FROM THE IDEA TO THE FILM
The screenplay is based upon Roland Reber’s theatre play MY DREAM IS JUST A SICK CHILD that Reber directed successfully in Lünen in 1985. In March 2007 the idea to make a film out of this subject was created. Since years Roland Reber and Wolfgang Seidenberg wanted to make a film together, it always failed because of a lack of time. For MY DREAM or LONELINESS NEVER WALKS ALONE Wolfgang Seidenberg who plays the MAN was free, but only until mid of May. So the shooting period was fixed for April. After only one month of preparation for screenplay, cast and crew, location scouting, organization etc., 24 days of shooting with little sleep and much enthusiasm of everyone involved, the film was finally accomplished in September 2007, after another 92 days of post production.
SPECIAL WORKING METHOD
The film was made without public funding and with the commitment and creativity of everyone involved, with a small team and multiple tasks within the ensemble.
Acting, art work and setting, organization etc… are not divided at wtp international film- production, but are created by the members of the company.
This broad distribution of the tasks results in an integrated art work to which everyone involved has a creative relation. Roland Reber is not only the director, but also author and co-producer, Marina Anna Eich who plays the role of the WIFE also took over the organization and production and is responsible for the sales, distribution and public relations of the film. Besides her playing the role of GODOT, Mira Gittner was also responsible for the artwork and the editing. Wolfram Kunkel who plays the GRANDFATHER also did the music etc.
Roland Reber considers film making as a creative adventure. Everyone has the chance to bring in his ideas and creativity. 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.
AT THE LOCATION – Canalization versus Studio
MY DREAM or LONELINESS NEVER WALKS ALONE was shot at original sites as well as in the studio or studio-like locations as the theatre for example. On one hand there is the framework plot, the conversation between the MAN and GODOT during the night, which was shot at original sites as sewer, garbage dump, an abandoned barrack or factory site, to express the authentic character of the dialogues. In these places, far away from the daily distractions that we are otherwise subjected, the MAN has the chance to draw the attention to him and to consider the inner structures of his mind and of his relation to different figures of his life. The MAN makes a tour through the garbage of thoughts of his life, symbolized by the places of the thrown away things of the city.
On the other hand there are the thoughts of the MAN, like the talk show or the surreal worlds of the MAN’s thoughts which were shot in the studio, an artificial, nearly theatrical place, just like life is a stage or a show in which everybody plays his role. A film studio is always a setting, just like theater. It is and remains an artificial place. This was very appropriate for the composition of the thought spaces of the MAN, who doesn’t live his life, but is trapped in his own and other’s role definition. Because of its abstraction the studio leaves to the MAN – and also to the viewer – the possibility to have his own thoughts.
REFERENCE TO THE MEDIA LANDSCAPE
In today’s life we do a whole lot of things to be distracted. We practice sport excessively, do shopping to buy things we don’t need, because the advertising subtly suggests that we urgently need to have it, or let TV formats empty of meaning live our life substitutionally, in order to deny any direct understanding or intuitive perception of our inner world.
We congest our senses with telenovelas, talk shows or action, disturb our thinking and our perception through mass medial sensory overload, drown ourselves with artificial state of minds from the TV and are proud about our inner distance.
Nearly every subject is turned into a show in the media: from partner seeking to the keeping of animals, cooking shows and marriage up to job seeking – everything is flattened to a multi medial produced show.
In MY DREAM or LONELINESS NEVER WALKS ALONE the show becomes the mirror of life that is directed by oneself and others, with regards to what is most effective for the viewing figures. Life is staging.
ABOUT THE MUSIC
The music to MY DREAM or LONELINESS NEVER WALKS ALONE developed spontaneously. Wolfram Kunkel is not only an actor (GRANDFATHER) but also a musician, one of the musicians who were one initiating factor for the “Schwabing riots” in 1962, when the police took action against street musicians who were peacefully playing music in the Leopold street, Munich/Germany.
Music is an important part in all the films of wtp international filmproduction. Music touches people where no picture or word can reach them. Therefore the director Roland Reber uses music in his films not only as a background but also as an autonomous component just as dialogue and picture.
During the preparation time Roland Reber had a particular picture in the head: at the funeral there was to be a solitary musician accompanying the procession at the gravel plant with „Amazing Grace“. When he met the actor and musician Wolfram Kunkel and saw all the instruments, which Wolfram Kunkel constructs himself, in his house he made a find.
Mira Gittner had edited a sequence of pictures, for the party at the end of the shootings, backgrounded with this music. Wolfram Kunkel then said, one could not have „Amazing Grace“ as a background for the whole film, he could record further songs. And that’s what he did.
The style of the drone, one accompanying tone which is continuously hold during the hole melody or a significant part of the music piece, is specially suited to the thoughts and memories of the MAN. Like the unconscious constantly accompanies us, the drone accompanies the main melody and creates a space of sound corresponding to the space of the thoughts.
SPECIAL ART WORK
MY DREAM or LONELINESS NEVER WALKS ALONE is set in the borderland between dream and being awake – as expressed in the first part of the title. On a personal level, awaking is something we do automatically every morning. While sleeping we plunge into ourselves and when we awake from the vanishing dream dimensions we arrive in our bed.
Occasionally we remember vivid sequences of happenings and scenes from our nightly expeditions. MY DREAM or LONELINESS NEVER WALKS ALONE plays with these different levels of consciousness.
On one hand there is the level of the dialogues between MAN and GODOT set realistically, on the other hand there is the level of the MAN’s thoughts about his life, shown in distorted pictures and show elements: life as the stage of a show, as a subjective and therefore distorted projection of our surrounding – the own inner theater. For example the talk show in the film has simultaneous screens. Like this the viewer can choose his own focus, which corresponds more to our actual perception than the fixed look onto a screen with a pre-selected focusing. Here the viewer can choose himself in which order and with what focus he wants to catch the situation, an interactive process.