{"id":682,"date":"2017-03-01T10:17:06","date_gmt":"2017-03-01T09:17:06","guid":{"rendered":"https:\/\/www.mdw.ac.at\/magazin\/?p=682"},"modified":"2017-12-11T14:59:47","modified_gmt":"2017-12-11T13:59:47","slug":"liebe-zum-kino","status":"publish","type":"post","link":"https:\/\/www.mdw.ac.at\/magazin\/2017\/03\/01\/liebe-zum-kino\/?lang=en","title":{"rendered":"For the Love of Cinema"},"content":{"rendered":"<strong>Sabine Derflinger was the first woman to direct an Austrian episode of the long-running crime series <em>Tatort<\/em>, her own television series <em>Vorstadtweiber<\/em> is going from strength to strength, and she is the recipient of numerous honours such as the Grimme Award and the VFF TV Movie Award of the Munich International Film Festival. The Upper Austrian director is also a graduate of Film Academy Vienna. Jannis Lenz, on the other hand, is currently still a student at the Film Academy, but he can likewise look back on several awards. Above and beyond their vocation, these two filmmakers also share two other things: a great love of cinema and the individuality of their filmic handwriting.<\/strong><\/p>\n<div id='gallery-1' class='gallery galleryid-682 gallery-columns-3 gallery-size-thumbnail'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/www.mdw.ac.at\/magazin\/?attachment_id=685'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.mdw.ac.at\/magazin\/wp-content\/uploads\/2017\/02\/Dammerung_ueber_Burma-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Twilight over Burma\" aria-describedby=\"gallery-1-685\" srcset=\"https:\/\/www.mdw.ac.at\/magazin\/wp-content\/uploads\/2017\/02\/Dammerung_ueber_Burma-150x150.jpg 150w, https:\/\/www.mdw.ac.at\/magazin\/wp-content\/uploads\/2017\/02\/Dammerung_ueber_Burma-180x180.jpg 180w, https:\/\/www.mdw.ac.at\/magazin\/wp-content\/uploads\/2017\/02\/Dammerung_ueber_Burma-300x300.jpg 300w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-1-685'>\n\t\t\t\tFilming for &#8220;Twilight over Burma&#8221; \u00a9Patrick Brown\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/www.mdw.ac.at\/magazin\/?attachment_id=691'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.mdw.ac.at\/magazin\/wp-content\/uploads\/2017\/02\/Daheim_und_Dazwischen-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Daheim und Dazwischen\" aria-describedby=\"gallery-1-691\" srcset=\"https:\/\/www.mdw.ac.at\/magazin\/wp-content\/uploads\/2017\/02\/Daheim_und_Dazwischen-150x150.jpg 150w, https:\/\/www.mdw.ac.at\/magazin\/wp-content\/uploads\/2017\/02\/Daheim_und_Dazwischen-180x180.jpg 180w, https:\/\/www.mdw.ac.at\/magazin\/wp-content\/uploads\/2017\/02\/Daheim_und_Dazwischen-300x300.jpg 300w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-1-691'>\n\t\t\t\tDaheim und Dazwischen \u00a9Carolina Steinbrecher\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/www.mdw.ac.at\/magazin\/?attachment_id=693'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.mdw.ac.at\/magazin\/wp-content\/uploads\/2017\/02\/Schattenboxer-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Schattenboxer\" aria-describedby=\"gallery-1-693\" srcset=\"https:\/\/www.mdw.ac.at\/magazin\/wp-content\/uploads\/2017\/02\/Schattenboxer-150x150.jpg 150w, https:\/\/www.mdw.ac.at\/magazin\/wp-content\/uploads\/2017\/02\/Schattenboxer-180x180.jpg 180w, https:\/\/www.mdw.ac.at\/magazin\/wp-content\/uploads\/2017\/02\/Schattenboxer-300x300.jpg 300w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-1-693'>\n\t\t\t\tSchattenboxer \u00a9Jakob Fuhr\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/www.mdw.ac.at\/magazin\/?attachment_id=694'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.mdw.ac.at\/magazin\/wp-content\/uploads\/2017\/02\/Schwerelos-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Schwerelos\" aria-describedby=\"gallery-1-694\" srcset=\"https:\/\/www.mdw.ac.at\/magazin\/wp-content\/uploads\/2017\/02\/Schwerelos-150x150.jpg 150w, https:\/\/www.mdw.ac.at\/magazin\/wp-content\/uploads\/2017\/02\/Schwerelos-180x180.jpg 180w, https:\/\/www.mdw.ac.at\/magazin\/wp-content\/uploads\/2017\/02\/Schwerelos-300x300.jpg 