That gave rise to the event that was supposed to be the very opposite of its name. The question arose: what exactly was better about our super-avant-garde music event where everyone just stood around and nobody danced because they were all too cool anyways? This was a phenomenon I also experienced in the clubs back then, the feeling of being “lonely together”. It was during that time though that we also had our first launch parties at the Schaubühne, where we played hits off the radio and had a lot of fun. No, only the friends I had called up, around thirty or fifty people. I invited avant-garde DJs, who were only known by people who were really interested in electronic music. The old theater audiences no longer came and we were unable to reach the young people we were aiming to appeal to. When I started at the Schaubühne, which was in 1999, we had unbelievable difficulty finding an audience for our performances. How did you end up going from that to pop music? The title itself tells what happens when you try to dance to it. You even released a record during this time, the instrumental hip-hop EP “I’ll Break Ya Legg”. Before, when I used to play electronic, experimental music and wasn’t even trying to get people to dance, I focused more on the mix, practiced at home, and had a sequence in my head of which records matched based on their speed. When I’m playing records, I often don’t even know the first piece I’m going to play. Well, really my ideal is the same as with acting: You make fresh decisions with every appearance you make in front of the people. Of course you can prepare for a DJ set by practicing the mixing, but a good DJ decides on the sequence of the songs in situ depending on the audience. They demand some kind of exchange, a kind of interaction. That’s also the point at which playing records and acting intersect: Both make little sense if you’re doing them alone. At parties I always used to choose the songs because I have a good sense for the atmosphere in the room and am able to create energy. I have been making music for at least as long as I have been acting. The form in which I do so is of secondary importance. Already as a child I wanted to become famous, and I think what I meant back then without knowing it was: I want a profession in which I can express myself to an audience. I actually always saw myself as an artist. How did you see yourself back then – more as an actor or a musician? Word is that while you were at the Ernst Busch Academy of Dramatic Arts in Berlin in the 1990s, you carried around your box of records everywhere. This is their second feature film.Ahead of his set at SCHIRN AT NIGHT on January 12, Lars Eidinger tells us what he thinks of blending tracks and celebrity parties, and why he likes to show his butt on stage every now and then. PRINCIPAL CAST: Nina Hoss, Lars Eidinger, Marthe Keller, Jens Albinus, Thomas Ostermeier, Linne-Lu Lungershausen, Noah Tscharland, Isabelle Caillat, Moritz Gottwald, Urs JuckerĪ creative duo from Switzerland, having worked in documentary and television, passionate about acting,which both they have studied. SCREENWRITERS: Stéphanie Chuat, Véronique Reymond I.D.ĭIRECTORS: Stéphanie Chuat, Véronique Reymond Nina Hoss is consistently exquisite, delivering an astonishing portrait of a suffering woman on fire who finds the strength to get her life together and stand on her feet. Boasting a great cast, the Swiss duo’s second film explores ways in which Art becomes life affirming. A marvelous -though at times emotionally punishing drama about death, reconciliation, moving forward and the female identity. But he has terminal cancer and she will have to be there and take care of him as early as the first scene she donates her blood. They are twins, he’s ‘older by two whole minutes’. SWITZERLAND | 2020 | OLOR | DCP | 99’ | GERMAN, ENGLISH, FRENCH Nikos Triandafyllidis: Sentimental Education.Nothing about Us Without Us: Cinema and Disability.The Future is Female: Cinema and Equality.Blackboard Screen: Cinema and Education.Urban Myths: The Sublime Cinema of Edward Yang.Spring Awakening: Wild Flowers of the Czech New Wave.A Dream within a Dream: Cinema is Dreaming.Lives in Transition: Trans Cinema Matters.International Documentaries Competition - Stranger Than Fiction.
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