{"id":3593,"date":"2018-03-15T14:30:44","date_gmt":"2018-03-15T13:30:44","guid":{"rendered":"https:\/\/www.dffb.de\/?p=3593"},"modified":"2018-11-21T13:50:51","modified_gmt":"2018-11-21T12:50:51","slug":"filmsparks-50-years-dffb-jessica-hausner-speech-at-dffb","status":"publish","type":"post","link":"https:\/\/www.dffb.de\/en\/filmsparks-50-years-dffb-jessica-hausner-speech-at-dffb\/","title":{"rendered":"Filmsparks \u2014 50 Years DFFB: Jes\u00adsi\u00adca Haus\u00adner \u2014 Speech at DFFB"},"content":{"rendered":"

Dear grad\u00adu\u00adates, I would like to start by say\u00ading that I nev\u00ader com\u00adplet\u00aded my stud\u00adies. In fact, the time I spent study\u00ading was\u00adn\u2019t even very hap\u00adpy. But despite all that, I became a film\u00admak\u00ader and, today, I would like to explain how that came to be.<\/span><\/p>\n

It start\u00aded when I applied to the direc\u00adtor pro\u00adgramme at Fil\u00admakademie Wien (Film Acad\u00ade\u00admy Vien\u00adna), but I was encour\u00adaged to join the edi\u00adtor pro\u00adgramme due to my appear\u00adance and due to my sex, which made them think edit\u00ading was a bet\u00adter fit for me. And so I joined the edi\u00adtor and<\/i> direc\u00adtor pro\u00adgrammes, and was bad in both. I think a lot has changed since then, even in Vien\u00adna. But back then, I found myself in an envi\u00adron\u00adment that was full of non-artis\u00adtic teach\u00aders and tech\u00adni\u00adcians, who were gen\u00ader\u00adal\u00adly con\u00advinced that a young woman could not han\u00addle the job. I should add, how\u00adev\u00ader, that I was fresh out of school at St. Ursu\u00adla and 19 years old when I joined the Fil\u00admakademie. My face turned red when\u00adev\u00ader I had to say some\u00adthing out loud, and even I had the feel\u00ading that I did\u00adn\u2019t belong there. In addi\u00adtion, my pro\u00adfes\u00adsor of film direct\u00ading told me that it would be bet\u00adter to get mar\u00adried than to end up like all the unsuc\u00adcess\u00adful film direct\u00ading stu\u00addents who nev\u00ader became prop\u00ader direc\u00adtors. I should also men\u00adtion, that back in the mid 1990s, there was\u00adn\u2019t much hap\u00adpen\u00ading in the film sec\u00adtor in Vien\u00adna. Most went to tele\u00advi\u00adsion. So why should I of all peo\u00adple be able make it? The odds were real\u00adly stacked against me.<\/span><\/p>\n

Back then, my main prob\u00adlem was that I could\u00adn\u2019t accept the tasks that were giv\u00aden to us as stu\u00addents. No mat\u00adter how hard I tried, I could\u00adn\u2019t see any sense in film\u00ading a chase scene and a work\u00adplace sce\u00adnario. When\u00adev\u00ader there is a chase scene in a film, I always think of some\u00adthing else because they sel\u00addom inter\u00adest me and I nev\u00ader know who is chas\u00ading who. I have a bad sense of direc\u00adtion. When\u00adev\u00ader I go to the restroom at a restau\u00adrant, I usu\u00adal\u00adly can\u2019t find my way back. I\u2019ll end up in the kitchen or leave the restau\u00adrant through the emer\u00adgency exit.<\/span><\/p>\n

The films we analysed were Amer\u00adi\u00adcan genre films, all filmed by men. I could\u00adn\u2019t relate. I loved films that were mys\u00adte\u00adri\u00adous and sur\u00adre\u00adal. Maya Deren, for exam\u00adple, or Bu\u00f1uel. And I was inter\u00adest\u00aded in style and aes\u00adthet\u00adics. In cin\u00ade\u00admat\u00adic lan\u00adguage. But I was appar\u00adent\u00adly look\u00ading for a lan\u00adguage that was not spo\u00adken or taught at the film acad\u00ade\u00admy. We were sup\u00adposed to learn the so-called rules first \u2013 before we were allowed to break them. It\u2019s an idea that I still find ridicu\u00adlous, because who is it that defines the rules? Syd Field? Why him? Because we grew up with these films? Who says that cin\u00ade\u00admat\u00adic lan\u00adguage can\u2019t be total\u00adly dif\u00adfer\u00adent? Maya Deren, of course, was only dealt with mar\u00adgin\u00adal\u00adly in an option\u00adal class. But those were the only films through which I was able to under\u00adstand how edit\u00ading works.<\/span><\/p>\n

