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Unfortunately the term underground is used indiscriminately these days.
Many people confuse the term with the term “independent”.
Just because a film is produced independently doesn't mean it's underground.
And not every underground film is necessarily produced independently.
To be underground means living for it.
It's about real feelings.
If an actor injures himself for a film, then that is a great gift.
The body and mind are the most basic parts of a human being.
It is everything you are born with.
If someone is prepared to injure themselves for a film,
then it would be disrespectful not to accept it.
Making a film like this has nothing to do with fun.
It's not about a few friends having a fun time together.
Of course it's not always the same and there are good situations too
and not everyone involved experiences it the same way emotionally.
It always depends on what your tasks are.
If you must shoot a scene with a real skull
but you don't like it, then you're going to have a difficult time.
If this is your type of thing, you will enjoy the scene.
If you have to pee urgently
and the camera is on you, but you don't want to show it,
then it's not going to be a pleasant experience for you.
You have to simply ,not care” about it or just stop caring.
It depends on what you must embody in the film.
Do you have a role that you are playing, or do you even live a role?
Are you the actor or the director?
The pressure is usually biggest for the filmmaker himself,
because he’s the one who finishes with a film at the end.
That is the goal.
That is what matters and nothing else.
There is also rarely a real financial interest.
I always say, “The goal is achieved when the film is finished.”
Is that bad?
Can you see yourself?
Yes, unfortunately. Turn it around.
Whoever sees me, doesn't. They think I'm unpretentious.
Move a little to the left.
And now turn around.
Now look up at the church.
Notre Dame
Now look up again and then walk away.
Where? To the left.
When can we start?
Now.
I think it's the same with underground and independent films
as it is with fingers.
Every thumb is a finger.
But not all fingers are a thumb. And it's the same with underground films.
So every underground film is an independent film somehow.
But by no means all independent films are underground films. So
An underground film is yet another branch of independent film.
Avery clear branch of its own
and independent films can be anything.
Short films, feature films, comedies, horror, drama.
Anything basically.
When it comes to underground films, boundaries are often explored,
boundaries are often explored,
exceeded, sometimes only apparently exceeded.
There is more explicit content and
things that you don't see in a ,normal” film
or in most mainstream films.
Things that are perhaps only implied.
Of course that is a clear distinction.
In underground films, things aren't just hinted at -
they are done for real.
There are also scenes that are simply
very violent, some of which I find very disgusting
and which I completely reject.
When I think of the daughter's suffering, where the father then also raped his daughter.
That's not possible.
Independent films,
They have the big mainstream films as role models somewhere,
what you would like to do or achieve,
at least want to achieve as best as possible.
And the underground lacks big role models.
Since there are no big role models, I think you are freer in what you do and what you come up with.
And then you often find actors who are willing to take part.
I think that's often difficult in independent films too. Simply finding actors in general.
And you often need a lot of actors in independent films.
Because the role models films often have many actors as well.
And in undergrounds film you do need a bit of courage.
I hate people.
The best moments are when I imagine our planet without them.
This silence.
No cars, no airplanes and no other kind of pollution.
There would be no roads, no concrete landscapes,
Only real nature.
Nothing is straight or square.
There would still be murder and manslaughter.
Eat or be eaten.
But nobody eats more than they actually need.
There is no greed for profit.
The power of the strongest counts.
The air in this city makes me sick.
I can practically feel it.
Without this shitty humanity, the air would be free of all kinds of toxic exhaust fumes!
Poison is everywhere and yet everyone stuffs themselves with filth.
But I'm no better. Everyone has their burdens to bear.
Despite knowing that alcohol is bad for my health,
I'm always drawn back to its abyss.
I used to film a lot with Amira.
When you find someone like her, like Amira, it's both a blessing and a curse.
On the one hand, it's very pleasant for a filmmaker
When you have to give a little direction, like in your case, for example.
She loves a shoot like this and starts having fun before the camera even starts rolling.
And then you get into something and then you get into a flow together where you completely lose track of time.
