It is interesting to see how German filmmaker Klaus Lemke respond manifest, especially when they come from very different areas. Here such as Christoph Hochhäusler, who with his films all the individual problems, despite at least in principle more in the "eligible" for flexible installation (though not itself turns obediently to death subsidized films that Lemke attacks), in the following but then (with approval) documents the reaction of Wolfgang Büld that can not hope to promote his films from the outset.
Wolfgang Büld comes, as his "film school-classmate" Dominik Graf, a generation of local filmmakers who have come for the German auteur a shade too late and, to that, if not in open opposition (such as Roland Klick), yet in differing position locate. Both have same stable, and Munich are closer to Lemke. Büld was known for his in the 70s turned punk documentary Punk in London their poor mixing is so notorious as appropriate. Graf and Büld shot both films, who rode on the wave NDW: three against three with "Trio" for Graf, Gib Gas - I want to have fun with Nena by Büld. The German comedy was Büld true at first: It was really as the Formula One film titled and some early contributions to the German comedy of the 90s with Go, Trabi, Go 2 and Manta, Manta (the latter made a star overnight Til Schweiger). In recent years Büld came with very cost incurred and cost-effective, however, content crass exploitation films such as obsessive Penetration and fear Twisted Sister in appearance, the dirtiness and Dominik Graf regularly cites approvingly as examples.
The following copy / paste and comment documents
WOLFGANG Büld DISORDERED THOUGHTS ON THE HAMBURGER MANIFESTO KLAUS LEMKE
my view, it is with Lemke's manifesto and the book by Sarrazin: It is adventurous in its conclusions, in fact sometimes simply wrong (for example, has not Germany, but South America's most beautiful women), but it suggests a long overdue discussion.
Klaus focuses only on the creative state of emergency, but not on the economic environment. We have a saturated film industry that makes it go well with the more than 300 million government money this year and still claims that the German film stands as financially bright. In reality, the sector that is so much and so unsuccessfully appearance would be a glamorous, helpless in the umbilical cord of state subsidies. Similar to the coal and agriculture. A simple calculation: a film with 1,000,000 visitors plays an approximately 7 million at the box office .-, while about half remains with the cinema, the remaining 3.5 million .- divided producers and distributors, so that in the straight hang times were 1.75 million .- went, it does not yet Verleihvorkosten and warranty. So in the end, hardly anything. Since the TV license is usually to finance, the DVD prices erode and Germany in the movie does not even export world champion of the heart is otherwise hardly significant income can be expected. Since German films with over a million visitors are the exception, one can estimate how it is at 100,000 or 10,000 over the case, what is the rule rather. Thanks to the generous tax gave away millions of German films, however, usually cost a few million. This is in line with the producers, because the subsidies are based on the budget, that any savings reduces the funding. To what extent does the film support by ingestion, income tax and VAT etc. count for the state, I can not judge. Otherwise one can judge the value of a positive labor market only technically and as a regional economic policy. We see it as promoting culture, so it can be said that subsidized higher subsidy for many movies every movie ticket will be the most expensive opera course (currently 114th in HH - €).
When the minority co-productions of supposedly high visitor share of German films subtracting, we see clearly that is always in the cellar, where, in the quarter, no comedy by Til Schweiger, Bully Herwig or gasoline or a large-scale production of Constantin running. They are the only films that write in the black and also turned more would if the subsidies, as demanded by Klaus would be cut. And the rest? Many films would experience their first time on TV (where they belong, usually), the rest would not be rotated. And who would notice? The makers and the film industry course. Television is now, grown up 'and make more films with their own rate and formats, as with the broadcast of German Films (Exception: The above four). The cinema owners could easily fill the gap with international films, the 'normal' movie-goers would not notice, a few thousand people would probably be sad.
the Klaus predicted burst of creativity and the thesis to hit Hollywood, I think is unrealistic.