300w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-1-694'>\n\t\t\t\tSchwerelos \u00a9Jakob Fuhr\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/www.mdw.ac.at\/magazin\/?attachment_id=695'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.mdw.ac.at\/magazin\/wp-content\/uploads\/2017\/02\/Wannabe-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Wannabe\" aria-describedby=\"gallery-1-695\" srcset=\"https:\/\/www.mdw.ac.at\/magazin\/wp-content\/uploads\/2017\/02\/Wannabe-150x150.jpg 150w, https:\/\/www.mdw.ac.at\/magazin\/wp-content\/uploads\/2017\/02\/Wannabe-180x180.jpg 180w, https:\/\/www.mdw.ac.at\/magazin\/wp-content\/uploads\/2017\/02\/Wannabe-300x300.jpg 300w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-1-695'>\n\t\t\t\tWannabe \u00a9Andi Widmer\n\t\t\t\t<\/figcaption><\/figure>\n\t\t<\/div>\n\n<p>The latest honour for Sabine Derflinger came just recently in Munich for an episode of the popular Austrian series <em>Vorstadtweiber<\/em>: the German Directors Award Metropolis is an industry award that represents a very special bit of recognition for the work of this versatile director, who\u2019s at home in a great many genres. Her oeuvre includes documentaries like <em>Schnelles Geld<\/em> (2004) and <em>Hotspot<\/em> (2011), the latter of which features a project for long-term unemployed individuals;\u00a0television work including the Tatort episodes <em>Falsch verpackt<\/em> (2011) and <em>Borowski und das Meer<\/em> (2013) as well as episodes of the ORF series <em>Vorstadtweiber<\/em>; and feature films such as <em>Vollgas<\/em> (2001), <em>Tag und Nacht<\/em> [Day and Night] (2010), and <em>D\u00e4mmerung \u00fcber Burma<\/em> [Twilight over Burma] (2014).<\/p>\n<figure id=\"attachment_686\" aria-describedby=\"caption-attachment-686\" style=\"width: 200px\" class=\"wp-caption alignleft\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-686 size-medium\" src=\"https:\/\/www.mdw.ac.at\/magazin\/wp-content\/uploads\/2017\/02\/sabine_derflinger-200x300.jpg\" alt=\"Sabine Derflinger\" width=\"200\" height=\"300\" srcset=\"https:\/\/www.mdw.ac.at\/magazin\/wp-content\/uploads\/2017\/02\/sabine_derflinger-200x300.jpg 200w, https:\/\/www.mdw.ac.at\/magazin\/wp-content\/uploads\/2017\/02\/sabine_derflinger.jpg 300w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><figcaption id=\"caption-attachment-686\" class=\"wp-caption-text\">Sabine Derflinger \u00a9Petro Domenigg<\/figcaption><\/figure>\n<p>Derflinger values all of these genres highly \u2013 though one advantage of TV, she says, is that it lets her develop her characters over the course of a show\u2019s narrative: \u201cYou seldom have this opportunity in movies \u2013 which is why it would actually be wonderful to be able to include characters from series in cinematic productions.\u201d On the other hand, of course, TV work takes place under difficult conditions, with short production phases and tight budgets. The dedicated director strives to counter these difficulties with her own highly individual handwriting, which is indeed recognisable in her other output, as well: \u201cI give up control,\u201d she says. What this means is that she prepares every shoot very well but then gives those involved great creative latitude: \u201cMy method is to allow people a huge degree of freedom so that they can bring all their inputs to the table and, out of this freedom, give rise to something different, something unusual.\u201d<\/p>\n<p><strong>Grand Cinema<\/strong><\/p>\n<p>Despite loving all of the areas in which she works, when asked what she\u2019s most fond of, she responds that cinema in the grand style is dearest to her heart: \u201cI love grand cinema \u2013 big films and opulent settings. I felt that way once more \u2013 quite strongly, in fact \u2013 during our filming work for <em>D\u00e4mmerung \u00fcber Burma<\/em>.\u201d\u00a0This movie, in which the daughter of an Austrian forester marries a Burmese Shan prince, becoming a princess herself and subsequently being threatened by a military putsch, was filmed by a team of 150 individuals: \u201cI really did like that.