Art work, light design
Steffen Neder works as a freelancer in the field of artwork and lightdesign. 2008 he met the team of wtp international for the first time. For the movie MY DREAM OR LONELINESS NEVER WALKS ALONE he was part of the crew for a couple of days on a temporary basis. In 2011 he was responsible for the light desin for the movie THE TRUTH OF LIE and also worked as camera assistant followed by ILLUSION (2013, art work and light design). During this shooting time (he appeared as an extra as well) he mentioned that a small speaking part some day in front of the camera would work for him. No sooner said than done: 2017 he received his first role in the movie TASTE OF LIFE (role: boy). A part from that he again was responsible for the art work and light design.
INTERVIEW WITH STEFFEN NEDER (art work, light design, role: boy)
It was your first time in front of a camera, how was that for you?
In the beginning during the preparation and the reading rehearsal I was a bit nervous. Surprisingly I started feeling very comfortable and confident later on set. That was not least thanks to the heartly familiarity with the director, my film partner and the rest of the crew. It was so much fun being a child again! Just doing it. Without any prejudice and having an open mind. Just playing – like a child. I never imagined it to be so hard. I’m used to physical and mental work on set but acting took that on an even higher level. I thank the whole team for that awesome experience!
How did your artwork and lighting design on that film look like?
Basically I have to say that I had a free hand in doing the lighting design what you only experience in few projects. I enjoy working with wtp a lot – in my opinion there should be much more productions like that.
Naturally there has been a preliminary talk. We talked about all the scenes that were planned until then. We discussed and determined a look concerning colours and lighting together. But this preliminary decisions were never to be set in stone, what helped the creative process. Since it’s the third film we worked on together, Mira and I knew that we would get along perfectly. And so we also did this time: Starting with a little fauxpas of mine. I didn’t remember the planned cue state in the Clock-Blowjob Scene and just started building it in my creative flow. Mira just let me do it. As we took a look at the arranged picture together Mira told me that she likes it even more than the one we planned before. That’s what I call „a wonderful non verbal teamwork“.
During the music video scene I decided to create three light isles. Guitarists, drums and „Beat me“. Besides I really liked Agnes‘ outstanding performance.
Furthermore we applied the colour red. In combination with the red rose petals, black leather outfits and white artificial light it resulted in a beautiful colour mix. It was clear from the beginning that we won’t have a truck full of lights available. Which can be difficult here and there but doesn’t make it impossible to create a great picture. My motto is: Make out the best and most beautiful out of what you got! Altogether I‘m very satisfied with the technical work on the film.
INTERVIEW WITH STEFFEN NEDER (art work and light design)
How was your light design for this film?
For the light, just as the story of the film there are 3 levels. In the reality scenes we tried to make it look normal, have a natural lightning. In the BAR it got wilder, more colorful and loud, as it is in nightlife. You can also see a stage with show lights.
Then, for the third level, one must add that we shot in an old brick-factory with beautiful, big, wide, dusty ways. This is more difficult to design, to let look good, because you have to walk very long ways. But I think we succeeded quite well. Thanks to good cooperation inside the technical crew and all the other divisions it worked out again. There were some very hard days but I think we did well, also regarding the structure. As the story was not clear from the beginning, also the look and concrete light was developed right before shooting the scene.
Obviously I also have indications I can refer to, and then I develop something just before falling asleep or during the night. Then I wake up in the morning thinking: “Yes, we could do it that way, that will surely look wicked. The finishing touch is then made in the team. I appreciate this. I hope it came across, that I am always willing to take propositions of any kind and at least try out and then make the best and most beautiful out of it with everyone involved.