There are many reasons. One is that was done by decades of state funding a blatant distortion of competition. Producers learned it, not for the market, but to produce for the bodies. Where is there except Eichinger yet daring producers, as it were Wendland, Waldleitner, Hartwig, Seitz and Brown in their time? Today, producers usually form filler, the projects on the basis of support maps, instead of tackling drugs. And of course, influenced writers and directors, and only get a chance to rethink the system compatible.
A similar trend can be seen, unfortunately, also in France, where the film is funded with 600 million a year to death. Where is because for years the pioneering French film, for which we have inspired us before? International, the French do Film but almost exclusively in the form of Luc Besson productions.
This development is not able to make as easily reversed, which would be as if you were to leave from one day to the all non-renewable energy producers.
About 30 years ago when it was still not too late, so I wrote to the Eckhart Schmidt, Munich manifesto 'with a similar message as Lemke. I no longer have it available, but remember that it was pretty radical and we as prohibition of "Oberhausen" required. At that time it would sign no one else, not even Klaus yet.
tragic and inexplicable to me is to the German cinema audience seems to have a very homogeneous taste: Besides family, fantasy and comedy is nothing, to have all his hits from 12, will run from 16's and 18 critically nothing! This is so in any other country (I know). In the U.S., genre films like Zombie Land, Paranormal Activity, or The Last Exorcism on the first weekend import their production costs, they end up with us also-ran. Resident Evil that currently is so successful is the 3D boom. 3D would have been on the poster, also determined million would be running in Jud Suss and Henri IV. At the TV, it looks no different, brilliant and highly acclaimed series from the USA and UK as, Life on Mars ',' Sopranos 'and' Dexter 'flop at us, others do not only come into the program as The Wire' and 'The Shield'.
Klaus claim, pledge for his films to his grandma's house secretly, would inevitably drive the poor grandmother into homelessness. By the blockbuster mentality has made it impossible to approve a still a way to refinance professional film in the cinema. Sleeper, there are unfortunately no longer in Germany. Exceptions to the rule determine. Lemke gets his own films in the late program of public service TV under, where they have sometimes over a million viewers. However, these niches are very rare become. In the private they are there not because these slots has upper Oberhausen Alexander Kluge and his DTCP cracked under the nail. Very interesting: R. Schawinski, license to print money 'into' The TV Trap.
Last week I saw two more examples of self-financed films. At the film festival HH was before 1000 enthusiastic spectators, Pete the Heat 'from Henna Peschel, who is said to have spent not even money for catering. In cinemas hamburger, he should still many years to enrich the program late and the break-even was achieved already with the first sold card.
was the same nationwide, privations' to an oppressive social drama by Andreas Arnstedt - completely self-financed. While Klaus and henna usually work with enthusiastic amateurs who like to bring in free of one's own home, their car and unselfishly with your own girlfriend, Andrea turned to high-caliber professionals in reserve. The film was shown at over 30 international festivals, where she won over 20 awards. All the more amazing that he made it, not even the pre-selection for the German Film Prize. Perhaps because Arnstedt not follow the rules and held dear in their pockets picked, but to ask the state? I myself have
in the UK three genre films (black comedy, horror, psychological thriller) in professional Conditions for each produced less than 100,000 €. They came by the global evaluation of new items, DVD. But since the global DSL market introduction of the DVD I wish I died (from hands, from ears, eyes out) the Sharia for pirates, but they will not able to catch on.
Klaus Lemke lives for his films in a self-imposed asceticism that would drive any Buddhist mendicant monk blush. This is not for everyone (my example is not) and I can not turn my ideas with amateurs for no money. And he said of Klaus and admired by both of us Dominik Graf demonstrated repeatedly that his masterpieces not with the house of his grandmother to would be financed, not even with the villa of his producers.
far has not found a way how the Internet can break even low budget films (no no budget films!) Market. Sure you can put his work in network, has a clip with excerpts of one of my movies more than 1,000,000 clicks on YouTube, but I see them a cent.
So when I expect a positive perspective - I have none. If anyone has one, he should not hesitate to contact me.
0 comments:
Post a Comment