|
|
|
|
![](../images/line_blank.gif) ![](../images/line_crew.gif) ![](../images/line_blank.gif) ![](../images/b_pfeil_l.gif) ![](../images/b_pfeil_r.gif) ![](../images/line_blank.gif) |
|
|
|
|
|
Jörg
Grünler Director
|
|
![](../images/crew_gruenler.jpg) |
|
Jörg
Grünler has been working as a director and writer since 1974. He
is responsible for countless TV plays, television serials and series,
including “Bestseller – Mord auf italienisch” (Bestseller
– Murder in Italian – director, 2002), “Von der Rolle”
(Dazed and Confused – 2-parter, book and director, 2001), “Entscheidung
im Eis” (Decision in the Ice – co-writer and director, 2001),
“Der Bulle von Tölz” (The Cop from Tölz –
2 episodes, book and director, 1999/2000), “Antonia” (2-parter,
director, 2000), “Mörderischer Doppelgänger” (Murderous
Doppelganger – director, 2000), “Die Spesenritter” (The
Expense Account Knights – director, 1999), “Kinderraub in
Rio – Eine Mutter schlägt zurück” (Child Theft –
A Mother Hits Back – director, 1999), “Der Mann neben dir”
(The Man Next to You – book and director, 1998), “36 Stunden
Angst” (36 Hours of Fear – director, 1998), “Die Neue”
(The New Woman – pilot and 6 episodes, book and director, 1997),
“Die Friedensmission” (The Peace Mission – director,
1996), “Tatort – Lockvögel” (Crime Scene –
The Bait – book and director, 1995), “Zwei Männer”
(Two Men – 10-parter, director, 1994), “Die Kommissarin”
(The Lady Chief of Police – 6 episodes, director, 1993), “Eurocops”
(director, 1990/1991), “Ein Fall für Zwei” (A Case for
Two – 8 episodes, director, 1992 – 1988), “Münchner
Freiheit – Pennergeschichten” (Street People Stories –
several-part series, director, 1985).
In 1993, his movie, “Krücke” (Crutches), received three
Federal Film Awards: Best Actor (Heinz Hoenig), Best Camera (Gernot Roll)
and Best Décor and Costumes. Furthermore, the movie received the
Max Ophüls Audience Award and the Audience Award at the Würzburg
Film Festival in the same year and the Hesse Film Award a year later.
The movie “Lemgo”, also directed by Grünler, was premiered
at the Munich Film Festival in 1994.
Jörg Grünler lives in Munich and Berlin. |
|
|
|
Interview |
|
Mr.
Grünler, you were able to very convincingly portray the lives of
children and adults in the multiple award-winning movie “Krücke”
ten years ago. Now, in “Der zehnte Sommer” you are once again
focusing on the varying views of children and adults. What was the spontaneous
charm of this story for you? |
|
Part
of the charm of this story is the fact that there is barely a television
set, no video games and no computers. In 1960, children in this small
town predominantly played outdoors, occupying themselves with things they
had made themselves. Or they use their imaginations to create their own
games. Our children want to set up a zoo and start with a fly, a grasshopper
and a worm, until they are given a small monkey. “Der zehnte Sommer”
is not a flashback to the 1960s, which were nicer or even better, it is
the story of another time. |
|
|
|
|
|
Hence,
this movie distinguishes itself from those generally offered to the children
of today... |
|
|
|
It
is very intentionally anything but a mainstream film! The narrative tells
an almost fairytale-like story of opposition to today’s trends,
which touches on many different topics: love, friendship, eroticism, the
first awakenings of sexuality, desire, the battle to make ends meet, provincial
morals and ethics, secrets harbored by both the children and adults alike.
I found these contents, the individual characters and the way the summer
in this small town is explained so thrilling that I immediately agreed
to make this movie. And maybe this was a follow-on to my movie “Krücke”. |
|
|
|
|
|
|
|
What
is particularly charming is the fact that the story is told almost exclusively
from Kalli’s perspective. |
|
|
|
Definitely.
This view contributes enormously to the atmosphere, which instills life
into the movie. It is a very poetic and, in a certain way, also an old-fashioned
movie, which – with the exception of a few turbulent moments –
portrays the feelings of the 9-year-old Kalli in a predominantly calm,
sometimes consciously fragmented manner, in whose perception reality and
fantasy blend again and again.
Kalli’s view of things is underlined, on the one hand, by sensitive
camera work and lighting and, on the other, by an external narrator, Kalli’s
alter ego, which – with a dash of irony, humor and tongue-in-cheek
– reveals a level that acting could not reach.
The fact that some things are implied and not literally portrayed is absolutely
essential: we tried to avoid the movie appearing fussy or becoming melodramatic.
This would also not have been the intention of the writer. |
|
|
|
|
|
|
|
How
was filming with the children? |
|
|
|
It
was a lot of fun, albeit sometimes very strenuous – and not only
for the kids themselves. Working with Martin was really great as he is
remarkably intelligent and professional even when performing in difficult
scenes, delivering complicated monologs and even having to repeat them
several times over. With the exception of very few scenes, which are important
in providing a little background, Martin is ultimately in every scene.
Michelle was very patient – this is, after all, her very first movie,
and the two boys, Pino, who plays the provincial Polli, and David, who
is the cool calculating type within the group, have had some experience
in television. Only filming with the kids and the monkey proved complicated.
This was nerve wracking. |
|
|
|
|
|
|
|
This
movie is aimed at young and old people. What do you estimate the acceptance
among the older viewers will be? |
|
|
|
They
will possibly develop nostalgic feelings, they will primarily grin and
be amused, apart from in the sadder moments in the movie. But maybe the
movie will also make people think about their own relationship and position,
about desires and wishes. I very much hope that this film results in a
certain contemplation. “Der zehnte Sommer”, which viewers
will certainly be able to watch even in ten or twenty years, will undoubtedly
have an impact on viewers.
I would not be offended if this movie were viewed as a small monolith,
which the audience could examine from various sides, between other movies.
In my opinion, this is a clear indication that we can also tell stories
in this way. |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|