\u201d<\/p>\n<p><strong>To the Moon<\/strong><\/p>\n<p>The 53-year-old director Sabine Derflinger discovered her love of film quite early in life. She still remembers a time when saying she wanted to become a director \u201cwas tantamount to saying I wanted to fly to the Moon.\u201d Aside from the difficult situation\u00a0of being a young woman in what was then still a very maledominated film industry and training situation, the director remembers her time at Film Academy Vienna above all for the artistic freedom she enjoyed and for the experience working together with her colleagues. What\u2019s more, her Film Academy days made possible a process of searching and development, \u201clooking for my own potential, my own identity,\u201d as well as encounters with people knowledgeable about cinematic history. Her advice to young directors is to watch lots of films and to refrain from trying to please everybody all of the time: \u201cOnly one person can be the creative leader,\u201d she says, so it\u2019s essential to be secure in one\u2019s own method of working and one\u2019s own handwriting.<\/p>\n<p>Derflinger sets great store in supporting and showing solidarity with women in the film industry, and her diverse activities to this end were recognised with the Vienna Women\u2019s Award in 2012.<\/p>\n<figure id=\"attachment_687\" aria-describedby=\"caption-attachment-687\" style=\"width: 300px\" class=\"wp-caption alignleft\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-687 size-medium\" src=\"https:\/\/www.mdw.ac.at\/magazin\/wp-content\/uploads\/2017\/02\/jannis_lenz-300x204.jpg\" alt=\"Jannis Lenz\" width=\"300\" height=\"204\" srcset=\"https:\/\/www.mdw.ac.at\/magazin\/wp-content\/uploads\/2017\/02\/jannis_lenz-300x204.jpg 300w, https:\/\/www.mdw.ac.at\/magazin\/wp-content\/uploads\/2017\/02\/jannis_lenz.jpg 600w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><figcaption id=\"caption-attachment-687\" class=\"wp-caption-text\">Jannis Lenz \u00a9Alexi Pelekanos<\/figcaption><\/figure>\n<p>Jannis Lenz, born in 1983 and a current Film Academy Vienna student, also loves cinema. His short films and video installations <em>Freistil<\/em> (2014), <em>Daheim und Dazwischen<\/em> (2014), <em>Schattenboxer<\/em> (2015), and <em>Schwerelos<\/em> (2016) have brought him success at international festivals, and he just recently received a START grant of the Austrian Federal Chancellery.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Parkour<\/strong><\/p>\n<p>The young German\u2019s nascent but successful career as a director has some surprising roots: \u201cAs a teenager, I started doing parkour [running urban obstacle courses \u2013 Ed.]. In that sport, a lot of exchange takes place via videos, so I wanted to make some, too.\u201d This period saw him do an internship at a production company where he had the opportunity to learn video editing. In the process, he discovered his passion for filmmaking. Lenz eventually decided to study in Vienna, \u201ca great city with tons of possibilities\u201d, at first pursuing theatre, film, and media studies (where he was introduced to the history of film) and then transferring to Film Academy Vienna. \u201cIt\u2019s a good place to experiment and get advice, help, and feedback from lots of competent people\u2014including but not limited to instructors. I like to seek out their opinions, but I don\u2019t want to lose my own gaze, either, since it\u2019s ultimately me who has to stand behind my films. And I think it\u2019s only possible to find your own way by trying things out and failing.\u201d<\/p>\n<p><strong>An Organic Process<\/strong><\/p>\n<p>Trying things out and failing, overcoming obstacles: these are the things that, for Jannis Lenz, parkour and filmmaking have in common. \u201cParkour is a lifestyle where you view obstacles not as hindrances, but as opportunities.\u201d And in filmmaking, he says, one is also frequently confronted with obstacles that prevent immediate realisation of one\u2019s filmic vision. \u201cThat\u2019s an interesting process for me, and in terms of learning to handle failure, parkour was a pretty good teacher.