On the other hand, it is difficult to stop them from overdoing it and then to slow such a person down again when it becomes necessary.
But I have met very few people so far who show such a willingness as you and
can throw themselves into something like that.
The underground is highly individual.
Warhol's commercialized underground is dead. Only sleeper cells exist.
Filmmakers who have the urge to give voice to the inner voice.
His motives must be understandable to himself.
Or not, but definitely not to outsiders.
Having fun is nice. And if it happens during the film making process, it's fabulous.
But it must never be the main motivation.
So René Wiesner's job in the film.
I would describe him as an assistant director, production assistant.
So it's quite clear, of course, that Juval Marlon is the director. But Rene worked with him.
So the distribution of roles was clear. We are the actors, and René is the assistant director and
I don't want to separate in a way that it has to be divided like that. The actor doesn't help or anything like that.
There are enough examples where the actors in the background help as much as possible and as necessary as they can.
René Wiesner is a filmmaker himself and has his own great eye for making films.
And he definitely did this during active filming or when there was a short break or an interruption.
Then he said, ,Can we try another shot from the corner or from up there?” so that he could at least bring in new perspectives
and had the time during filming,
to see if there are other options or angles that could be filmed.
Can't you run a little faster please. We want to shoot. So Juval...
I spoke to Juval Marlon, or to you, I don't even know who I'm talking to right now.
In any case, we know each other and for me that was the person who
was the director who had the say and I don't have to pay attention to anyone else.
That's a relationship you enter when you're shooting a film. Between director and actor.
I have concerns about that scene too. I don't know if I...
I'd actually prefer to keep this moment to myself when I go there for the first time. But on the other hand, when we film it, my reaction will be authentic.
If I play someone now, I feel like I'm betraying my feelings. Do you know what I mean?
Do you really know what I mean?
There are ways of working for filmmakers and directors.
Who are of the opinion that acting and directing or something like that should be separate?
And there may also be situations or films
where that could be appropriate or where it may have been appropriate in the past.
I think there are lots of things that you may have done in the past that are now outdated, that you just don't do anymore or you just know that it's crap.
Especially situations where directors insult the actors and make them angry in order to create a good atmosphere.
In my eyes such a director simply has no idea about the job of an actor.
This director doesn't trust the actors at all, because he has to be able to rely on an actor
being able to act like he's angry, just like an actor doesn't have to stay awake for three days to act like he's completely exhausted and sleepless.
Is that lady someone you know?
Yes, I know her.
You seem to know her well.
| care. You know that.
We both have something that doesn't happen very often anymore.
An inner bond.
A soul mate.
You're only saying that because you want me to join in.
Referring to myself, I wouldn't say that I'm particularly brave, I'm the one.
I just like acting and I do what I.. what comes to the table and what I can agree with myself.
There are some things that I wouldn't do, which is actually more likely to be in the direction of...I don't know if I would make a porn film.
I don't think I'm suited for it, but... You really have to think about what you can show, what you want to show
and how far you can go.
How far are the actors prepared to go?
And there aren't any great role models that you... where you could act out something special.
You see that often...
...Not at all...
Here, that's enough
Of course there are...I have boundaries.
Which I won't cross if I say I won't do that.
And I have limits that can change at some point.
At some point I say, oh, it's not so bad after all.
Well, I can actually name a very clear boundary of mine.
It has been valid for a long time and will probably remain valid.
I will not shit in front of the camera. I won't let anyone give me an enema.
Well, I won't do that, I don't feel like it, I don't feel like it at all.
Another boundary was, for example, that I said I wouldn't ejaculate in front of the camera.
Don't get me wrong, this isn't a call for me to do that in front of the camera, but that's probably a boundary where I'd now say yes,
if it's the right film, then I would do it now.
But I wouldn't just throw it away like that. In a double sense
But yes, not all boundaries are there to be crossed.
Boundaries definitely have their purpose, and everyone should have some boundaries for themselves.
There are boundaries not only in the underground film sector but also in life.
