{"id":16944,"date":"2019-04-17T20:36:00","date_gmt":"2019-04-17T18:36:00","guid":{"rendered":"https:\/\/www.dffb.de\/?p=16944"},"modified":"2019-04-18T13:23:46","modified_gmt":"2019-04-18T11:23:46","slug":"go-where-the-fear-is","status":"publish","type":"post","link":"https:\/\/www.dffb.de\/en\/go-where-the-fear-is\/","title":{"rendered":"\u201eGo where the fear is!\u201c"},"content":{"rendered":"

An inter\u00adview with Linus de Paoli (direc\u00adtor) and Anna de Paoli (pro\u00adduc\u00ader and Head of Pro\u00adduc\u00adtion Stud\u00adies at DFFB) by Tan\u00adja C. Krain\u00adh\u00f6fer<\/p>\n

\u2013 \u2013 \u2013 \u2013 \u2013<\/p>\n

With their col\u00adlec\u00adtive \u201cSchat\u00adtenkante\u201d they bring dar\u00ading cin\u00ade\u00adma from Ger\u00admany into the world. If need be, even with\u00adout sup\u00adport and sta\u00adtion help: Their new film A YOUNG MAN WITH HIGH POTENTIAL<\/a> is cur\u00adrent\u00adly shown in cin\u00ade\u00admas. Anna and Linus de Paoli have pro\u00adduced this fea\u00adture film past the usu\u00adal struc\u00adtures. An inter\u00adview about genre film and inde\u00adpen\u00addent film\u00admak\u00ading in Ger\u00admany in gen\u00ader\u00adal.<\/p>\n

 <\/p>\n

Though essen\u00adtial\u00adly a dra\u00adma  A YOUNG MAN WITH HIGH POTENTIAL is not shy when it comes to bor\u00adrow\u00ading Thriller- and Gore-Ele\u00adments. The film opened last week in Ger\u00adman the\u00adaters with four copies and a tour through sev\u00ader\u00adal cities. How did the audi\u00adence react to the sto\u00adry about the bril\u00adliant but timid pro\u00adtag\u00ado\u00adnist Piet and his prob\u00adlem\u00adat\u00adic rela\u00adtion\u00adships with women?<\/strong><\/h1>\n

Linus de Paoli (LdP): <\/strong>I was pos\u00adi\u00adtive\u00adly sur\u00adprised by how well the film was received by the audi\u00adence. There are always some walk\u00adouts at every screen\u00ading, which I under\u00adstand. Our sto\u00adry is hard to swal\u00adlow at times. Our best expe\u00adri\u00adence was when some peo\u00adple who walked out came back in lat\u00ader to see the end\u00ading and talk about the film any\u00adway. That is what intrigues me most about film\u00admak\u00ading: the dis\u00adcourse.<\/p>\n

 <\/p>\n

The fund\u00ading boards and TV net\u00adworks, on the oth\u00ader hand, were not enthu\u00adsi\u00adas\u00adtic about the project, so you put it togeth\u00ader as an entire\u00adly inde\u00adpen\u00addent pro\u00adduc\u00adtion. How do you explain that atti\u00adtude, since Net\u00adflix and oth\u00ader stream\u00ading por\u00adtals are chalk\u00ading up con\u00adsid\u00ader\u00adable suc\u00adcess, often with dark and edgy for\u00admats \u2013 espe\u00adcial\u00adly with younger audi\u00adences who don\u2019t often go to the movies?<\/strong><\/h1>\n

LdP: Unfor\u00adtu\u00adnate\u00adly, the net\u00adworks and fund\u00ading insti\u00adtutes are not as open-mind\u00aded and coura\u00adgeous as they like to think. Their sys\u00adtems are inflex\u00adi\u00adble and their under\u00adstand\u00ading of what is con\u00adsid\u00adered \u201ccul\u00adtur\u00adal\u00adly wor\u00adthy\u201d is lim\u00adit\u00aded. Our last film DER SAMURAI was reject\u00aded by the net\u00adwork because it didn\u2019t match the \u201cpub\u00adlic taste-guide\u00adlines\u201d. A YOUNG MAN WITH HIGH POTENTIAL was labeled \u201cmoral\u00adly ques\u00adtion\u00adable\u201d by the BKM. It\u2019s sad in this coun\u00adtry that the act of show\u00ading some\u00adthing is often mis\u00adtak\u00aden with pro\u00admot\u00ading some\u00adthing. For me, it starts to get inter\u00adest\u00ading when things get ambiva\u00adlent. Net\u00adflix and oth\u00ader por\u00adtals are not nec\u00ades\u00adsar\u00adi\u00adly wis\u00ader \u2013 but cer\u00adtain\u00adly more open.<\/p>\n

 <\/p>\n

Inde\u00adpen\u00addent pro\u00adduc\u00adtion not only rep\u00adre\u00adsents the free\u00addom to tell sto\u00adries beyond the main\u00adstream but also con\u00adsti\u00adtutes a seri\u00adous finan\u00adcial risk. In addi\u00adtion to defer\u00adments, spon\u00adsor\u00ading, pay\u00adments in kind and count\u00adless favors, you still had to come up with a cash bud\u00adget of 160, 000 EUR. How did you go about it and what oblig\u00ada\u00adtions came with it?<\/strong><\/h1>\n