Any\u00adway, nobody paid much atten\u00adtion to my chase scene, and after my prac\u00adtice films, it was rec\u00adom\u00admend that I drop out of the acad\u00ade\u00admy. I had already failed the edit\u00ading pro\u00adgramme, because I did\u00adn\u2019t edit my projects the way I was sup\u00adposed to.<\/span><\/p>\n

My high\u00adest or low\u00adest point was in the sem\u00adi\u00adnar for voice record\u00ading. We were asked to dub a bad love scene in the style of a tele\u00advi\u00adsion show from the 1980s. I was total\u00adly out of my ele\u00adment. I did\u00adn\u2019t know what to say to the voice actors. I was\u00adn\u2019t able to take it seri\u00adous\u00adly, and so I could\u00adn\u2019t think of one sin\u00adgle direc\u00adtion to give them. The voice-dub\u00adbing direc\u00adtor who led the sem\u00adi\u00adnar gave every\u00adone some feed\u00adback at the end to let them know what they did well and what they did poor\u00adly. In the end, he said that only one stu\u00addent failed com\u00adplete\u00adly \u2013 and he point\u00aded to me. I can admit that this was a low point for me. I did\u00adn\u2019t grad\u00adu\u00adate in film direc\u00adtion and had to repeat a semes\u00adter. Just think about it: I want\u00aded to be famous and make great films, but I was\u00adn\u2019t even good enough to com\u00adplete my stud\u00adies in film! And so I repeat\u00aded a semes\u00adter, shot a film twice, and dur\u00ading this whole, unbe\u00adliev\u00adably depress\u00ading sce\u00adnario, some\u00adthing became slow\u00adly clear: I had to get out of there. Then my pro\u00adfes\u00adsor of film direct\u00ading died, which set me free for a time and I took a leave of absence. I was scared that noth\u00ading would become of me. That the oth\u00aders could make films, but I could\u00adn\u2019t. I flew from Vien\u00adna to Berlin, worked as a trainee in a film, and worked on a screen\u00adplay in the evenings. When I got back to Vien\u00adna, I showed my new pro\u00adfes\u00adsor the script and he said that the most impor\u00adtant thing was that I liked it, and that I had to know the sto\u00adry that I want\u00aded to tell, but I had to know it exact\u00adly and to make it hap\u00adpen exact\u00adly as I want\u00aded, with\u00adout let\u00adting any\u00adbody influ\u00adence me. <\/span><\/p>\n

That struck me to the core. No one had ever said some\u00adthing like that to me before. It was always about ful\u00adfill\u00ading a cer\u00adtain task, or to suit some\u00adone\u2019s par\u00adtic\u00adu\u00adlar taste. And sud\u00adden\u00adly some\u00adbody was telling me that I should do exact\u00adly what I intend\u00aded to do. That and only that. The scrip\u00adt\u2019s title was Flo\u00adra<\/i> and it became a 20-minute film, and I was hap\u00adpy while I was shoot\u00ading it. I could feel that I was able to realise my vision. My pre\u00advi\u00adous weak\u00adness\u00ades (real\u00adi\u00adsa\u00adtion, spa\u00adtial ori\u00aden\u00adta\u00adtion) sud\u00adden\u00adly became my strengths, because I chose a scenic real\u00adi\u00adsa\u00adtion that worked with\u00adout any spa\u00adtial ori\u00aden\u00adta\u00adtion. And that\u2019s how I con\u00adtin\u00adued to do it as a film\u00admak\u00ader. I use my inabil\u00adi\u00adty as an asset: since I don\u2019t have good spa\u00adtial ori\u00aden\u00adta\u00adtion, my scenic real\u00adi\u00adsa\u00adtion must work emo\u00adtion\u00adal\u00adly<\/i>. The peo\u00adple and their feel\u00adings are focus points with\u00adin a space, the inter\u00adnal dra\u00admatur\u00adgy is my ori\u00aden\u00adta\u00adtion sys\u00adtem and film edit\u00ading is a won\u00adder\u00adful means to con\u00adnect places and times that could have nev\u00ader been con\u00adnect\u00aded, because they belong togeth\u00ader emo\u00adtion\u00adal\u00adly. Like in Maya Deren\u2019s films.<\/span><\/p>\n

There is also my inabil\u00adi\u00adty to cre\u00adate excite\u00adment through speed. Today, I cre\u00adate excite\u00adment through a threat that I let devel\u00adop with\u00adin the head of the view\u00ader by means of a strange idea that takes time to devel\u00adop its full effect. <\/span><\/p>\n