\u201d<br \/>\nOver the years since then, this process has allowed Lenz to develop his own unmistakable style. Authenticity, credibility, and a good story are just as important to him as his characters: \u201cI do a lot of work with lay actors where I try to have them do on camera the things they do in their private lives.\u201d An example of this, he says, is his film <em>Schattenboxer<\/em> [Shadow Boxer], in which a young kickboxer goes through anti-violence coaching in order to avoid doing time in jail. \u201cI create an environment for the actors, set up a fictional framework, and plan the camerawork.\u201d The project then grows continually, he says, with new situations and\/or lines arising on their own. \u201cIt\u2019s fascinating for me, because I experience it as an organic process that feels real to me even while it\u2019s still being worked on.\u201d<\/p>\n<p><strong>Cinema and YouTube<\/strong><\/p>\n<p>Though he\u2019s a passionate filmmaker and moviegoer, Jannis Lenz is also interested in other forms of narration. In his most recent project <em>Wannabe<\/em>, he approaches the YouTube phenomenon by uniting the media of cinematic film and YouTube in a refined manner. This feature-length work follows young Coco on the way to realising her dream of becoming a YouTube star, with his viewers seeing the results of Coco\u2019s efforts in the corresponding YouTube videos. \u201cI\u2019ve tried to do <em>Wannabe<\/em> in such a way that it brings both worlds together, because I think it\u2019s important that the two things move toward rather than away from each other,\u201d hints Lenz at the future of movies \u2013 and, perhaps, of his career.<\/p>\n<p><strong>Links<\/strong><\/p>\n<ul>\n<li>YouTube channel &#8220;Coco Channel&#8221; of Jannis Lenz&#8217; film project &#8220;Wannabe&#8221;:\u00a0<a href=\"https:\/\/www.youtube.com\/coco-channel99\" target=\"_blank\">www.youtube.com\/coco-channel99<\/a><\/li>\n<li>Website of Sabine Derflinger: <a href=\"http:\/\/www.derflinger.org\" target=\"_blank\">www.derflinger.org<\/a><\/li>\n<\/ul>","protected":false},"excerpt":{"rendered":"<p>Sabine Derflinger was the first woman to direct an Austrian episode of the long-running crime series Tatort, her own television series Vorstadtweiber is going from strength to strength, and she is the recipient of numerous honours such as the Grimme Award and the VFF TV Movie Award of the Munich International Film Festival. The Upper &hellip;<\/p>\n","protected":false},"author":12,"featured_media":695,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"gallery","meta":{"_acf_changed":false,"footnotes":""},"categories":[9],"tags":[156,50,160,412,159,103,157,158,411,410,155],"class_list":["post-682","post","type-post","status-publish","format-gallery","has-post-thumbnail","hentry","category-film","tag-cinema","tag-filmakademie-wien","tag-filmfestival","tag-hotspot","tag-jannis-lenz","tag-kino","tag-movies","tag-sabine-derflinger","tag-schnelles-geld","tag-vorstadtweiber","tag-youtube","post_format-post-format-gallery"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.mdw.ac.at\/magazin\/wp-json\/wp\/v2\/posts\/682","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.mdw.ac.at\/magazin\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.mdw.ac.at\/magazin\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.mdw.ac.at\/magazin\/wp-json\/wp\/v2\/users\/12"}],"replies":[{"embeddable":true,"href":"https:\/\/www.mdw.ac.at\/magazin\/wp-json\/wp\/v2\/comments?post=682"}],"version-history":[{"count":9,"href":"https:\/\/www.mdw.ac.at\/magazin\/wp-json\/wp\/v2\/posts\/682\/revisions"}],"predecessor-version":[{"id":868,"href":"https:\/\/www.mdw.ac.at\/magazin\/wp-json\/wp\/v2\/posts\/682\/revisions\/868"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.mdw.ac.at\/magazin\/wp-json\/wp\/v2\/media\/695"}],"wp:attachment":[{"href":"https:\/\/www.mdw.ac.at\/magazin\/wp-json\/wp\/v2\/media?parent=682"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.mdw.ac.at\/magazin\/wp-json\/wp\/v2\/categories?post=682"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.mdw.ac.at\/magazin\/wp-json\/wp\/v2\/tags?post=682"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}