Anna de Paoli (AdP)<\/strong>: After try\u00ading out all pos\u00adsi\u00adble financ\u00ading alter\u00adna\u00adtives, we con\u00adclud\u00aded: Every euro spent comes with cer\u00adtain con\u00addi\u00adtions, no mat\u00adter where it comes from. Our co-pro\u00adduc\u00adtion with Hahn Film AG had three major advan\u00adtages: all fund\u00ading came from the same source. It was imme\u00addi\u00adate\u00adly avail\u00adable when need\u00aded. And it guar\u00adan\u00adteed com\u00adplete artis\u00adtic free\u00addom. Our com\u00adpe\u00adtence was in deliv\u00ader\u00ading high pro\u00adduc\u00adtion val\u00adue on a shoe\u00adstring-bud\u00adget against cash flow. A win-win sit\u00adu\u00ada\u00adtion. But it\u2019s still true that both sides take full risk. And with\u00adout the ded\u00adi\u00adca\u00adtion and the will\u00ading\u00adness of our team, which was only paid min\u00adi\u00admum wage, the film would nev\u00ader have been made.<\/p>\n

 <\/p>\n

Freddy\/\u200bEddy pro\u00adduc\u00ader and direc\u00adtor Tini T\u00fcll\u00admann invest\u00aded 75,000 in her inde\u00adpen\u00addent film and could only recoup 50% from the\u00adatri\u00adcal release, DVD and VoD \u2013 although it had inter\u00adna\u00adtion\u00adal dis\u00adtri\u00adb\u00adu\u00adtion. How great are the chances that A YOUNG MAN WITH HIGH POTENTIAL will break even, or even make a prof\u00adit?<\/strong><\/h1>\n

AdP: <\/strong>Right now, we are still in the exploita\u00adtion phase. Our world sales com\u00adpa\u00adny Raven Ban\u00adner pro\u00advid\u00aded a best-case, mid-case and worst-case sce\u00adnario. But even the lat\u00adter promised break-even. We are cau\u00adtious\u00adly opti\u00admistic. The press can be very help\u00adful in pro\u00advid\u00ading wider pub\u00adlic aware\u00adness of what we stand for. Though we are total\u00adly over\u00adwhelmed by the audi\u00adence reac\u00adtion on our Ger\u00adman cin\u00ade\u00adma tour, we are not expect\u00ading it to gen\u00ader\u00adate much prof\u00adit and are hop\u00ading for a lucra\u00adtive BluRay\/\u200bDVD\/\u200bVoD start. Our Ger\u00adman dis\u00adtrib\u00adu\u00adtor For\u00adgot\u00adten Film is known for it\u2019s taste\u00adful \u201cfetish-edi\u00adtions\u201d with lots of extras. Nor do we share the opin\u00adion that phys\u00adi\u00adcal media is dying out. The increas\u00ading\u00adly-frag\u00adment\u00aded online mar\u00adket forces the con\u00adsumer into sub\u00adscrib\u00ading to mul\u00adti\u00adple stream\u00ading ser\u00advices and a nev\u00ader-end\u00ading scav\u00adenger hunt. The best way to guar\u00adan\u00adtee the per\u00adma\u00adnent avail\u00adabil\u00adi\u00adty of your favorite film is still to buy a disc \u2013 and prob\u00ada\u00adbly the cheap\u00adest too.<\/p>\n

 <\/p>\n

Many con\u00adtem\u00adpo\u00adrary Indie-direc\u00adtors and pro\u00adduc\u00aders of films like \u201cKLAPPE COWBOY!\u201d, \u201cFREDDY\/\u200bEDDY\u201d and \u201c\u00dcBERALL WO WIR SIND\u201d were unable to find a dis\u00adtrib\u00adu\u00adtor and end\u00aded up self-dis\u00adtrib\u00adut\u00ading their works. You were able to con\u00advince Salzge\u00adber and For\u00adgot\u00adten Film to dis\u00adtrib\u00adute your films \u2013 as well as Raven Ban\u00adner for world sales. How did this come about?<\/strong><\/h1>\n

AdP:<\/strong> I tricked Raven Ban\u00adner a lit\u00adtle in Cannes last year. They liked the film right away, but were afraid that it might scare buy\u00aders off. So, I turned the tables on them and told them to \u201cgo where the fear is\u201d. As a com\u00adpa\u00adny spe\u00adcial\u00adiz\u00ading in hor\u00adror and sus\u00adpense, they couldn\u2019t argue with that \u2013 and it was a con\u00advinc\u00ading argu\u00adment for sell\u00ading the film to the USA, Cana\u00adda and Great Britain, where its top\u00adics are espe\u00adcial\u00adly con\u00adtro\u00adver\u00adsial right now. For\u00adgot\u00adten Film shares our pas\u00adsion for cer\u00adtain films and fes\u00adti\u00advals like the \u201cTerza Visione\u201d. That cre\u00adat\u00aded trust right from the start. It\u2019s a spe\u00adcial hon\u00ador in itself when cinephiles decide to invest in your project. By the way, our first fea\u00adture film \u201cDR. KETEL\u201d was released with the sup\u00adport of the \u201cMoviemen\u00adto\u201d cin\u00ade\u00adma in Berlin. They ran the film for months and helped pro\u00admote it nation\u00adwide, mak\u00ading it eas\u00adi\u00ader for us to orga\u00adnize a Ger\u00adman cin\u00ade\u00adma tour our\u00adselves. It was then that we dis\u00adcov\u00adered the incred\u00adi\u00adble val\u00adue of hav\u00ading con\u00adtact to pas\u00adsion\u00adate cin\u00ade\u00adma cura\u00adtors \/\u200b oper\u00ada\u00adtors. They know their audi\u00adence real\u00adly well. We wouldn\u2019t want to have missed the expe\u00adri\u00adence of this the\u00adatri\u00adcal, par\u00adtial-self-dis\u00adtri\u00adb\u00adu\u00adtion.<\/p>\n

