Wim Wenders: “I am not a Master ‘- Times Online

How much flow from the suffering of others should in their own creative work? A question that arises in the quiet drama “Everything Will Be Fine” Wim Wenders -. And himself

Updated 31st March 2015 14:24 clock

Wim Wenders in February at the Berlin International Film Festival where his film” Everything Will Be Fine “premiere | © dpa

TIME ONLINE: In the film caused the young writer Tomas a car accident in which a young boy dies. In legal terms, it is not your fault, but he can not cope with what has happened. His work as a writer gets better after the accident, and it is implied that has inspired him this terrible experience. To what extent one may have other for their own creative process experience, in particular through painful experiences?

Wim Wenders: This is a question that is rarely found in the cinema or even answered. When it is said: “Based on a true story,” then what about the people to whom this true story happened? Offers which, to recognize itself, or oppresses it, the more likely? Writers and filmmakers, the issue of responsibility must face alike. Someone something happens, sometimes something sorrowful, and we make it a fiction. Then what is more important: the real man or our processing? Tomas takes a long time and needs to be shaken until it his responsibility the real man confronts. Have You have yourself several times already dealt extensively with this issue of personal responsibility, for example, than in 1980 Lightning Over Water rotating

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Wim Wenders

Wim Wenders is one of the most important German filmmakers. He is one of the representatives of the New German Cinema and established the 1971 film publishing the authors. This year’s Berlinale honored the 69-year-olds with the Honorary Golden Bear for Lifetime Achievement and a retrospective of ten films, but abbildete only a fraction of his work. Wenders turned both successful feature films such as Alice in the Cities (1974), Paris, Texas (1984), The sky over Berlin (1987) Do not Come Knocking (2005) as well as documentation, such as Buena Vista Social Club (1999) or Salt of the Earth (2014). In 2011 he made a documentary on Pina on the choreographer Pina Bausch and used here for the first time 3-D. He was so excited about the possibilities that he set himself henceforth to work exclusively with this technique. The most recent result, Everything Will Be Fine , ran out of competition at the Berlinale.

to film “Everything Will Be Fine”

The writer Tomas is not at fault in a tragic accident in which a child dies. But he falls into a deep hole. The relationship with his girlfriend breaks up the load. Tomas saves himself in his writing. But he can to process experiences that involve the suffering of others? The film follows 14 years of Tomas’ attempt to give life meaning again

Wenders. I have every Day asked whether we should continue. I myself would actually prefer stopped at any time, I found we were about to cross borders. But above all, Nicks doctors kept saying: “The work is good for him, makes more if you stop spinning, it pulls the rug from under our feet!”. So we kept going. Our shoot was actually more of a dying as a filmmaking. This was of course an extreme case, but a case where the person wanted it plays the movie. And I find absolutely necessary if one converts a real destiny in a fiction.

TIME ONLINE: Everything Will Be Fine , nothing is said about whether the mother of the child fatalities Tomas’ reads novels. One can only imagine how it feels hardly to read a book that served as the own suffering accidental death of a child as inspiration. Did you not speculate?

Wenders: I wanted to just not as explicitly name. I would rather that the audience asks this question, as our characters that they answer.

TIME ONLINE: Does the phrase “Time heals all wounds”?

Wenders: In our case it is not the time, but the attention to the other, which brings healing.

TIME ONLINE: There is this idea that something can find artistic expression only when inside the artist’s something going on. Does this also mean that the artist felt something inside him not only, but also must keep until he can express artistically it eventually?

Wenders: I do not know a garrulous writer. And I know a lot, also very familiar: Paul Auster, Peter Carey, Sam Shepard and best Peter Handke. They all wear a certain mystery in itself. You can feel that they absorb much of what they see in themselves, process, and because of it certainly not spill the beans are equal. In order to incorporate life in their writing, they can not and must not be a small-talk artist. They are also less willing to talk about things out. Writers are probably more thoughtful people.

TIME ONLINE: You yourself are an artist. How do you feel about that?

Wenders: I’m no Master. I write a lot better than that I’m talking about. Maybe this is something typically male. I am always amazed how often and how much women exchange ideas. They bring even heavy things just immediately on the table. Then it must be spoken and quiet twice as long as actually needed. Rather applies to men: if we have said, written or texting it, it’s out and completed. We do not talk about it again. We are much more reticent. And our Tomas is one of the wortkargsten.

TIME ONLINE: The work of the director, I ask myself, among other things, but extremely difficult before: you have to enter listen all the time in itself, there a thing to come and but then communicate on an ongoing because you really have to tell the others what to do. If this many speeches about their artistic intentions difficult?