Some limits that you may impose on yourself may arise from fear
and then you have to check whether this fear is justified and why ask myself why I have this fear and how likely is it that this fear will come to pass?
As I said, you don't have to tear down limits, but you can also set new limits for yourself and re-categorize them.
Oh, do you want me to look or what?
I think a lot of people will envy me for this role.
Do you think so? Yes, constantly surrounded by women.
I already filmed something with a naked woman at the weekend and now I'm here with you.
Probably again next week.
Here, in this shitty forest behind me.
There are parking spaces.
And in the evenings the housewives from this shitty area go out to work as prostitutes.
Honestly. You can pick up cheap hookers there. Cheap shit.
Worthless dirty hookers that no one would miss if they were found dead in the woods.
I'm really getting a hard-on right now.
It's inevitable.
Sometimes I was scared when filming with Marco.
If we did it for real, it would cost extra, right?
He also wanted real sex with me.
Your decision, shall we? What?
And he sometimes scared me with his statements.
It's her decision.
I was really not being treated well.
Yes, last year... About a year and a half ago.
I was here, in the closed ward of the hospital.
Because... I had the spontaneous idea of visiting a friend of mine who I hadn't seen for ages.
And because I was - once again - in a“not exactly sane” state of mind.
Great things happened, and it ended with me ending up here.
And yes, I only had fifteen minutes a day to go out and at some point, I was standing outside and then
got the news about Sarah's death and didn't even really realise it.
But I know that I burst into tears pretty quickly and I honestly didn't even cry that much when I found out about my mother's death.
I have no idea. What does that mean?
Yes. It really wore me out.
I've been here a lot too, for detoxification and other things.
This is probably the most personal thing you'll get from me today.
This little excerpt, because I don't know how much more I'll be filming today.
I'll see if I can go and visit my dad right away. But somehow, it's all getting on my nerves
and I don't want to overexert myself.
But anyway I have at least this one thing here, that this location has a certain significance, so I'll at least include it.
Yes, well then we've got that so far.
I don't know how people can like this stuff.
That was when we shot the bathtub scene for “Töchterlein's Leid.”
That was pretty intense.
That really got to me.
I had actually forgotten about it a bit. It's just being brought up again now.
And that was because we had rehearsed it beforehand.
And what we rehearsed beforehand is not what you see in the film.
In the film, I think
it's not that threatening at all, it just doesn't seem very threatening.
It doesn't seem very dangerous.
It was completely different during rehearsals.
Violetta really fought, kicked, and tried to break free.
It seemed so real.
That was very real, especially because of this really wild struggle, like it probably is in reality when someone is pushed under water and can't breathe.
The body fights and fights against that and that is exactly what happened at that moment. She fought against it so much.
It really affected me emotionally.
That was really intense.
That is probably the most intense thing I have ever experienced, it was so emotional.
So still no.
But I also successfully repressed it very quickly. So, it was actually no longer present for me.
So the brain activated a self-protection mechanism and said close the drawer.
Why do we always seem to definitely recognize the point in time when it is irrevocably too late,
But not the point in time when we can still save and protect the good in us and around us.
I was down on the street with René and gave Gunther the go-ahead.
René and I had to do it together because...
I then received a call on my cell phone and René did not want to provide his cell phone because he was afraid that he'd have to face additional costs.
Costs would therefore be incurred somehow. At least I think that was the reason. I don't know for sure, but my cell phone had to be used anyways.
I was there somewhere. And I actually didn't notice that it wasn't used in the film.
But probably also because I never really saw this scene. Never really observed it and I was just standing off the road
and I felt like I had nothing to do with it at all.
For God's sake
No bullshit, you can't move here at all. Zero. I can't even begin to tidy this up. There's not much we can do in here.
Let me think about what we're doing here for a minute.
How are you going to explain to anyone that we have an apartment like this, which we filmed in?
Set design. Set design.
I want a contractual guarantee from you that you won't tell anyone where we are.
No bullshit.
It's best not to move any further.