 <\/p>\n

Your sto\u00adry takes place at a pan-Euro\u00adpean elite cam\u00adpus, where dif\u00adfer\u00adent nation\u00adal\u00adi\u00adties come togeth\u00ader and com\u00admu\u00adni\u00adcate in Eng\u00adlish. So, you could cast actors from sev\u00ader\u00adal coun\u00adtries. What role did mar\u00adket\u00ading strate\u00adgies play in that deci\u00adsion?<\/strong><\/h1>\n

LdP:<\/strong> None. But the lan\u00adguage gave us an advan\u00adtage in sell\u00ading the film to Eng\u00adlish speak\u00ading ter\u00adri\u00adto\u00adries. The deci\u00adsion is pure\u00adly con\u00adtent-relat\u00aded. In our present world, Eng\u00adlish has become a uni\u00adver\u00adsal lan\u00adguage \u2013 espe\u00adcial\u00adly online. So, I want\u00aded to take the idea one step fur\u00adther: The Euro\u00adpean Union has merged into one giant coun\u00adtry. All that remains of the for\u00admer nation\u00adal\u00adi\u00adties is dif\u00adfer\u00adent accents. I have an ambiva\u00adlent point of view towards that, too. On one hand, a fan\u00adtas\u00adtic utopia, to which we\u2019ve nev\u00ader been clos\u00ader his\u00adtor\u00adi\u00adcal\u00adly. One the oth\u00ader, what\u00adev\u00ader great advan\u00adtages and pos\u00adsi\u00adbil\u00adi\u00adties this open\u00ading has, it won\u2019t pro\u00adtect indi\u00advid\u00adu\u00adals from iso\u00adla\u00adtion. And even this world seems to have pret\u00adty tough exter\u00adnal bor\u00adders.<\/p>\n

 <\/p>\n

After its world pre\u00admiere at the Munich Inter\u00adna\u00adtion\u00adal Film Fes\u00adti\u00adval last sum\u00admer, the film had an exten\u00adsive, inter\u00adna\u00adtion\u00adal fes\u00adti\u00adval run. Did you fol\u00adlow a fes\u00adti\u00adval strat\u00ade\u00adgy that was also part of a recoup\u00adment con\u00adcept? For exam\u00adple. through screen\u00ading fees or prize mon\u00adey?<\/strong><\/h1>\n

AdP:<\/strong> With fes\u00adti\u00advals we fol\u00adlow a strat\u00ade\u00adgy, yes. But it\u2019s a cal\u00adcu\u00adla\u00adtion with sev\u00ader\u00adal unknowns. The fact that we won a Ger\u00adman Cin\u00ade\u00adma New Tal\u00adent Award in Munich cre\u00adat\u00aded great ener\u00adgy and pre\u00advent\u00aded the film from being labeled as \u201cdirty\u201d. Hope\u00adful\u00adly, our ultra-sen\u00adsi\u00adtive insti\u00adtu\u00adtions will begin to under\u00adstand, that a film may raise moral ques\u00adtions and chal\u00adlenge pub\u00adlic dis\u00adcourse. But back to your ques\u00adtion. Yes, screen\u00ading fees can con\u00adtribute towards recoup\u00adment of distributor\u2019s and sales agent\u2019s invest\u00adment \u2013 and in the long run even pay off for us, because we nego\u00adti\u00adat\u00aded a cor\u00adri\u00addor for the pro\u00adduc\u00aders. We are well-con\u00adnect\u00aded to the fan\u00adta\u00adsy film fes\u00adti\u00adval cir\u00adcuit. A rather friend\u00adly and pas\u00adsion\u00adate part of the scene and mar\u00adket, with close ties and bet\u00adter chances of mak\u00ading fair deals on an equal foot\u00ading \u2013 at least from our expe\u00adri\u00adence. Hope\u00adful\u00adly, the rest of the indus\u00adtry will soon real\u00adize that exploit\u00ading cre\u00adatives has got to stop.<\/p>\n

 <\/p>\n

At the last edi\u00adtion of Munch\u00adn\u00ader Medi\u00aden\u00adtag, Simon Amberg\u00ader and Kobin\u00adian Dufter of Neue\u00adsu\u00adper described the big play\u00aders, Ama\u00adzon, Net\u00adflix & co. as an unbe\u00adliev\u00adable chance. Although more than 90 per\u00adcent of all pro\u00adduc\u00adtions are still ini\u00adti\u00adat\u00aded with\u00adout VOD-plat\u00adforms, their enor\u00admous influ\u00adence on esthet\u00adics and sto\u00adry\u00adtelling is evi\u00addent. And they offer the young gen\u00ader\u00ada\u00adtion of film\u00admak\u00aders a chance to par\u00adtic\u00adi\u00adpate in shap\u00ading the cin\u00ade\u00admat\u00adic world. Do you share that per\u00adcep\u00adtion?<\/strong><\/h1>\n

