tv Kino - KINO-SPECIAL featuring Volker Schlondorff Deutsche Welle January 7, 2019 4:02am-4:16am CET
your family is scattered across the globe. with the answer to the delayed sleep was a journey back to the roots of government of. the shah's family from somalia to live around the world come on i did urgent assistance. to family starts general twenty third d. w. . the big. hi and welcome to a keynote special on. our horse show today is dedicated to this living legend of
german sort of. a story begins in france a nine hundred fifty six came secondary school and a degree in political science at the saw one before a fateful meeting with french cinematic masterly mark propelled churned off into the world of film. me i was always so serious and strict. learned off returned to germany in the mid one nine hundred sixty s. to make his first feature film young tellus is considered one of the most important films of the new german cinema movement and garnered several awards. it was the tin drum a cinematic adaptation of going to class as novel of the same name the fortune of international acclaim. the film on her door at the cannes film festival in one nine hundred seventy nine as well as an oscar for best foreign language film. by now hollywood was taking notice but standoff took his time it would take
a few more years before he moved to new york and make films like death of a salesman based on a play by our familiar. quiet foreigner serious thought the handmaid's tale. learned off decided to return to germany in the mid one nine hundred ninety s. one of his most successful films from this time is the legend of rita which tells the story of a radical west german terrorist who flees to east germany with a new identity. but. now focus on and off is back in new york this time with return to montauk leslie based on a novel by. and some love story and possibly office most personal film. and i'm joined now in studio bubbles with focused thank you joining us. you've had
decades in the film business can you pinpoint a point or a moment a person you met a film that you saw that put you on that path to become a filmmaker. in the same summer i was probably fifty in a few films and one of them was on the waterfront and marlon brando you don't remember them i kind of had was kind of the kind tell me. i could have been somebody. sterile but i was in a trance but the actor modern brando about the filmmaking which i knew nothing about but about the possibility through a film or a work of art to arouse such such passion such deep feelings but your first film a young told us when it premiered in cannes in one thousand nine hundred sixty six and it caused a scandal at the premier tell me about that what what happened where there is
a scene these it's in a boarding school. a group of people built to suppress the others and they have one guy they say he's different actually he's jewish they torture him and when these torture scenes very graphic i must say where we were shown the german cultural attache got up and slammed the door screaming this is not a german film he thought this would reflect on the set said distinct nature of germans in general even schoolboys. but that was not the reason the film was a success i think. at the time it was one of the first of the young german cinema who came out the first one to be noticed that there was some others to fall. the german cinema before us was was extremely conventional mellow drama.
bad acting bad everything you know. i'm not going to. call it. i mean in the worst way conventional formula movies and and we wanted to show you know normal street what people were like have actors who acted in a natural way and we use this. because. nobody can see that but. now. you try to reflect what was going on around you when you made a film like the last owner of cattle you know bloom which was a very political it was happening at a time in the seventy's in germany where you had this wave of leftwing terrorism and on the other side a credible repression from the state and you made this film about
a woman who has a one night of stand with accused terrorist and then is attacked for it by the right wing press and also the police. it was this witch hunt that some of the sixty eight students you know. went to violent means of protesting and i would say they were not stopped in time by us the others around you know there was even a certain sympathy for the devil there you know we all bore a certain responsibility. and this we should have escalated the violence before it got to that point that even an innocent girl that takes
a gun and shoots a jungle it's a few hundred sixty. four days he's been. your film return to montauk which has just come out in theaters what a viewer almight is in this story the story of. first of all it's a very simple story a rider or a filmmaker comes to new york from europe from berlin to present his last piece yes to do some interviews and as soon as he's in town he is reminded of another women whom he loved in this city years ago he goes to find her and
together they spend the weekend out on long island to far and montauk they may both have been the love of their lives it didn't work out then is there a chance to make it work out now so it's it's a meditation more than an action movie. we have to talk about the tin drum which is your most famous film it's based on the famous novel by going to toss about a young boy growing up in the nazi time who of protest refuses to grow and stays a young boy that film premiered as well in cannes where it won the palme d'or together with france for a couple of awful ups now can you tell me about that moment that moment when they announced your name. you know it in retrospect at the moment it's just pure joy but it was great like even like to be equal. with
this big big hollywood machine and our tin drum was was really a small children's toy. so it it was wonderful it is like from now on you you were on the playground of the big boys. i mean the big question coming in that film went on to win the oscar the tin drum did hollywood come calling some and never reached me one i reached me i think i've been. sitting on the chair of. steven spielberg i think this dates from when he was shooting the movie on the bridge here he was at the time doing the twilight zones series and for me to do one part and foolish enough i refused and only years later three four years
later did i really that come to the united states but not to hollywood i came to new york to do with this of a salesman right which is one of my favorite yours i mean it's a it's a it's such a powerhouse this play why am i trying to become one i don't want to be what am i to me given that you know i make you know contemptuously all of my show when all that i want to stop you waiting for me the minute i say i know who i am now why can i say that when i don't feel like that's why i don't want to i am going to church and show you. to be in new york and to work with often miller and to work on a daily with dustin and john malkovich was such a way to immerse in american culture. that i think that will stay with me forever i have to ask we mentioned return to montauk you film at the very beginning of that there's a scene where the writer says the two types of regret in life the regret for things
that you've done and that you wish you hadn't done and the regret for things that you didn't do can ask you in your life your professional life what what films did you wish you hadn't done and what films have you not done that you wish you could well i haven't these five pictures. as believe was used to say i'm divorced from. the good thing is those are forgotten they banished into oblivion. film or no case should have seized i think in retrospect. right after the. when i was in california i should have accept the challenge. spielberg offered to an episode of. twilight zone it would have trained me for the series there are so much involved now. thank you for
and if i had known that. i never would have gone on the trip i think you would not have put myself and my. products again at the going to give. you to give them i had serious problems on a personal level and i was unable to live there and let him go to. they want to know their story and for migrants terrified employable information for more grants. letter we were. in the percent of americans at some point in our lives will experience hardship listening. audience.