In the Russian hire, you can still watch a movie of a leading German Director Fatih akin “To the limit” — chilling story about organized neo-Nazis attack and revenge of a woman (Diane Kruger), who lost in this explosion family. “Ribbon.ru” has published an interview with Acinom taken by Marina Toropygina at the Cannes film festival, where Kruger received the award for best actress (later “At the limit” won the award “Golden globe”).
“Ribbon.ru”: Let’s start with the end “At the limit”. Have you considered other options for the final? Maybe they should have stopped at the moment when the heroine comes into the trailer?
Fatih akin: the film has its own logic. I can’t do such a radical subject and to afford to make a sluggish, uncertain ending. The decision is taken by my character, and I follow it to the end.
how do you personally feel about her decision?
When you write a script, you’re driven by instinct, and you know that what you write is a clash, drama. Don’t know how I would have acted myself. Even if we imagine the situation in which the heroine can survive the nightmare. The film for me is the possibility of a dialogue with his own nightmares. I can understand my character, but the audience must decide for themselves, they accept her decision or not. I know a lot of women, mothers, quite politically correct in their beliefs. They watched the movie and liked the ending. The question of the right of my character or not, I am ready to discuss with my kids, but the audience will see such a finale.
now How serious you think the threat of neo-Nazism in Germany?
This is more serious than many people think. And that’s the problem, from my point of view, I say not often enough. We know that people are being killed, but we don’t always report the actual number of casualties and the causes of their death. Ten years, the German police believed that the murders of Turks and Kurds is their personal beef that they sell drugs, do illegal business. The real scandal is that in these stories dragged and the German intelligence agencies.
You too, that’s the neo-Nazis?
Yeah, and frankly, I need to be proud of it: so, I was able to piss them off. If I’m a bother to these people — so I must have done something right.
When you have an idea to remove the “At the limit”?
the Idea is to deal with the subject of Nazism came to me in the 90-ies, but then I didn’t know what it will be history. I wouldn’t remove just a movie on a politically relevant topic — political film nobody will watch. I needed a story. When the story appeared, it all went very quickly. This is probably the movie that I did faster than any other of his paintings.
And funding found quickly?
Yes, although some investors refused to participate — probably for the same reasons that not everyone agrees with the final film.
Tell us how you worked on the script.
I was going to make a film about neo-Nazism, but in the end a film about her mother, about her feelings. It is usually talking about the terrorists, their motives and reasons, and the victims of misleading numbers only. And it was important for me to show exactly what is happening with the victims of terrorism and their families. You can tell this is a family film.
This is a political film, “family”, as you say, film, but also partly a Thriller about revenge: at a press conference during the Cannes film festival, you said that you asked for a film composer to make music “like Hitchcock,” especially in the scene car chase.
When we’re talking about movies where the hero is driven by a sense of revenge, I immediately think of Korean genre cinema. There motivation is revenge, occurs in a single moment, one click. To me it was important to show real emotions, to show the development of character. It’s a drama that moves the character is a love story — mother, who took everything.
How is it that you have invited the lead role of Diane Kruger?
I met her in Cannes in 2012 when I was here with my short film, Polluting Paradise, we accidentally met at a party. I noted then that she was still fluent in German, without an accent. And when I decided that the main character in my film will not be a man and a woman, I remembered her. I needed a German Aryan type — the blonde with blue eyes.
She’s already participated in the fight against the Nazis — from Tarantino.
Yes, and now continues to fight — but with the neo-Nazis.
how do you work with a Hollywood star?
I always try to create its actors a space in which they will be comfortable, and is always open to their suggestions. Diana is a very intelligent actress, she’s smart and emotionally at the same time rational, smart as a mathematician. It was very interesting to work with her and I always listened to her advice. And they should — in nine cases out of ten.
Can you give a specific example of that in the film brought it?
Rather, there were many scenes that I threw it out because she said they are not needed. Now I realize that was right after listening to it. I’m generally a good listener.
And the audience?
Too. I watch a lot of movies, at least one per day. Everything — so I can’t say that I was influenced by anyone in particular. Is the amount of visual information with which I work as a DJ, mixing genres.
do you review your movies?
Very rarely but when it happens suddenly to reconsider is always worried, want to change something, realize that I would have done differently. Perhaps that’s why the last film for me is the best and my favorite.
Why are you dealing with the problem of neo-Nazism in this film, showing not German, and the Greek neo-Nazi party “Golden dawn”?
I do close to Greece, my grandparents are originally from Crete, my closest friends are Greeks. And when I started to study the materials, including the neo-Nazis, blogs like NSU Watch, I noticed people with logos of the organization.
May be another matter, and that you had to take the third part from the cold of Germany and the court in a warm country by the sea? What is the role of the sea in your film?
My father is a fisherman, one day I was with him in a small fishing village and understand what it means to the sea for these people, for women and children who are waiting on the shore for their husbands. It is no coincidence that the sea is such an important motif in literature and painting. For me it is poetic, which carries with it consolation metaphor of death.
is There, in your opinion, the possibility of addressing the problems of globalization and cultural differences?
Although my film is quite evil, I am an optimist. We live in a time of globalization, and I am also a child of globalization. My wife is half Mexican and half German. We all face problems of cultural differences. In the end, I think we will come to the chance to live together in peace, but while there is a rather painful process. It’s not going as fast as I would like.
“At the limit” is in the Russian hire