LdP: <\/strong>Yes and no. I see stream\u00ading ser\u00advices just as ambiva\u00adlent as tele\u00advi\u00adsion. They are pri\u00admar\u00adi\u00adly just anoth\u00ader form for pre\u00adsent\u00ading audio\u00advi\u00adsu\u00adal prod\u00aducts. For ser\u00adi\u00adal for\u00admats, it seems to be ide\u00adal, because con\u00adsumers can get exact\u00adly what they want, when they want and as much of it as they want. This offers incred\u00adi\u00adble chances, because the demand is high. And plat\u00adforms like Net\u00adflix can also become enablers for dar\u00ading fea\u00adture films. Roma<\/em> is an inter\u00adest\u00ading exam\u00adple. But they can nev\u00ader replace, and should nev\u00ader be mis\u00adtak\u00aden for, the expe\u00adri\u00adence of going to a real cin\u00ade\u00adma. Time will tell how their influ\u00adence on esthet\u00adics and sto\u00adry\u00adtelling will change in the long run.<\/p>\n

AdP: <\/strong>Not all that glit\u00adters is gold \u2013 also for a pro\u00adduc\u00ader. Stream\u00ading ser\u00advices have high expec\u00adta\u00adtions of pro\u00adduc\u00adtion val\u00adue for often com\u00adpar\u00ada\u00adtive\u00adly low bud\u00adgets with immense con\u00adtrol\u00adling expens\u00ades. Cre\u00adatives are exclu\u00adsive\u00adly bound to projects for long peri\u00adods of time and have to work very hard on their own projects \u2013 or as guns for hire. New chances for artis\u00adtic free\u00addom can only arise, when we stop chas\u00ading after gold all the time. We also have to strength\u00aden inde\u00adpen\u00addent, sus\u00adtain\u00adable pro\u00adduc\u00adtion struc\u00adtures.<\/p>\n

 <\/p>\n

In the past, a lot of inde\u00adpen\u00addent films were able to prof\u00adit from the new play\u00aders through Amazon\u2019s Fes\u00adti\u00adval Stars pro\u00adgram and Net\u00adflix\u2019 inter\u00adest in Berlin-based films. Do you think this will cre\u00adate promis\u00ading options in the long run \u2013 also con\u00adsid\u00ader\u00ading the grow\u00ading hunger for con\u00adtent of such oth\u00ader plat\u00adforms as Mag\u00adne\u00adta or Max\u00addome?<\/strong><\/h1>\n

LdP: <\/b>I can only spec\u00adu\u00adlate. I guess com\u00adpe\u00adti\u00adtion among the big play\u00aders will increase and ulti\u00admate\u00adly start a con\u00adtent war. Spe\u00adcial-inter\u00adest con\u00adtent and niche films might become a cru\u00adcial fac\u00adtor when it comes to con\u00adsumers decid\u00ading which sub\u00adscrip\u00adtions, they are will\u00ading to pay for. But maybe not. I could also imag\u00adine that self-pub\u00adlish\u00ading\/dis\u00adtri\u00adb\u00adu\u00adtion will become more pop\u00adu\u00adlar and offer a lucra\u00adtive way around the typ\u00adi\u00adcal exploita\u00adtion chains. Espe\u00adcial\u00adly among inde\u00adpen\u00addent film\u00admak\u00aders, I can sense grow\u00ading frus\u00adtra\u00adtion with the non-trans\u00adpar\u00adent and waste\u00adful way dis\u00adtrib\u00adu\u00adtors and sales com\u00adpa\u00adnies often oper\u00adate. Many believe that they could do a bet\u00adter job in pro\u00admot\u00ading and dis\u00adtrib\u00adut\u00ading their films than the estab\u00adlished com\u00adpa\u00adnies, which also seem to lag behind the Zeit\u00adgeist.<\/p>\n

 <\/p>\n

In addi\u00adtion to film school grad\u00adu\u00ada\u00adtion projects, there seem to be ever more inde\u00adpen\u00addent films being made in Ger\u00admany. Do you think that there is a Ger\u00adman indie-scene emerg\u00ading that is estab\u00adlish\u00ading itself sep\u00ada\u00adrate\u00adly from the exist\u00ading film indus\u00adtry?<\/strong><\/h1>\n

LdP:  <\/b>Even with all the prob\u00adlems and com\u00adplaints we have, it is still a lot eas\u00adi\u00ader and cheap\u00ader to get a film project going than in the days of cel\u00adlu\u00adloid. And that is a great thing. Nonethe\u00adless, inde\u00adpen\u00addent film pro\u00adduc\u00adtion is self-exploita\u00adtion and very risky. You can do it for a few projects, but you need a lot of endurance and at some point, mon\u00adey to estab\u00adlish your\u00adself. Pri\u00advate investors or stream\u00ading ser\u00advices could be help\u00adful for projects with appeal beyond the Ger\u00adman mar\u00adket. But right now, the Ger\u00adman indie-film is nei\u00adther strik\u00ading nor com\u00adpelling enough. I\u2019m doing my best!<\/p>\n