We can also just fill up a bottle with water...
Oh God, no, no, stay there. Don't come any further.
I can only repeat that. You can... I have no idea how this could have happened here. Honestly, I don't.
I have no rational explanation as to how this could have happened.
But close the door behind you so it's not so loud in the hallway.
Yes, the topic of self-harm in the film.
Marco Klammer did that in the short film “Todesmarsch nach Chiasso”.
Even if you don't really see it in the film, he did it anyway.
And actually that was the topic at Thanatomania just a week or two ago. The film was discussed in “Deadline” magazine
And in Thanatomania I hurt myself too
And the film review then said,
Self-harm for the sake of a film, is that necessary?
Period. No. Exclamation mark.
So he was clearly of the opinion that it doesn't have to be and maybe shouldn't be either.
I think so.
Self-harm in a film.
It's only OK if it's not requested by the director, but comes from the actor himself
and there are boundaries.
For me in Thanatomania it was my leg, which I scraped it with the scissors,
which wasn't easy to do but that was my choice. It was my leg.
It is not visible and there is no large scar left that I could show here.
Violetta had injured herself in a scene during a scene in "Tochterleins Leid"
to make it look more realistic. I'm not sure if it really does look more realistic to be honest.
Or if it really comes across like that in the film.
Anyways, she definitely behaved accordingly afterwards, because she had a small wound on her knee and then walked.
These are some examples of self-harm that I think an actor can decide for himself whether he wants to do it or not.
Okay.
So, that fits, doesn't it?
Yes, that fits.
So, do you see that?
Yes, I have that in the picture.
Stay there lying on the ground. You two, turn around. Take a step or two back.
But I think that if self-harm is kept within limits and the actor wants it, then that is completely fine,
even if it is viewed controversially by the audience. Some people say that it is not acceptable.
It also happens in the underground area, where people are more willing to do something like that.
And that's how I see it for myself too. I did that for Thanatomania. But that doesn't mean that I would make the same choice for every film.
Certainly not for an independent film. It's often not worth it for me,
but also not for every underground film, because if I did that every time, my leg would be completely scarred, which would be shit too.
That was a spontaneous decision I made for the moment in Thanatomania
and it may also be the last time I made such a decision.
So I think it's fine. But as I said, the actor has to make the first step, and want it himself, it should never be suggested by the director.
Never by the director, because then you as an actor could end up in a situation where the director demands you to do so and you might feel like you're being talked into it.
If you're talked into it and you suddenly do things you didn't want to do, and self-harm in particular, that's one thing.
Which goes a bit further. Let me put it this way: if someone says they don't want to urinate in front of the camera and then does it in the film anyway, no damage is done,
At least that's what I hope. Of course, they can... But that's another matter. When you injure yourself, it always leaves a scar behind somewhere
Even if it's just a very small scar, something in your head always stays behind and that will always stick with you and you must think carefully about it.
I need a break.
What a crappy, hopeless, dreary, sad, dirty world.
I'm really starting to feel that everything is going downhill.
Everything is slowly rotting and decaying and going to waste.
But humanity probably deserves it. We all probably deserve it.
I mean, what will last? At least not the good in the world.
No, the good things and the good people are taken first. And everything that is shit lasts. And remains obvious forever.
We are all to blame for how things turned out, I really want to say that again.
Well, I have seen a few pictures of René harassing Violetta.
I wouldn't have been able to remember that very well, because I don't think I was actively involved, or even consciously involved.
I know I was standing nearby, but I was probably standing and smoking, which would have been pretty typical for me, and so I didn't really notice it,
because I knew I had no business being in that scene. It's just not my thing; I don't have the urge to watch it.
And then there's this scene where I'm sitting on the tree stump and.
That was a really “wet” situation. We shot it on a day when it was pouring, like really heavy rain
and since René was involved in this scene as an actor, I basically took over his job, knowing stupidly
that I was holding the umbrella to protect Juval and his camera. That means I got soaking wet and was just trying to get Juval to film it somehow.
