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TASTE OF LIFE (in German)

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“For me actors or film crew are neither the director’s nor the author’s henchmen, but creative artists who develop their own roles. I’m not suited to work as a tamer. Instead I see myself as a conductor who coordinates the work of soloists and weaves them together to create a harmonic orchestra. Everybody is part of the creative process, both those in front and those behind the camera. That is my definition of TEAMWORK” (Roland Reber)


Teamwork – literally speaking.

What is so special about wtp international film production is their uncompromising dedication to film which is welding the film production team tightly together since many feature films. Additionally to this it’s wtp’s way of producing – including script, production, editing, sales, distribution, dvd-label, public relation all made by the same team – consequently refusing public funding money and co-production with TV stations to keep creative freedom.

All films of this team, with it’s core being Roland Reber as writer and director, Mira Gittner as director of photography, editor, graphic designer and actress, Antje Nikola Mönning as music composer, assistant to the director and actress, Marina Anna Eich as producer, press agent, distributor and actress and a few several other organisation talents, are screened at numerous international festivals and distributed nationally and internationally.

  • “The films by Roland Reber and his small committed team are discoveries of an independent cinema which are rare in the international film community.”(Feuilleton, Süddeutsche Zeitung)
  • „Films of wtp which have been made with the collective dedication of the whole team, have become an unmistakable trade mark.“ (Blickpunkt:Film)
  • „wtp is like the Gallic village of unbendables within the empire of the film industry.“   (Passauer Neue Presse)

To view filmmaking as a creative adventure is typical for Roland Reber and the wtp-team. With a small committed group with multiple tasks for each one of them the results is an integrated art work to which everyone involved has a creative relationship.


This approach also leaves a lot of space for spontaneous ideas, which can be inserted during the shooting or even during the editing. For example the commercial with the director was made during the postproduction. There were supposed to be two commercials in the talk show, but during the shooting period there was no stirring idea and not enough time. When Mira Gittner presented a first edited version of the talk show she used a short sequence out of the making-of material as a placeholder, the one showing Roland Reber with the two bunnies. Roland Reber had been the light double for the TALKMASTER who was still in the make-up, and while the light was set, the camera was rolling. Like this, a light double placeholder sequence became a commercial. Another example is the scene between the WIFE and the FRIEND under the apple tree. This scene wasn’t part of the original screenplay. After the theater scenes had been shot unfortunately about 25 minutes of the most beautiful material between WOLF/FRIEND and LITTLE RED RIDING HOOD/WIFE were damaged. An additional shooting in the theater wasn’t possible, so Roland Reber wrote, after the first moments of shock, the scene under the apple tree, to give both characters a deepness and express the loneliness. In the aftermath everybody was glad about the material damage, otherwise this important scene, which shows both characters in a different light, wouldn’t exist.


…That is how the biker scene was included. During the shootings for a commercial the film team met a biker who organized a group of Harley riders for the next day. During the break between the driving scenes one of the bikers explained to Mira Gittner something about her motorbike and others were talking about the media society. Roland Reber had the spontaneous idea to make a scene out of this, which was immediately realized.