After my expe\u00adri\u00adence with the voice actors, I worked for a while with ama\u00adteurs, in order to dis\u00adcov\u00ader for myself what I want\u00aded to say to actors,  <\/span>what was real for me, what felt real and what style of act\u00ading I would choose. And sud\u00adden\u00adly it was clear to me that it was a good thing that I could\u00adn\u2019t do what oth\u00aders could do. It forced me to find my own way of mak\u00ading films. I had to dis\u00adcov\u00ader every\u00adthing for myself.<\/span><\/p>\n

I learned styl\u00adis\u00adti\u00adcal\u00adly from the ama\u00adteurs and now I work with pro\u00adfes\u00adsion\u00adal actors, but I still act as if they were ama\u00adteurs. I don\u2019t give up on cast\u00ading until I have found the per\u00adson who embod\u00adies the role, who fits per\u00adfect\u00adly, who nat\u00adu\u00adral\u00adly acts exact\u00adly as need\u00aded for the role. I treat actors like ama\u00adteurs. And when an actor asks for the back\u00adsto\u00adry, I delay the dis\u00adcus\u00adsion until the clap\u00adper\u00adboard strikes and we\u2019re shoot\u00ading.<\/span><\/p>\n

So what I\u2019m try\u00ading to tell you is that I was\u00adn\u2019t able to do what was expect\u00aded of me, but that led me to do some\u00adthing dif\u00adfer\u00adent\u00adly and the audi\u00adence liked it. And I would also say that if I had done things accord\u00ading to expec\u00adta\u00adtion, it would\u2019ve been bad. That was con\u00adfirmed already at the begin\u00adning of my stud\u00adies.<\/span><\/p>\n

Today, this all sounds like a good sto\u00adry, like the ugly duck\u00ading that final\u00adly finds his swan fam\u00adi\u00adly. But back when I was in this hope\u00adless sit\u00adu\u00ada\u00adtion, I had no way of know\u00ading that every\u00adthing would work out in the end \u2013 there is no way of know\u00ading what the future may bring. But look\u00ading back, I can say that it was nec\u00ades\u00adsary for me to fail at fol\u00adlow\u00ading all these sup\u00adposed rules. It was nec\u00ades\u00adsary to fail at film direct\u00ading in order to under\u00adstand that I could\u00adn\u2019t do it the way any\u00adone want\u00aded me to. Not because I did\u00adn\u2019t want to, but because I could\u00adn\u2019t!<\/span><\/p>\n

I would like to add anoth\u00ader chap\u00adter to my sto\u00adry. So I was able to shoot my short film Flo\u00adra<\/i>. I was hap\u00adpy, but I had already been sin\u00adgled out as a los\u00ader at the film acad\u00ade\u00admy. The film had to first gain recog\u00adni\u00adtion else\u00adwhere \u2013 Flo\u00adra<\/i> won some prizes at inter\u00adna\u00adtion\u00adal film fes\u00adti\u00advals \u2013 and then peo\u00adple start\u00aded treat\u00ading me with more respect. I lat\u00ader shot a film for my grad\u00adu\u00ada\u00adtion, and it was also suc\u00adcess\u00adful at fes\u00adti\u00advals. This helped me get financ\u00ading for my first fea\u00adture film: Love\u00adly Rita<\/i>. And so I seemed to be on my way. I had sur\u00advived the film acad\u00ade\u00admy and become a film\u00admak\u00ader.<\/span><\/p>\n

Then I shot a film called Hotel<\/i>: the idea was to shoot a genre film that went against the genre. It is a mys\u00adtery thriller that nev\u00ader resolves the mys\u00adtery, and a hor\u00adror film with\u00adout a mon\u00adster. When the film was fin\u00adished, pub\u00adlic opin\u00adion was split. Some were aggres\u00adsive and annoyed. Users left com\u00adments on the film\u2019s web\u00adsite like; \u201cit\u2019s like jaws with\u00adout the shark,\u201d or \u201cI want my mon\u00adey back.\u201d Glob\u00adal sales were dis\u00adap\u00adpoint\u00ading and I had to deal with a lot of crit\u00adi\u00adcism.<\/span><\/p>\n

And I was dis\u00adap\u00adpoint\u00aded, because it seemed as if the film had\u00adn\u2019t been under\u00adstood. But the only rea\u00adson to make the film was that there was no mon\u00adster! I was \u2013 and still am \u2013 con\u00advinced that the idea was good, but maybe my real\u00adi\u00adsa\u00adtion of the idea was\u00adn\u2019t good enough. But now, 15 years lat\u00ader, I\u2019m going to try to make anoth\u00ader film that breaks the rules of its genre. The view\u00aders\u2019 expec\u00adta\u00adtions will not be ful\u00adfilled, so that the film takes an unex\u00adpect\u00aded turn.<\/span><\/p>\n