But it was impossible to film because it was raining so heavily.
Then we had to stop shooting. And so, everyone came back soaking wet.
It wasn't the only time we got soaking wet, but that was the wettest.
We were wetter than wet, so it was basically redundant.
We shot the scene again when it was dry, next day. At least it didn't rain, but I sat down on the tree stump. You can't see that in the scene because it wasn't used in the film. That's why you don't see anything of it. Unfortunately.
I sat down on the tree stump, which was completely covered in moss, and all the moisture from the moss was soaked up in my pants.
I could really feel it, the moss was dry, my ass was soaking wet, and it was cold.
It wasn't a nice scene. You could pretend and say it was a nice scene. But there's a woman hanging on her leg and so on. No, it was just wet and not nice.
We really put a lot of effort into this scene. Especially Violetta, for her to be there again... Yes, that wasn't pleasant either, being naked in the forest. Everything was wet and cold.
The original idea was that my daughter, Violetta, was having a dream
and that in this dream the guy who had been a customer in the studio the day before or a few hours before would appear again.
And he didn't exactly make a positive impression then either, because he was more aggressive than what had been agreed upon.
I had no idea what was going on, but he had already tried to touch her.
Which was not okay for her in the scene. Then she dreams about the guy again. And since it's a dream, of course anybody can show up. So, I showed up again too, portraying the role of the father.
With whom she has a reasonably harmonious relationship at the beginning. When I'm sitting down on the tree stump and my leg holds her and
I look at her in a good-natured way. And then in the end, she is harassed by this guy again and feels distressed. Naked on the floor and he is on top of her
and she can't get away and I'm the one who could help her. But slowly leave the scene.
And as I've probably always done in life, as a father in the role, I just wasn't there at the times when I should have been there.
It's just a dream sequence that ultimately wouldn't have really fit in the film because it would have been too much, I think.
Yes, a lot of things are happening in that moment. She has this customer, okay, you can't neglect the camera, the customer, something is happening.
Just a trauma that is dreaming of some crap. But she's actually trying to work through something with her father.
Which is really going so well and that's exactly what she's processing in her dream.
I fell over and over again.
I always picked myself up, only to fall again.
I no longer have the strength to endure these ups and downs.
Here and then you'll find positive things, small rays of hope.
But these are overshadowed by the negative experiences...
I used to have a girlfriend about seven or eight years ago; she was the total opposite of me.
For me, that was the epitome of normality. I think I need someone like that in my life. But it didn't work out back then.
But it was mostly my own fault. I simply made the mistake of being too egoistic.
I'm currently not actively looking for a partner. But I hope that someone will come along at some point.
I don't want to be alone forever. That's not it.
Not the legs. The wings. Oh, it's a bit difficult.
Be careful, it's stubborn.
There was a situation.
In which Violetta was supposed to eat a grasshopper.
Or she was supposed to bite its head off. At least that's what I heard afterwards. I wasn't there myself,
I wasn't involved in the scene at all.
But I spoke to Violetta about it.
She asked me about it, and I don't know if I'm allowed to tell you, but I need to. I'll just tell you anyways.
There was also an interview with Violetta and in this interview, she was asked why she wanted to do it.
And this question really bothered her.
Because she somehow had the feeling that someone was trying to force her into some kind of trap with the grasshopper and so she was totally unhappy with this question.
And that she had to answer this question in front of the camera and she didn't feel like talking about it and had the feeling that she was being pushed into a corner.
And how anyone could even conclude that she would do something like that.
Eat the grasshopper.
I think René or maybe Juval made the comparison.
That you often kill animals in everyday life, or we killed them while during shooting while we were walking on the grass and trampling on some animals.
For me there is a big difference between killing an animal. We are talking about small animals here, insects which get killed by accident in everyday life.
And that is why this comparison is complete nonsense for me.
There is a tanning salon inside here.
Back when I used to live here, it was a video store. And before that it used to be a supermarket where my mother used to work.
