, as it was then slow for me really disgusting. Then all these celebrity shows were added, from the celebrities on the pasture until the jungle camp where you get shown the unbelievably stupid and campy people. You feel as spectators pelted with mud. And I’m pretty sure I’m not the only one that is doing so.

How was it the idea to do something specific on the ratio of television to lust?

I then started to read a lot about how television works, and this became clear to me that alone determine the rates, what’s on TV. This means that this is exactly the point where it needs to start the lever. That was the initial spark for this film.

They had originally planned to shoot the film a little different and make it more a story of conspiracy, knowingly manipulated rates of the transmitter sites, which in the film also resonates very short time. Why do you have strayed from this idea?

That’s right, I originally wanted to make a thriller about a conspiracy of political and business from which to manipulate the odds. But as the world simply does not work. It is, in reality it seems more like an passive tolerance of this development, which we have to do it. The policy does not mind because she is highly satisfied with the fact that they can govern in peace, while the people hinblödelt ahead. And the economy, it is also right, because intelligence does not stop so well compatible with consumption. And if people think they are on it maybe that they are just fucked if they get shown commercials, where people are only happy when they buy a particular product. And then the audience do just that and, finally, remember that they are still not happy. And that’s exactly why I wanted to make this film to throw some sand into the wheels of this machinery of dementia.

Was it hard to raise money for the film? I would imagine that, for example, television broadcasters, which will also sit in the decision making committees of the film funds, were not very enthusiastic about the material?

Vote, the television networks were not particularly cooperative, but luckily it had the ORF enter the courage with. The transmitter has not said a word to the script and has interfered in any phase of the film. German television is different, since the sender often exert strong pressure and influence the screenplays massive. The editors sit in the awarding bodies and grind the scripts over and over until it is “transmittable”. Everything that is radical or extreme, or diagonally, or does not fit the target group will be highlighted.

I also had the good fortune that I have been The Edukators a lot of money for my new movie had left. Therefore, and due to the entry of world cinema, it was possible only to turn without the participation of German TV channel.

How did you come to Moritz Bleibtreu as the main character? The original was indeed the role of television producers to create much more introverted.

Moritz has convinced me at the casting easy, so I decided to rewrite the role for him. The work with the actors is now become quite difficult: either they are consumed by television, or they work a lot on stage and stand there every day on the stage, so they are not often get very difficult for a rotation about. Moreover, it is then also difficult to get the actors for the subsequent promotion, this also gives it back the same time problem. This makes the work pretty hard, that the theater today are so inflexible.

And how did you get the lead actress Elsa Sophie Gambard?

That was a coincidence. I met Elsa Sophie Gambard on holiday in Spain, so we’ve got to know, so on a private rather than on a professional level. In addition, it was also that I recommended a friend who is a director Maggie Peren, Elsa, that she knew that I was looking for an actress who exudes something mysterious. Also, I had a great desire to work once again with a new face. And that has everything fit together perfectly. Moreover, I liked that they never completely opened to the audience when she plays, her figure was always a little mystery can be yours. And that is exactly my idea of Pegah.

The images at the beginning of the film, Moritz Bleibtreu as the heats with the Jaguar through the streets of Berlin, it looks very impressive from …

Was it too, this is the Leipziger Strasse, one of the main arteries between West and East that we have blocked for a whole Sunday, five clock clock in the morning until eight at night.

… and that was so simple? Was not it difficult to get permission to shoot at?

That was not easy, but the mayor, Klaus Wowereit has personally made sure that it is possible. In general, it’s great to shoot in Berlin, the city is evolving into a real media capital and the city supports it. But she also does well on it, because the media sector, the growth industry in Berlin, which has created in recent years, the most jobs. And this is now paying off as more companies move their headquarters there.

Was the turning hard? In the film, which sees it all very relaxed and well balanced out.

The rotation was hell, but ultimately we had a very tight budget and would have needed at least twice as much money. We had very many locations, what means a lot of logistical problems. It was already fairly common in the pain threshold – for all involved. What it has also been strengthened enormously stressful, was the fact that, in principle, three main characters and gave seven major supporting cast, which also all still undergoing a transformation. And the script was in the rotation at some point not yet worked out the last details, so I’m there sometimes pushed to my limits.

Have you had the actors a lot of influence in the rotation?

Yes, definitely, with Moritz and Elsa, I have practiced a long time. Above all, Moritz has helped shape a lot, both to his character as well as the whole story. From his example, does the idea with the empty swimming pool, and because Pegah is a keen swimmer gift, the guys she later filled the pool.

You think there are parallels between television and the cinema landscape in Germany in Germany? After all, movies that are critical to have it in theaters is often not easy.

The problem is this stage that grows very demanding and critical films not a young audience. That is exactly what I maniere in my film – that we are about to go gaga. At some point we may have conditions like in America there is only a very small circle of educated elites. And most of the rest is sitting in front of the telly. Nevertheless, the attendance in the cinemas are still real and will not be extrapolated as on television.

Please accept only time a film like Volker SchlöndorffsDer ninth day – in my opinion an absolute masterpiece, which implements an important historical subject exciting. The film was shown at several festivals around the world and was widely celebrated. In Germany, this film will be shown in the middle of the night. I think that’s a scandal and that is what excites me the most. Public service television has a job, and it takes no longer true. And it’s not just that they have forgotten this educational mission, they ignore him at an incredible arrogance. Since I do wonder, why do the politicians and the representatives of the provincial councils in the broadcast anything about it. I think that can be levied on the public broadcaster even without quotas.

Enter at the end of your movie to an optimistic, perhaps overly optimistic outlook on the company by saying let Rainer ” I am confident that humanity is intelligent enough to scrape the curve. ” Where do you find your optimism?

True, actually I am a pessimistic person, but I’m also a person, not capitulated. As might just be the fact that I come from a large family with siblings achtsieben children. And this means there are always: “If you do not solve your problems yourself, it also solves no one else for you.” And so it just happens that I’m optimistic in the sense that it is possible to reverse the mental decline.

Title: “The television has become a dangerous drug” – Interview with Hans Weingartner about his movie “Free Rainer – Dein Fernseher liar”

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