What\u2019s inter\u00adest\u00ading is that most peo\u00adple who read the script will make rec\u00adom\u00admen\u00adda\u00adtions that would make the film con\u00adform to the expec\u00adta\u00adtions of its genre. And they make these rec\u00adom\u00admen\u00adda\u00adtions think\u00ading that they are their own good ideas. Of course, it makes things eas\u00adi\u00ader when some\u00adthing has already been stamped as \u201cgood\u201d by the gen\u00ader\u00adal pub\u00adlic. Most peo\u00adple don\u2019t realise that they just want to see some\u00adthing that they\u2019ve already seen before, and that\u2019s the way things should be! But I want to take the risk of not ful\u00adfill\u00ading view\u00ader expec\u00adta\u00adtions: to do some\u00adthing where you are not sure whether it will work or the audi\u00adence will like it. Only lat\u00ader can you look back and say if it was worth the risk. But in the cur\u00adrent moment, you can nev\u00ader know for sure if some\u00adthing will work. <\/span><\/p>\n

My expe\u00adri\u00adence at the film acad\u00ade\u00admy showed me that if I fol\u00adlow my own plan, the indi\u00advid\u00adual pieces will come togeth\u00ader in the future and form some\u00adthing that I can\u00adnot yet see. Some\u00adthing that seems wrong can turn out to be cor\u00adrect<\/i>, true<\/i> or good<\/i> in the future. These are all very rel\u00ada\u00adtive terms that are defined by the times.<\/span><\/p>\n

I can only pur\u00adsue things that inter\u00adest me per\u00adson\u00adal\u00adly. It is the only way to cre\u00adate some\u00adthing that will also inter\u00adest oth\u00aders, or that oth\u00aders will find good and excit\u00ading.<\/span><\/p>\n

While I was study\u00ading, I could\u00adn\u2019t fol\u00adlow the so-called rules of good film\u00admak\u00ading. And I feel that it is my duty, now, to tell you that you won\u2019t be able to do it either. You should\u00adn\u2019t<\/i> be able to do it. Because no mat\u00adter what hap\u00adpens, you will only do a good job if you are doing what you tru\u00adly love and if you are ful\u00adly con\u00advinced of what you are doing. Try\u00ading to be like some\u00adone else is a recipe for fail\u00adure. Because you\u2019re only doing some\u00adthing that some\u00adone has already done! You will only find suc\u00adcess by doing some\u00adthing very per\u00adson\u00adal that you want to do and love very much. That is why I want to ask you to do some\u00adthing: keep look\u00ading. Don\u2019t repeat some\u00adthing just because it worked well in the past. Redis\u00adcov\u00ader film\u00admak\u00ading on your own terms and rein\u00advent the wheel. You \u2013 and all of us \u2013 will be amazed at what you can achieve, and you will look back and say that it was obvi\u00adous that things would work out the way they did. But now, at this moment in your life, I hope that you will have the courage, and not accept what oth\u00ader peo\u00adple are say\u00ading. Every day, you should con\u00adsid\u00ader the pos\u00adsi\u00adbil\u00adi\u00adty that every\u00adone else is wrong.<\/span><\/p>\n

Jes\u00adsi\u00adca Haus\u00adner made this speech on 10 June 2017 at the DFFB diplo\u00adma cer\u00ade\u00admo\u00adny at Wed\u00addinger City Kino. Thanks to: Ben Gib\u00adson.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Dear grad\u00adu\u00adates, I would like to start by say\u00ading that I nev\u00ader com\u00adplet\u00aded my stud\u00adies. In fact, the time I spent study\u00ading was\u00adn\u2019t even very hap\u00adpy. But despite all that, I became a film\u00admak\u00ader and, today, I would like to explain how that came to be. It start\u00aded when I applied to the direc\u00adtor pro\u00adgramme [\u2026]<\/p>\n","protected":false},"author":23,"featured_media":4580,"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-3593","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-journal-en"],"acf":[],"yoast_head":"\nFilmsparks - 50 Years DFFB: Jessica Hausner - Speech at DFFB - 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\/filmsparks-50-years-dffb-jessica-hausner-speech-at-dffb\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Filmsparks - 50 Years DFFB: Jessica Hausner - Speech at DFFB - DFFB\" \/>\n<meta property=\"og:description\" content=\"Dear grad\u00adu\u00adates, I would like to start by say\u00ading that I nev\u00ader com\u00adplet\u00aded my stud\u00adies. 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