But that was a long time ago and I can't remember anymore.
I was still very, very small back then and yes, everything here has changed.
This isn't for the film, I'm just telling you this. I'm now only a few meters away from my home, from where I grew up.
And somehow my anxiety disorders are bothering me again. I don't know if it has something to do with the whole environment or if it's just getting worse for me in general.
Being out here is giving me a bit of a problem right now, I have to admit.
That wasn't for the film. Over here, where this house now stands, there used to be an old, empty house. We'd probably call it a lost place nowadays.
The house was empty throughout my entire childhood and the windows and doors were bricked up.
And at the back there was a plot of land with apple and pear trees. At some point, a neighbour persuaded my mother, my grandmother and me to collect all the apples and pears so that they wouldn't rot and decay.
At some point we will all rot and decay too.
Oh well.
This is my childhood neighbourhood.
It's strange that it's not really easy for me to walk along here these days. I don't think it really has anything to do with memories or anything, it's just...
My general anxiety disorder, which is causing me so many problems
I actually wanted to film the house where I grew up in. That's a bit problematic now.
It's a beautiful path that leads inconspicuously to you.
Yes, I like it because it seems so bright and friendly.
And that's how I talk to you. Like always. As if it were much earlier. As if we had plenty of time again.
The road was hard and rocky, the path of the righteous is lined on both sides with the riots of the unlawful and the deeds of evil men.
And with all the evil I've done lately, I wish there had been someone there to stop me.
Someone like you.
This one story from “Struwwelpeter”, featuring “Suppenkasper” was embarrassing, and I have to be honest, I can't remember that scene at all, that ...
I can't remember that. Even though I've just seen it. It's completely erased from my memory.
But I was the one who read it out. And I realized right then that if I had to play through it again, I would play it exactly the same way.
The story of “Suppenkaspar”.
Kaspar was in perfect health.
A big boy who was round as a ball.
He had cheeks, red and fresh.
He ate his soup nicely at table.
But one time he started to yell; I'm not eating my soup.
No, I'm not eating my soup.
The next day, just look at him.
He was already much thinner.
Then he started yelling again, I'm not eating my soup. No!
On the third day, oh dear! What is Kaspar like? Thin and weak.
But when the soup was served, he immediately started yelling again, I'm not eating my soup. No! I won't eat my soup.
No, I won't eat my soup.
On the fourth day, Kaspar was like a ferret.
He weighed maybe half of his original weight, and on the fifth day he died.
At least I recognized myself not only visually, but also in such a way that I would do it the same way again.
That was the story. “Struwwelpeter”
But apart from that I have to be honest and say that I can't remember the scene, I have no memories of the shoot at all.
I don't know her well enough to judge, but I think her parents weren't entirely innocent. But I don't know for sure. Maybe they just wanted to help.
Yes, you don't necessarily have to film that!
There are certainly roles like that keep the actor busy beforehand
and maybe even afterwards.
Yeah...
nowadays the term trigger warning is often used. And that is exactly what can happen to some actors, when there is a topic that triggers a personality.
Due to someone's personal experience or because the script or the role is simply too much related to your own life.
So I'll start from the side, that's enough. I'll come back and do another angle then.
Rub it a little on your body.
Can we put these things aside here?
Actually I had planned... I should have cleared everything out here first.
No, that was good. Yes, but something broke.
I can say from my personal experience that“Thanatomania” was actually one of those shoots for me.
It was very difficult for me. I'm sure I once previously mentioned that it was a difficult shoot for me.
Because I was deeply immersed in my role.
And another problem was that I was basically alone the whole time.
I didn't have any acting colleagues most of the time. So, I couldn't discuss important things, unwind and...
René is also... but I've already said that... this isn't something I'm going to reveal exclusively now...
but Rene isn't always an easy person. He knows that himself.
Sometimes things get heated, which is probably not pleasant for anybody involved and it also makes filming more of a challenge.
This particular role was... It touched my life quite closely in some way, and that's not necessarily a secret.
