Hello. I'm Tom Tykwer. I'm the director of Run, Lola, Run, which you're about to see.
I'm Franka Potente. I'm the red-headed running person you'll see in this film.
So, what you see here is the logo of the production company from Germany.
It's called X Filme.
It's a company that was founded with three directors and one producer,
very much a directors-driven company.
These are quotes from one of my favourite poets
and one of Germany's most famous soccer coaches, Sepp Herberger.
He was the coach that led Germany to win the World Cup in 1954.
So when German people read the second quote, they normally laugh.
Yes.
We'll make Sepp Herberger somewhat known in America, do you realise that?
Okay. I wanted to make you known.
So, this is the opening of the film as I wanted it always to become,
that it looks in the first place as a horror movie,
because I still haven't made a horror film.
So, I always think I have some sequences in my film that remind me of that,
that I should come back to this.
It doesn't really turn out to become a horror movie in the end.
Actually, I always think the clock looks so much larger than it really is.
Well, the real one is kind of...
- It's kind of big. - What, three foot?
Well, no, two-and-a-half foot big.
It was made out of... Styropor?
Some foam kind of stuff, yeah.
So this is the opening sequence, which we shot on a big empty airport
which isn't in use any more.
In the script it was written like there's supposed to be like masses of people, like...
Of course, I was dreaming of millions of extras.
In fact, we couldn't afford this at all.
So, what it came down to was 300 that we could pay for.
So, with those 300, we tried to give you the suggestion of masses of people
and having characters that will later appear in the movie
stand out and look at us.
I was wondering, did you put team members in the crowd, too?
- No. - To make it...
No, no. They were all busy working.
The ball is round.
That's Armin Rohde. He's really famous in Germany.
He's the funny guy. He's real funny.
That's one of my favourite shots in the movie.
Well, to explain you how this worked, you know, we only had these 300 people,
and so we decided to let them do each letter singly.
So, the camera was 60 metres in the air
and looked down on, like, 300 people
creating an "L" and then "O" and then "L" and then "A" and all this.
And later we went onto the Domino compositor station and put it all together,
which took a lot of time.
So, this is the first time animation appears in this movie.
It was created
by a very, very talented animator from Germany.
In fact, he's Israeli-German.
His name is Gil Alkabetz. He's very, very talented.
And the whole crew of Studio Film Bilder from Stuttgart
created the whole animation sequence.
I love that. I always look forward to this title sequence.
Yeah. I still enjoy watching this.
This is something you do also on a digital Domino workstation
and you sit there and create all these elements.
It's kind of very, very long time that you sit down to put this together.
And in the end it still looked too clean to me, the whole image,
so we put this dirt film on top of it.
Do you see all these stripes there? It's very dirty. It was meant to be like that.
This was done from helicopter.
Of course, not all of it, as you can imagine, but most of it.
This took... Each of us took one day of shooting this scene.
Right. Well, it was one of the big acting events in this movie
because we have two characters being established in a very, very short time.
They don't have a lot of time
to really show details of their character.
But still, it was very important that you get close to them as soon as possible,
because I really wanted people
to care for Lola and Manni and for their fate immediately.
So, I was really happy to have two actors who are not too much suffering
from the fact they are only...
Like, Lola was only standing on the phone in this one room...
Actually, I was suffering.
Yes, I know. I mean, you were suffering where?
Well, because when you see Manni in the picture,
we shot a whole day of Manni, like, Moritz, in the phone booth.
Remember that you put me a whole day in this kind of sound tent.
So, I was all by myself,
staying on the phone with Moritz and with a walkie-talkie at my side...
Oh, yeah.
...getting all my instructions from you.
- I don't think... - It was quite boring.
I mean, I had my Diet Coke and I had my walkie-talkie
and little snacks around me.
But I think it was much more hard for Moritz, you know,
because he had to play, like, 14 hours one day, stay in this phone booth
and really create the whole desperate feeling of the movie.
Yeah, that's true.
And he did the same for me, too.
When I was shot, he would be so kind to sit in the sound tent for a whole day, too,
to play his part on the phone.
Right. So for the voices they had one day of shooting
without being ever filmed on that day.
You know how we actors, we hate it.
So, it's really hard to keep up with the pacing in this beginning
and tell everything that comes to my mind there.
The guy who appears there is Joachim Krél, also kind of a famous actor in Germany.
Nobody recognised him, though.
Nobody recognised him because he was playing the bum
and he was really, really looking very, very real, realistic, I think.
I always thought he looked like as if he smelt bad.
And he said... One day of shooting he told me that he really hates it
because once he was in his costume and his make-up,
they wouldn't take the beard off and anything.
All the people in the streets, people from the team,
they wouldn't really talk to him because he looked so awful.
That's what he felt like.
So, this is where it happens,
where the whole thing starts to be really a problem.
And this is where the film establishes the big conflict,
which is of course very small
because we always wanted it to be a very simple premise for the whole film
that leads to all these difficult and different variations.
I'm such a fucking amateur! A dumb-ass!