 <\/p>\n

The wish for more film cul\u00adture and diver\u00adsi\u00adty is also one of the key demands of sev\u00ader\u00adal move\u00adments like the \u201cFrank\u00adfurt Posi\u00adtions Towards the Future of Ger\u00adman Cin\u00ade\u00adma\u201d, or the recent\u00adly found\u00aded \u201cMain Asso\u00adci\u00ada\u00adtion Cinephil\u00adia\u201d. In your opin\u00adion, what mea\u00adsures would be nec\u00ades\u00adsary to reach that goal?<\/strong><\/h1>\n

AdP: <\/b>It is most impor\u00adtant that the wish for change over\u00adcomes the fear of change. Fort two years, we have par\u00adtic\u00adi\u00adpat\u00aded and wit\u00adnessed pas\u00adsion\u00adate dis\u00adcus\u00adsions, where every\u00adbody in the room was on the same page until a \u201chigh\u00ader author\u00adi\u00adty\u201d inter\u00advened \u2013 be it one\u2019s own asso\u00adci\u00ada\u00adtion, a network\u2019s com\u00admis\u00adsion of edi\u00adtors, or oth\u00ader anx\u00adious col\u00adleagues. Wor\u00adried about their pro\u00adfes\u00adsion\u00adal exis\u00adtence, many film\u00admak\u00aders retreat\u00aded from their posi\u00adtions. But stick\u00ading our heads in the sand is no option. Die \u201cFrank\u00adfurt Posi\u00adtions\u201d give spe\u00adcif\u00adic ideas about pos\u00adsi\u00adble mea\u00adsures. \u201d With this, every\u00adthing is said! \u201c was Jea\u00adnine Meerapfel\u2019s (pres\u00adi\u00addent of the Acad\u00ade\u00admy of Arts) sum\u00admery at the pan\u00adel \u201cCul\u00adtur\u00adal Film Fund\u00ading Now!\u201d on 5th<\/sup> Feb\u00adru\u00adary, 2019. One year after the \u201cFrank\u00adfurt Posi\u00adtions\u201d were pub\u00adlished, it is a major goal to plan defin\u00adi\u00adtive steps. We\u2019re work\u00ading on it at this year\u2018s edi\u00adtion of Lichter Film\u00adfest, but also on the first con\u00adfer\u00adence of the \u201cMain Asso\u00adci\u00ada\u00adtion Cinephil\u00adia\u201d along\u00adside \u201cPro Quo\u00adta Film\u201d, many fes\u00adti\u00adval pro\u00adgram\u00admers and oth\u00ader allies. We should know more after East\u00ader.<\/p>\n

 <\/p>\n

Indie-pro\u00adduc\u00adtions often have a hard time when it comes to exploita\u00adtion. What pos\u00adsi\u00adble options do you see to sup\u00adport small\u00ader pro\u00adduc\u00adtions?<\/strong><\/h1>\n

AdP: <\/strong>That\u2019s a big field. The sep\u00ada\u00adra\u00adtion of pro\u00adduc\u00adtion fund\u00ading from dis\u00adtri\u00adb\u00adu\u00adtion fund\u00ading is anoth\u00ader demand in the \u201cFrank\u00adfurt Posi\u00adtions\u201d. The com\u00adplex\u00adi\u00adty of the admin\u00adis\u00adtra\u00adtion involved in han\u00addling fund\u00ading also needs to be revis\u00adit\u00aded and sim\u00adpli\u00adfied. Oth\u00ader\u00adwise indie-pro\u00adduc\u00adtions are not able to han\u00addle it. Anoth\u00ader prob\u00adlem: The tra\u00addi\u00adtion\u00adal exploita\u00adtion win\u00addows require cost-inten\u00adsive mar\u00adket\u00ading. Judg\u00ading from the behav\u00adior of our own con\u00adsumers, we believe that films would prof\u00adit from imme\u00addi\u00adate avail\u00adabil\u00adi\u00adty in all pos\u00adsi\u00adble forms. Here, we agree with Net\u00adflix. Word-of-mouth rec\u00adom\u00admen\u00adda\u00adtion could cre\u00adate a big\u00adger buzz \u2013 and even draw peo\u00adple into the cin\u00ade\u00admas. There is a lot of poten\u00adtial in syn\u00ader\u00adgy effects that has not so far been used so far and that could pos\u00adsi\u00adbly inspire and boost cin\u00ade\u00adma atten\u00addance. What else? Fes\u00adti\u00advals that take action and present small\u00ader films in their own DVD\/\u200bVOD edi\u00adtions. Pre\u00adsent\u00ading a film at a mar\u00adket should be eas\u00adi\u00ader and cheap\u00ader. We con\u00adstant\u00adly main\u00adtain a world\u00adwide net\u00adwork of film\u00admak\u00aders and con\u00adduct con\u00adtin\u00adu\u00adous exchange on our expe\u00adri\u00adences. Mean\u00adwhile, we\u2019ve gath\u00adered some exper\u00adtise on dis\u00adtri\u00adb\u00adu\u00adtion and can help each oth\u00ader out. Togeth\u00ader we are strong.<\/p>\n

 <\/p>\n

You are cou\u00adple and soon expect\u00ading your third child. Could you tell me your secret on how to feed a kid from defer\u00adrals?<\/strong><\/h1>\n

