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Revolver Issue 21


The new Revolver magazine has been published. A reading of the two interviews that I had not read the previous drafts, I noticed how different can be the interview style. I always found the documentary by Eberhard Fechner impressive, in which the interviewer apparently withdraws completely and only by the answers, by selecting and arranging, so by the cut in appearance occurs. Such withdrawal in any case has the effect that they point to the special opportunity of the documentary, people, and to give them a voice, although not usually in films produced versa, and limited self-expression of the filmmaker on the technical and dramatic preparation. If one takes this withdrawn form interviews, the results are extraordinary. Heinrich Breloer, where I once worked as second assistant director, has succeeded as an interviewer and over again to capture amazing statements because he has made more stupid than he was. This is superior to the interviewer the feeling to be - a prerequisite for unintentional disclosure. There are also interviewees who are disappointed in such a situation. To me that itself is at last lifting Kohlbriigge happens on a now 90-year-old Dutch Protestant who belonged to the Confessing Church. She had never appeared on a dedicated discussion questions and found my "superficial." Maybe I do have only respect for their courage and the upcoming theological discussion, to which I could contribute much to forget to flatter her enough. But adulation does not necessarily lead to good answers when you ask questions on issues with which one who is not really good. Especially among people who are accustomed to flattery. I am thinking and successful filmmakers. In interviews with them, it may be useful only once by his own statements to make eye level on which to place the call. Who routinely enter the interview is, but may only need an audience ask the questions, but then tells only what he has told a million times.

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Almost a month ....

I have neglected my blog. So much is happening in the meantime.

But I just want to get in touch shortly to let you know Now that a long blog break begins.

I am currently so busy and sometimes even under time pressure.

doing manual labor Technically not exactly much, so I can show you even more new images.

I will always back in between short report. Just not us anymore.

all of you, my dear friends

a wonderful time we read your

again

Alexandra

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Old Master

Eric Rohmer died yesterday shortly before his ninetieth birthday. Even five years ago when I interviewed him, he was frail. A stooped old man who had trouble running. But by clear and troubled mind. He said, eruptive, quickly and in long sequences with many filling sound, he could not as expected, that the next sentence comes as soon as possible. He sat at an old desk between stacks of books and reciprocating sliding on the chair. The squeak was in the transcription at least as disturbing as his teeth came out, mumbled the word through the cascade more than spoken.

Ironically, yesterday I performed together with Franz Müller my second interview in French in Paris. In the fashionable Café Lutétia on the smaller of the two islands. Agnes Jaoui and Jean-Pierre Bacri against us were sitting. It was a similar passion and anxiety felt. One would think that it makes a big difference whether the Interlocutors are in a crisis in the middle of their career, which has already brought them some success, or whether, as Rohmer's time to look back on a rich life's work. But that was not the case. Rohmer, who would have to sit back and bask in the glow of its own success, was extremely nervous because I wanted to talk to him about his novel he has written 25. I wanted him to convince them not to evaluate the failed as - as he has done for decades - but as a happy precursor to some of his finest films.

He has with this book, whose first edition he has blocked shortly after the publication in 1947 itself, quarreled for decades. Only two years ago he has a new edition of the novel finally authorized yet. With a preface, which inspired much of our conversation, he has also admitted to me. But he also has in that time made a film and was very indignant that the French film promotion has encouraged not only one of its projects over the last twenty years, just because his approach, the fact that he was a ready and thus eligible for aid writer always shortly before the shooting, however, noticed by casting all the roles to deliver, could run counter to the criteria of promotion.

His last film may not have become prime be. Nevertheless, I wish for myself, that there are more filmmakers and writers who keep such passion and intellectual restlessness and in old age, no matter how wonderful making films such as "Conte d'autonne" or the unusual costume drama "Le Duc et l'anglaise. "