This could only happen to me! If you'd picked me up, it wouldn't have happened.
You see all the material that messes up,
that is mingled here, this is shot on video.
Then parts were shot on black and white. The whole thing is more or less a flashback.
These are real postcards that we took.
And here we are again in black and white.
So the idea was to have, you know,
for every level of the film to have a certain aesthetics.
That means, when we go into flashbacks, it was always meant to be black and white.
When we go into actions that are not in the presence of Manni and Lola,
so the whole world next to them, which they always were...
in a way changed, so that's why we felt it was kind of artificial,
was shot on video.
And this, of course, when they're present,
the whole world when they're present, was shot on 35mm.
Oh, shit!
See! I knew you wouldn't come up with any idea.
I always said someday you wouldn't know what to do.
Not when you die, sooner!
You said, "Love can do everything."
- So find 100,000 marks in 20 minutes. - 20 minutes?
In 20 minutes.
I remember how we rehearsed that.
It was good to rehearse that scene
'cause it really has to have some tempo and some rhythm.
I agree. That's really a lot of energy and information
in a very, very short time, given to us.
What for? You can't get me 100 grand either!
So, very soon,
Lola had to give him the first sign of her energy.
There you go.
Yeah. Actually, was that the first scream that I had in the movie
or did we shoot the other scream first?
No, I think that was the first one.
So, Franka, in the first place, I very much remember her saying to me,
"Well, how do you think the scream is supposed to be?"
And I thought, "Well, like, scream. Scream like it."
And we did some rehearsals, and...
I just remember you realising you haven't screamed like that,
really, I mean, like that strong...
For 24 years of my life. No. I mean, have you?
I really realise...
I mean, you remember how you asked me to scream
and nothing would come out of my mouth, I couldn't.
So, I had to do it first.
- I had to show her how to do it. - Yeah, thank you.
Well, it just, I don't know, it's...
I was really scared to do it.
You know how much I was shaking and how much I was surprised when I did it.
Yes.
It's something I can really recommend at this point
because it's really refreshing and it somewhat clears your head off.
I'll get the money somehow.
I'm going in there at 12:00 if you aren't here.
So, you see, we again showed the clock.
We showed the clock very often to make clear
what is the time that this film has, you know, for what will happen.
So, now, the first race starts, in fact, now. Again, a clock.
Where did you find this picture of the domino stones?
It's a Japanese world record that was set for domino stones
in a big, big, big sports hall.
I think it was like two million domino stones. They organised them and...
I very much like even the Japanese comment on it.
A very hysterical guy.
So this is the croupier,
which in the end also will reappear as a real person in the movie.
And we made Gil Alkabetz paint him.
So, in fact, the people you're seeing here, you know,
the opportunities for Lola, where to go and try to ask for 100,000 marks,
which in fact for Americans is something like $60,000.
That's the whole crew of the movie that you're seeing there.
At least half of it.
Like, from second assistant directors to costume designers. Nearly everybody.
In fact, this is a shot that was of course done with a Steadicam camera.
There's no other way to do these kind of shots.
And this is the only shot in the movie, as you will later find out,
that's always staying exactly the same for all these repetition moments.
So the big problem, of course, was to get it all into sync
and to really prepare the right animation for the TV,
because, of course, when we shot this scene with the mother,
the animation had to be there.
So, we had to be decided while we were shooting already
about all the animation details.
And, of course, we had to know in which house and which building
we're gonna shoot this.
So, you would have to imagine how could a staircase look
that fits to this kind of building.
So, maybe, Franka, you should tell us something about what you're doing there.
What am I doing there? Yeah.
Actually, you know, there was just this cut that, you know, how I...
I live around this area today, and now I realise what I didn't realise then,
that it's really, you know, far apart.
I couldn't have run this, really, what we just saw.
- You mean, geographically it's not possible. Geographically, yeah.
No, no, no. We didn't care for that so much.
Well, we come back to these kind of sequences,
the flash forwards, as I call them,
photographs that show the future
- of each supporting character. - This was a long running day.
So, tell something about how you liked the running.
And, I mean, how you did that.
Well, I remember, especially this scene here under the bridge, that was really exhausting.
And I remember that you guys, you built this kind of camera car
that looked like a big lawnmower type of vehicle.
Yeah, that was very...
I don't know, do you remember how many angles,
different angles and whatever, we shot that day?
You see, there we have slow motion and then it's fast again.
That was a long day of running, yeah.
It was very exhausting, actually.
- But it's a very beautiful location. - But it was in the first... Yeah.
So we had to shoot a lot.
I think that was one of my first running days, actually.
And here we... It's not slow motion any more, I see.
No.
When I see these pictures I sometimes feel,
"I remember I was a little more exhausted when we shot that,"
but probably the audience doesn't see that.
Well, you're supposed to look exhausted already, though.
So, this is the first break, in a way, in this movie,
which I very much appreciate because something suddenly happens
that you don't really expect in this movie to happen,
that people are very silently talking to each other
and you even don't know them.
