On April 3, they come with their anniversary “Tatort” “Mia san jetz because where’s hurts” on television. But behind the scenes it is nowhere near as 25 years ago when the two Munich “Tatort” commissars began. “We are now close to the limit of what is reasonable,” says Udo Wachtveitl about the increased time and cost pressures in an interview.
In the “Neue Osnabrücker Zeitung” says the 57-year-old: “There is a point at which a product can not be better, but must be worse when too much saving of resources.” At this point is the Munich “Tatort” arrived: “This relates to money, and it relates to time.”
Altered movie craftsmanship requirements and viewing preferences
For a time, the increase in time and cost pressure was compensated by the fact that the art and the craft were professional. “But that is now again being lifted by the fact that the film-craft requirements and the viewing habits of people have changed. The players in the living rooms are now much better, because you have to work in different ways, from the mask over the equipment up to the amount of extras. on such a wide screen fits so much more strikes than in the past. ”
Miroslav Nemec: “fewer days, longer hours”
His colleague Miroslav Nemec takes a similar view: “the days have become less, hours for more – so far this is just a miscalculation, since it’s done now by the motto. the day has 24 hours, and if it’s not enough, you take the night to “
Udo Wachtveitl. and Miroslav Nemec standing since 1991 when Franz Leitmayr and Ivo Batic front of the camera. During this time they have turned not only good thrillers. The episode “A Midsummer Night’s Dream” in 1993 was the “by far the most unpleasant history” was, Nemec said. Colleague Wachtveitl sees the episode “song of dead things” in 2009 as a low point, calling it a “esoteric scene”.
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