i'm not laughing at it well i guess sometimes i am but i stand up in which the japanese research evidence digs deep into the german culture of looking at stereotypes quacks but if you think the future of the country i don't. mean to take the cake for this grandmother day out to eat that's all that took a box look i might show join me to meet the japanese on the w. post. please. cool.

hi and welcome to a kino special on full moon our whole show today is dedicated to this living legend of german sort of. the story begins in france and nine hundred fifty six fast came secondary school and a degree in political science at the before a fateful meeting with french cinematic masterly maad propelled into the world of film. me i was always so serious i'm strict going to school and offer time to germany in the mid one nine hundred sixty s. to make his first feature film young is considered one of the most important films of the new german cinema movement and several awards. it was the tin drum a cinematic adaptation of going to cause his novel of the same name the international acclaim. pandora the cannes film festival in one nine hundred

seventy nine has won 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. equired foreigner series called 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 research which tells the story of a radical west german terrorist who flees to east germany with a new identity. now focus and off is back in new york this time with a return to montauk leslie based on a novel by mark french it's an love story and possibly churned off most personal film. and i'm joined now in

studio babbles burg with forecast and off thanks for joining us. you've had decades in the film business can you pinpoint a point or a moment a person in 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 know missed them i could have lives i could have been a contender i could have been somebody. sterile. i was in a trance but the actor marlon brando about the filmmaking which i knew nothing about but about the possibility through a film or a work of art to arouse such see. passions such deep feelings will suck when your

first film 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 and. a group of people builds 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 their cultural attache got up and slammed the door and this creamy this is not a german film he thought this would reflect on the set said the stick nature of the germans in general even schoolboys. but that was not the reason the film was a success i think. at the time it was man of the first of the young german cinema who came out of 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 mean in the worst way code eventual formula movies and and we wanted to show you know normal street what people were like have actors who acted in a natural way in the evening. because. nobody can sleep but. now. you try to reflect what was going on around you when you made a film like the last owner of catalina 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 incredible repression from the state and you made this film about a woman who has one night of stand with accused terrorist and then is attacked for it by the right wing press and also the police. think. 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 their 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. trucks for those who just. 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 writer 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 woman 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 the grass 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 copy of office 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 drum was was really a small children's toy. so if it was wonderful it is like from now on you you are on the playground of the big boys. i mean the big boys king coming 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 offered me to do

one part and foolish enough 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 taking all of my show when all that i want to stop you know 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 i am going to judgment so we're. going. to be in new york and to work with often miller and to work on a daily with dustin and john mark which 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 task you in your life your professional life what what films to do you wish you hadn't done what films have you not done that you wish you could well i have at least five pictures. as believe was there used to say i'm divorced from. the good thing is those are forgotten they banished into oblivion. film or no cage and i should have seized i think in retrospect. right after that. 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 joining us on kino and for more on focus flintoff and his films check out our website that's it for a special this week we're back next on until then i'll see at the movies. with your family scattered across the. us to you to listen to books. to.

w. how to cover more than just one reality. where i come from we have a transatlantic way of looking at things that's because my father is from germany my mother is from the united states of america and so i realized early that it makes sense to explain the different realities. i'm out here at the heart of the european union and. since we have twenty eight different realities and so i think people are really looking for a new journalist they can trust for them to make sense of. them is not how i work at the w.