LdP: <\/b>Well, you don\u2019t. We both have oth\u00ader jobs that pay the rent and give us some secu\u00adri\u00adty, so that every oth\u00ader year we can \u201cafford\u201d to real\u00adize a project. Anna works for the Ger\u00adman film- and tele\u00advi\u00adsion Acad\u00ade\u00admy (DFFB) as head of pro\u00adduc\u00adtion stud\u00adies. I\u2019m a free\u00adlance com\u00adpos\u00ader and part of the selec\u00adtion com\u00admit\u00adtee of the Per\u00adspec\u00adtive Ger\u00adman Cin\u00ade\u00adma sec\u00adtion at the Berli\u00adnale. Our friends in the indie-scene call us \u201cbou\u00adtique\u201d film\u00admak\u00aders. I con\u00adsid\u00ader that a com\u00adpli\u00adment. If we put the cam\u00adera on the tri\u00adpod, it\u2019s only out of an urge to cre\u00adate some\u00adthing spe\u00adcial. To quote Anna: There is enough audio\u00advi\u00adsu\u00adal crap in the world. We don\u2019t need to con\u00adtribute to the pile.<\/p>\n

 <\/p>\n

Do you con\u00adsid\u00ader your\u00adself a direc\u00adtor-pro\u00adduc\u00ader-duo?<\/strong><\/h1>\n

AdP: <\/b>Absolute\u00adly. We met at film school (also DFFB) where Linus stud\u00adied direct\u00ading and I stud\u00adied pro\u00adduc\u00adtion. We\u2019ve been work\u00ading togeth\u00ader since 2005 as the col\u00adlec\u00adtive Schat\u00adtenkante, which then became our pro\u00adduc\u00adtion com\u00adpa\u00adny. A YOUNG MAN WITH HIGH POTENTIAL<\/em> is our third fea\u00adture and Linus\u2019 sec\u00adond fea\u00adture-length work as a direc\u00adtor.<\/p>\n

 <\/p>\n

What\u2019s next for you? Are you already plan\u00adning a new project?<\/strong><\/h1>\n

LdP: <\/strong>As I men\u00adtioned ear\u00adli\u00ader, our next child is due in May. That\u2019s a project alright. But I am also devel\u00adop\u00ading two projects on the side. One of the is a hor\u00adror-film with the work\u00ading title Kruste<\/em>(Crust). The oth\u00ader, a los\u00ader-bal\u00adlade in the form of a com\u00ade\u00addy, called Florow<\/em>.<\/p>\n

AdP:<\/strong> We\u2019ve invest\u00aded the prize mon\u00adey from Munich for an ini\u00adtia\u00adtive called \u201cFilm macht Schule<\/a>\u201d (lit\u00ader\u00adal\u00adly: film makes school). Film\u00admak\u00aders, pre\u00addom\u00adi\u00adnant\u00adly female, meet with stu\u00addents in work\u00adshops and are free to cre\u00adate con\u00adcepts. It\u2019s all about encoun\u00adters to help light a spark of cinephil\u00adia to ignite some\u00adthing in the new gen\u00ader\u00ada\u00adtion.<\/p>\n","protected":false},"excerpt":{"rendered":"

