{"id":186250,"date":"2018-08-30T12:00:03","date_gmt":"2018-08-30T10:00:03","guid":{"rendered":"https:\/\/berlin030.de\/?p=186250"},"modified":"2018-08-30T12:00:03","modified_gmt":"2018-08-30T10:00:03","slug":"bei-anke-engelke-bekomme-ich-noch-immer-gaensehaut-interview-mit-regisseur-aron-lehmann","status":"publish","type":"post","link":"https:\/\/berlin030.de\/en\/2018\/08\/30\/bei-anke-engelke-bekomme-ich-noch-immer-gaensehaut-interview-mit-regisseur-aron-lehmann\/","title":{"rendered":"\u201cAnke Engelke still gives me goosebumps.\u201d Interview with director Aron Lehmann"},"content":{"rendered":"

With his graduation film \u201cKohlhaas or the Proportionality of Means\u201d, he immediately won the Audience Award at the Max Oph\u00fcls Festival in Saarbr\u00fccken in 2012. Afterwards, Aron Lehmann, a graduate of Babelsberg\u2019s Film and Television School \u201cKonrad Wolf\u201d, presented the anarchist fairy tale \u201cThe Last Pig\u201d starring Herbert Knaup, in which a Swabian pig farmer fights against the agro-factories. <\/strong><\/p>\n

The 37-year-old filmmaker scored a major coup at this year\u2019s Munich Film Festival. His youth comedy, \u201cThe Most Beautiful Girl in the World\u201d, loosely based on Cyrano de Bergerac, was celebrated by audiences and the press alike\u2014rare for any film this year. [030] staff member Dieter O\u00dfwald interviewed the director.<\/p>\n

Mr Lehmann, in your film \u201cThe Last Pig\u201d there\u2019s a line: \u2018The world is a bloody dark place. That\u2019s why we have to light beacons. Then maybe others will see it eventually too.\u2019 Do you see your philosophical popcorn comedy as such a beacon?<\/strong><\/p>\n

I hope our \u201cGirl\u201d sends an exclamation mark in terms of what commercial cinema could also offer. How well that actually works will be decided by the audience over the next few weeks. In any case, I\u2019m delighted that a major distributor like Tobis believed commercial cinema could be teamed up with young directors from the arthouse scene.<\/p>\n

So would the fitting motto be: Fuck You, \u201cFack ju G\u00f6hte\u201d?<\/strong><\/p>\n

You can\u2019t really compare the two films. One\u2019s a satire. And we\u2019re a love film. When I hear people say Bora Dagtekin needs to watch out now, that\u2019s completely daft. We can only dream of the seven and a half million viewers he had with \u201cG\u00f6hte.\u201d<\/p>\n

Your film was celebrated at the Munich Film Festival more enthusiastically than almost any other. Are you not a bit unnerved by all these collective hymns of praise by now?<\/strong><\/p>\n

There are worse things in life! (Laughs<\/em>) Hopefully I\u2019ll make plenty more films, and the reactions won\u2019t always be this positive. So I\u2019m enjoying it, and above all, I\u2019m happy for our young talents. With these incredibly strong characters, we\u2019ve probably discovered a few new stars for cinema.<\/p>\n

\"Das
Let\u2019s be friends: lead actor Aaron Hilmer with his crush Roxy, played by Luna Wedler. – Photo: \u00a9 TOBIS<\/figcaption><\/figure>\n

Your films always stand out for their unusual titles. How important are such titles for a film?<\/strong><\/p>\n

This title already existed when I got the script. We discussed a lot whether lads would find it cool too. Regardless of whether one likes the title or not, it just sticks with you. What I like most is that we don\u2019t actually confirm the expectations the title creates: the whole point is that appearances aren\u2019t what matter in life. And that\u2019s why any girl can be the most beautiful girl in the world in the eyes of the person who loves her.<\/p>\n

Youth slang in films can often sound as forced and naff as the \u201cYouth Word of the Year\u201d. How do you achieve an authentic sound?<\/strong><\/p>\n

You have to find the right people. Our writer Judy Horney polished the dialogue really well. The beats came from music producer Konstantin Scherer, who also works for Sido and Bushido among others. The lyrics for the song battles were by Robin Haefs, who ghostwrites for various hip-hop artists. These people are really on the pulse and know what they\u2019re talking about.<\/p>\n

What influence did the young actors have?<\/strong><\/p>\n

For me, it\u2019s proved best when, after shooting a scene, actors can play it again according to their own ideas. It especially takes the fear away for young performers, fear of getting it wrong. My job as director, as I see it, is to enable actors to follow their own intuition and emotions. I\u2019d find nothing duller than actors who only do exactly what I tell them.<\/p>\n

\"Das
Second from the right: director Aron Lehmann. – Photo: \u00a9 TOBIS<\/figcaption><\/figure>\n

Is casting YouTube stars and influencers the new marketing tool?<\/strong><\/p>\n

Unlike \u201cBruder vor Luder\u201d with the Lochis, our YouTubers are just part of the film. We were looking for people with talent and access to their emotions. I\u2019d think it negligent not to look for YouTubers in this age group. They\u2019ve no shyness in front of the camera and absolutely love performing.<\/p>\n

How do you get Anke Engelke as an actress? <\/strong><\/p>\n

Anke is incredibly well informed about German cinema and actually knew all my films. Of course, at first she says: \u2018I know how this goes, you want me because you need a celeb name for the poster.\u2019 I said I want her mainly because I need someone who can do comedy, but who also has depth, and who people like right from the off. That\u2019s why I love actors like Robin Williams, Jim Carrey or Adam Sandler in their serious roles. If you see \u201cGirl\u201d, you\u2019ll spot immediately how perfect Anke is: I still get goosebumps from the final mother-son scene. It was an absolute revelation.<\/p>\n

Will there be Cyril\u2019s nose as a marketing gimmick? As a badge to show true beauty comes from within?<\/strong><\/p>\n

We really ought to consider that. The mould for the nose already exists. We\u2019d just have to make casts\u2026<\/p>\n

\"Das<\/p>\n

\u2018The Most Beautiful Girl in the World\u2019 hits cinemas on 6th September.<\/strong><\/p>\n

Poster artwork: \u00a9 TOBIS<\/p>\n","protected":false},"excerpt":{"rendered":"

With his graduation film \u201cKohlhaas or the Proportionality of Means\u201d, he immediately won the Audience Award at the Max Oph\u00fcls Festival in Saarbr\u00fccken in \u2026<\/p>\n","protected":false},"author":1,"featured_media":186254,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"video","meta":{"footnotes":""},"categories":[82,17],"tags":[],"class_list":["post-186250","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-interview-kino","category-kino","post_format-post-format-video"],"_links":{"self":[{"href":"https:\/\/berlin030.de\/en\/wp-json\/wp\/v2\/posts\/186250","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/berlin030.de\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/berlin030.de\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/berlin030.de\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/berlin030.de\/en\/wp-json\/wp\/v2\/comments?post=186250"}],"version-history":[{"count":0,"href":"https:\/\/berlin030.de\/en\/wp-json\/wp\/v2\/posts\/186250\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/berlin030.de\/en\/wp-json\/wp\/v2\/media\/186254"}],"wp:attachment":[{"href":"https:\/\/berlin030.de\/en\/wp-json\/wp\/v2\/media?parent=186250"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/berlin030.de\/en\/wp-json\/wp\/v2\/categories?post=186250"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/berlin030.de\/en\/wp-json\/wp\/v2\/tags?post=186250"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}