I've been suffering from depression and anxiety and have been struggling with it for over 30 years now.
I really have a very long history behind me.
Let me put it this way: If the actor is supposed to play an alcoholic and the actor is a recovering alcoholic himself (in real life), then that might actually be something he should think about, for example,
whether he can even take on this role.
But if he does agree to that, I think it's something that puts a lot of psychological strain on you
and maybe it can even backfire.
Of course there are roles that can have a strong impact on the actor
or can perhaps actually lead to burnout.
It's up to each actor to reflect whether to accept a role.
And perhaps as an actor you should also have the courage to do so. I think that is something that not many have. |I also don't know if I have the courage to simply say “fuck it, I'm quitting this scene.
I just can't do that.”
Yes, of course. I'm currently not feeling very humorous because of this topic.
And yes, I hope you understand. It's bad enough that you even asked
whether I'll buy a bottle myself. I mean you could have figured that out yourself.
Anyways, we'll see each other later.
I'll try to appear in a good mood, even though it's hard for me.
Selina just got in touch.
They apparently would ask her hundreds of questions,
and she is somehow afraid of having to fear legal consequences if she takes part in the project.
Yes, the question is whether something like this can help you personally or if it can actually do you harm. There seems to be no answer.
At least I can't answer it, because it could be both, It could be both and above all I can't answer the question related to Marco Klammer,
because maybe it helped him, maybe it also caused him psychological damage?
I don't know. Only Marco Klammer could answer that question.
That's not a question that can be answered in advance.
If I were to somehow find myself in a situation where I was making a film to process something - and there are probably a lot of things that I could process,
which are personal to me - I would never come up with the idea of speaking about myself in the film.
But even then, I don't know whether it would help me or whether it would harm me, because it would then definitely be recorded and released on DVD.
Everyone can see it, it can't be taken back, you can change your thoughts, you can take back your words, but not if it was filmed on camera and then released.
You can't say I'm calling back all the DVDs, I've changed my mind.
What does underground mean to me? There are obviously different points of views.
For me, underground is just everything that's a bit... the video that Luca Magnotta or whatever the guy was called, shot,
that it's an underground film or that Daisy's Destruction clip is underground.
Which is more geared towards entertainment, that's what I wanted to say. Run through here.
But that's not for the film now, is it?
It's also perhaps a surprise bag. Maybe it'll help, maybe not.
You may also make yourself more vulnerable. You must be able to live with that.
You make yourself vulnerable by revealing something privately. I sometimes do that in certain ways too, I make myself vulnerable.
Hey, I know women, no, I once talked to some of them about something like that and they said it's not that bad, a corpse doesn't feel anything anymore.
I know women like that... What's wrong with people?
What's wrong with people? Seriously?
How mentally ill are people?
I hate people.
Honestly, I had a girlfriend who actually said something like that once, and I was like, yeah
Necrophilia blah blah and she was like, yeah and the corpses don't feel anything anymore, it doesn't matter.
Seriously, how can you think like that?
I mean, I'm an asshole. I do have some really extreme tendencies, but I also have limits.
My goodness
Thomas Gorsch is probably just career-obsessed anyway.
That's just how faggots are.
No idea.
I value life less than films.
Films have a lifespan that would theoretically be infinite.
It depends on the preservation,
but it would be possible to let a film exist indefinitely.
Of course, this also depends on the continued existence of humanity.
People have an approximate life expectancy depending on where they are located,
which of course differs from individual fates, which will not be mentioned here.
But when I talk about the preservation of films,
I would like to compare film making with the human sex drive.
As a filmmaker, you are in constant fear that your own films
could be deleted or destroyed, as if it were your own gene.
This primal instinct ensures that the film is even distributed in the first place, because people hope to leave a part of themselves behind after their own death.
That is why these films are also very personal.
You work with what you have.
Even your own body is exploited to a certain extent.
Anyone who can't understand that or simply just doesn't want to,
doesn't need to be part of the underground.
The subtitles were created by Black Lava Entertainment.