An inter\u00adview with Linus de Paoli (direc\u00adtor) and Anna de Paoli (pro\u00adduc\u00ader and Head of Pro\u00adduc\u00adtion Stud\u00adies at DFFB) by Tan\u00adja C. Krain\u00adh\u00f6fer \u2013 \u2013 \u2013 \u2013 \u2013 With their col\u00adlec\u00adtive \u201cSchat\u00adtenkante\u201d they bring dar\u00ading cin\u00ade\u00adma from Ger\u00admany into the world. If need be, even with\u00adout sup\u00adport and sta\u00adtion help: Their new film A YOUNG MAN [\u2026]<\/p>\n","protected":false},"author":23,"featured_media":16947,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"wp_typography_post_enhancements_disabled":false,"footnotes":""},"categories":[82],"tags":[],"class_list":["post-16944","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-journal-en"],"acf":[],"yoast_head":"\n\u201eGo where the fear is!\u201c - DFFB<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.dffb.de\/en\/go-where-the-fear-is\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201eGo where the fear is!\u201c - DFFB\" \/>\n<meta property=\"og:description\" content=\"An inter\u00adview with Linus de Paoli (direc\u00adtor) and Anna de Paoli (pro\u00adduc\u00ader and Head of Pro\u00adduc\u00adtion Stud\u00adies at DFFB) by Tan\u00adja C. Krain\u00adh\u00f6fer \u2013 \u2013 \u2013 \u2013 \u2013 With their col\u00adlec\u00adtive \u201cSchat\u00adtenkante\u201d they bring dar\u00ading cin\u00ade\u00adma from Ger\u00admany into the world. If need be, even with\u00adout sup\u00adport and sta\u00adtion help: Their new film A YOUNG MAN […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.dffb.de\/en\/go-where-the-fear-is\/\" \/>\n<meta property=\"og:site_name\" content=\"DFFB\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/deutschefilmundfernsehakademieberlin\/\" \/>\n<meta property=\"article:published_time\" content=\"2019-04-17T18:36:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2019-04-18T11:23:46+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.dffb.de\/wp-content\/uploads\/2019\/04\/Bildschirmfoto-2019-04-16-um-15.20.12.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1318\" \/>\n\t<meta property=\"og:image:height\" content=\"1428\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"content_manager_nh\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"content_manager_nh\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"13 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.dffb.de\/en\/go-where-the-fear-is\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.dffb.de\/en\/go-where-the-fear-is\/\"},\"author\":{\"name\":\"content_manager_nh\",\"@id\":\"https:\/\/www.dffb.de\/#\/schema\/person\/4e00b8c012433f9061df7fdce7267167\"},\"headline\":\"\u201eGo where the fear is!\u201c\",\"datePublished\":\"2019-04-17T18:36:00+00:00\",\"dateModified\":\"2019-04-18T11:23:46+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.dffb.de\/en\/go-where-the-fear-is\/\"},\"wordCount\":2663,\"publisher\":{\"@id\":\"https:\/\/www.dffb.de\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.dffb.de\/en\/go-where-the-fear-is\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.dffb.de\/wp-content\/uploads\/2019\/04\/Bildschirmfoto-2019-04-16-um-15.20.12.png\",\"articleSection\":[\"Journal\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.dffb.de\/en\/go-where-the-fear-is\/\",\"url\":\"https:\/\/www.dffb.de\/en\/go-where-the-fear-is\/\",\"name\":\"\u201eGo where the fear is!\u201c - DFFB\",\"isPartOf\":{\"@id\":\"https:\/\/www.dffb.de\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.dffb.de\/en\/go-where-the-fear-is\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.dffb.de\/en\/go-where-the-fear-is\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.dffb.de\/wp-content\/uploads\/2019\/04\/Bildschirmfoto-2019-04-16-um-15.20.12.png\",\"datePublished\":\"2019-04-17T18:36:00+00:00\",\"dateModified\":\"2019-04-18T11:23:46+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/www.dffb.de\/en\/go-where-the-fear-is\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.dffb.de\/en\/go-where-the-fear-is\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.dffb.de\/en\/go-where-the-fear-is\/#primaryimage\",\"url\":\"https:\/\/www.dffb.de\/wp-content\/uploads\/2019\/04\/Bildschirmfoto-2019-04-16-um-15.20.12.png\",\"contentUrl\":\"https:\/\/www.dffb.de\/wp-content\/uploads\/2019\/04\/Bildschirmfoto-2019-04-16-um-15.20.12.png\",\"width\":1318,\"height\":1428},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.dffb.de\/en\/go-where-the-fear-is\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Startseite\",\"item\":\"https:\/\/www.dffb.de\/en\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"\u201eGo where the fear is!\u201c\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.dffb.de\/#website\",\"url\":\"https:\/\/www.dffb.de\/\",\"name\":\"DFFB\",\"description\":\"Deutsche Film- und Fernsehakademie Berlin\",\"publisher\":{\"@id\":\"https:\/\/www.dffb.de\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.dffb.de\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.dffb.de\/#organization\",\"name\":\"Deutsche Film- und Fernsehakademie Berlin\",\"url\":\"https:\/\/www.dffb.de\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.dffb.de\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.dffb.de\/wp-content\/uploads\/2018\/11\/DFFB-LOGO-RGB-SCHWARZ-ab-40mm.jpg\",\"contentUrl\":\"https:\/\/www.dffb.de\/wp-content\/uploads\/2018\/11\/DFFB-LOGO-RGB-SCHWARZ-ab-40mm.jpg\",\"width\":3000,\"height\":982,\"caption\":\"Deutsche Film- und Fernsehakademie Berlin\"},\"image\":{\"@id\":\"https:\/\/www.dffb.de\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/deutschefilmundfernsehakademieberlin\/\",\"https:\/\/www.instagram.com\/dffb_berlin_filmschool\/\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/www.dffb.de\/#\/schema\/person\/4e00b8c012433f9061df7fdce7267167\",\"name\":\"content_manager_nh\",\"url\":\"https:\/\/www.dffb.de\/en\/author\/content_manager_nh\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"\u201eGo where the fear is!\u201c - DFFB","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.dffb.de\/en\/go-where-the-fear-is\/","og_locale":"en_US","og_type":"article","og_title":"\u201eGo where the fear is!\u201c - DFFB","og_description":"An inter\u00adview with Linus de Paoli (direc\u00adtor) and Anna de Paoli (pro\u00adduc\u00ader and Head of Pro\u00adduc\u00adtion Stud\u00adies at DFFB) by Tan\u00adja C. Krain\u00adh\u00f6fer \u2013 \u2013 \u2013 \u2013 \u2013 With their col\u00adlec\u00adtive \u201cSchat\u00adtenkante\u201d they bring dar\u00ading cin\u00ade\u00adma from Ger\u00admany into the world. If need be, even with\u00adout sup\u00adport and sta\u00adtion help: Their new film A YOUNG MAN […]","og_url":"https:\/\/www.dffb.de\/en\/go-where-the-fear-is\/","og_site_name":"DFFB","article_publisher":"https:\/\/www.facebook.com\/deutschefilmundfernsehakademieberlin\/","article_published_time":"2019-04-17T18:36:00+00:00","article_modified_time":"2019-04-18T11:23:46+00:00","og_image":[{"width":1318,"height":1428,"url":"https:\/\/www.dffb.de\/wp-content\/uploads\/2019\/04\/Bildschirmfoto-2019-04-16-um-15.20.12.png","type":"image\/png"}],"author":"content_manager_nh","twitter_card":"summary_large_image","twitter_misc":{"Written by":"content_manager_nh","Est. reading time":"13 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.dffb.de\/en\/go-where-the-fear-is\/#article","isPartOf":{"@id":"https:\/\/www.dffb.de\/en\/go-where-the-fear-is\/"},"author":{"name":"content_manager_nh","@id":"https:\/\/www.dffb.de\/#\/schema\/person\/4e00b8c012433f9061df7fdce7267167"},"headline":"\u201eGo where the fear is!\u201c","datePublished":"2019-04-17T18:36:00+00:00","dateModified":"2019-04-18T11:23:46+00:00","mainEntityOfPage":{"@id":"https:\/\/www.dffb.de\/en\/go-where-the-fear-is\/"},"wordCount":2663,"publisher":{"@id":"https:\/\/www.dffb.de\/#organization"},"image":{"@id":"https:\/\/www.dffb.de\/en\/go-where-the-fear-is\/#primaryimage"},"thumbnailUrl":"https:\/\/www.dffb.de\/wp-content\/uploads\/2019\/04\/Bildschirmfoto-2019-04-16-um-15.20.12.png","articleSection":["Journal"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.dffb.de\/en\/go-where-the-fear-is\/","url":"https:\/\/www.dffb.de\/en\/go-where-the-fear-is\/","name":"\u201eGo where the fear is!\u201c - DFFB","isPartOf":{"@id":"https:\/\/www.dffb.de\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.dffb.de\/en\/go-where-the-fear-is\/#primaryimage"},"image":{"@id":"https:\/\/www.dffb.de\/en\/go-where-the-fear-is\/#primaryimage"},"thumbnailUrl":"https:\/\/www.dffb.de\/wp-content\/uploads\/2019\/04\/Bildschirmfoto-2019-04-16-um-15.20.12.png","datePublished":"2019-04-17T18:36:00+00:00","dateModified":"2019-04-18T11:23:46+00:00","breadcrumb":{"@id":"https:\/\/www.dffb.de\/en\/go-where-the-fear-is\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.dffb.de\/en\/go-where-the-fear-is\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.dffb.de\/en\/go-where-the-fear-is\/#primaryimage","url":"https:\/\/www.dffb.de\/wp-content\/uploads\/2019\/04\/Bildschirmfoto-2019-04-16-um-15.20.12.png","contentUrl":"https:\/\/www.dffb.de\/wp-content\/uploads\/2019\/04\/Bildschirmfoto-2019-04-16-um-15.20.12.png","width":1318,"height":1428},{"@type":"BreadcrumbList","@id":"https:\/\/www.dffb.de\/en\/go-where-the-fear-is\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Startseite","item":"https:\/\/www.dffb.de\/en\/"},{"@type":"ListItem","position":2,"name":"\u201eGo where the fear is!\u201c"}]},{"@type":"WebSite","@id":"https:\/\/www.dffb.de\/#website","url":"https:\/\/www.dffb.de\/","name":"DFFB","description":"Deutsche Film- und Fernsehakademie Berlin","publisher":{"@id":"https:\/\/www.dffb.de\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.dffb.de\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.dffb.de\/#organization","name":"Deutsche Film- und Fernsehakademie Berlin","url":"https:\/\/www.dffb.de\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.dffb.de\/#\/schema\/logo\/image\/","url":"https:\/\/www.dffb.de\/wp-content\/uploads\/2018\/11\/DFFB-LOGO-RGB-SCHWARZ-ab-40mm.jpg","contentUrl":"https:\/\/www.dffb.de\/wp-content\/uploads\/2018\/11\/DFFB-LOGO-RGB-SCHWARZ-ab-40mm.jpg","width":3000,"height":982,"caption":"Deutsche Film- und Fernsehakademie Berlin"},"image":{"@id":"https:\/\/www.dffb.de\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/deutschefilmundfernsehakademieberlin\/","https:\/\/www.instagram.com\/dffb_berlin_filmschool\/"]},{"@type":"Person","@id":"https:\/\/www.dffb.de\/#\/schema\/person\/4e00b8c012433f9061df7fdce7267167","name":"content_manager_nh","url":"https:\/\/www.dffb.de\/en\/author\/content_manager_nh\/"}]}},"_links":{"self":[{"href":"https:\/\/www.dffb.de\/en\/wp-json\/wp\/v2\/posts\/16944","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.dffb.de\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.dffb.de\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.dffb.de\/en\/wp-json\/wp\/v2\/users\/23"}],"replies":[{"embeddable":true,"href":"https:\/\/www.dffb.de\/en\/wp-json\/wp\/v2\/comments?post=16944"}],"version-history":[{"count":0,"href":"https:\/\/www.dffb.de\/en\/wp-json\/wp\/v2\/posts\/16944\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.dffb.de\/en\/wp-json\/wp\/v2\/media\/16947"}],"wp:attachment":[{"href":"https:\/\/www.dffb.de\/en\/wp-json\/wp\/v2\/media?parent=16944"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.dffb.de\/en\/wp-json\/wp\/v2\/categories?post=16944"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.dffb.de\/en\/wp-json\/wp\/v2\/tags?post=16944"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}