So, "Who is this? What's going on?"
And I never really know whether people
immediately recognise this guy to be the father of Lola,
because you've seen him, of course, before,
in the situation when she decided to go to him.
In fact, I very much like those two actors.
The way they act is very strong and very intense,
and it's kind of a very, very serious situation
that somehow feels strange
put into this very energetic moment that Lola is in now.
Actually, we just found out they're nominated for best supporting actors
for one of the biggest prizes that are given away, film-wise, in Germany.
- The Bundesfilmpreis. - The Bundesfilmpreis.
Nina Petri and Herbert Knaup.
There, me running again.
So, you can see this is definitely done with a Steadicam again.
This guy really had to run, and he was really exhausted.
That was heavy, because I never had to run that fast.
I always pretended to run fast
because, you know, how we couldn't, like, really...
No, he couldn't keep up with your running speed.
A lot of times he was running, like, backwards.
Yes, he really lost a lot of sweat.
So, again, these photo series, they were really big fun to do.
What we enjoyed so much about them was that...
In fact, I wanted them really to look like real setups, real locations, you know.
And, of course, you have to get the actors, you have to find the right location,
do the costume and everything, and the make-up.
And, of course, every producer goes crazy thinking about it
because it's only made for one-third of a second.
So, that was interesting.
- Oh, yeah. You remember that day? - I remember that day.
And I remember the guys, like,
the guys that get out of the white car, they were so sweet.
And they look really horrible.
And this actor, Mr Meyer, Ludger Pistor, he's a very nice person.
- Very good actor, I think. - Yes.
I really liked how he played Mr Meyer,
- like, very shy, and how he... - Yeah.
- The guy in the car. - The guy in the car, yeah.
Actually, that's the guy that's mentioned later.
Sometimes people don't get it
when my father says, "Mr Meyer's going to pick me up."
This is actually the guy who's on his way
to pick my dad up from the office, where he is with his mistress.
People who see the film again should see that.
Yeah, it's probably only my concern.
There's a nice joke about this scene.
The fact is that this is Moritz Bleibtreu and this is Monica Bleibtreu.
In fact, she's his mother.
They're both actors, and she's a very famous actress from Germany
and he's her very famous son, which is very nice in that scene.
You don't even recognise her immediately because she has these glasses on,
but it's a nice inside joke.
Here comes the bum!
Here's the money, Lola.
I remember we did that scene,
it took us a while to really figure out at what point we meet
and he passes by me and all that.
Yeah. I mean, it was more hard to shoot when you bump into each other.
Yeah, we did that the same day, too.
- Do you love me? - What?
Do you love me?
Actually, Nina Petri is the actress
who played the lead role in my first feature film, called Deadly Maria.
So, I've been knowing her for five, six years already
and always wanted to work with her again,
so I was happy that she could make it in this movie.
I think she has a very interesting face.
I always think that when I see this close-up of her.
- Yeah. - Very special.
This is in the former east part of town.
- Right? - Right.
- It's not a bank. - It's not a bank.
- No, it's not a bank. - Of course not. We built it.
I mean, we decorated this room.
Our art director, Alexander Manasse, he had a really hard time building all this up
because this was so big a space
and he had so little money to create a bank out of it.
But he made it well.
I would like to mention at this point that, you know, talking of running,
that, of course, I always had to run
even when you don't see me running in the picture.
When Lola enters the room or comes through the door breathlessly,
- you had me running before that. - Yes, of course.
Because otherwise you hyperventilate and you faint
if you try to, you know, bring up your respiration.
Yes.
Also, that's not video any more now, no?
No, this is a typical situation
where you can see the change from video to 35.
But you don't really see it so well on a TV monitor...
Oh, yeah, it's better.
...because it gets very much similar in the looks.
I'm Jutta Hansen...
This is the first time that we see that there is this strange combination.
"This is her father and he has a girlfriend, so what about the mother?"
Actually, these scenes, or this scene, is very important for my character
because now I can show emotions.
You know, how you saw me running all the time before,
which was basically action, and now I get to talk
and the whole thing here will get really emotional.
Which it does also because we establish, like, at least 100% action
before this scene, and now, finally, she bumps into her dad
and things don't work out that well.
I like the tension about this scene,
that Lola really gets more and more crazy about this father
who doesn't really seem to care at all.
Yeah.
And I always end up having these constellations in my films
that parents do not really get along with their children
and that there seems to be no way of communicating on the same level.
It just ends up aggressively.
- You can't be serious! - If you don't help me, he'll die!
- Who'll die? - Manni.
Who's Manni?
My boyfriend, for over a year!
I don't even know him. Why will he die?
Second scream from Miss Lola.
I wish that glass would've really broken. That would've been very impressive.
How did you do that, actually, that the glass broke?
It was, you know, somebody standing there with a kind of a gun,
- a little stone was shot into the glass. - Yeah?
- I didn't see that when you did that. - That's how it explodes. Yeah.
By the way, walking through this long, long hallway,
it's in fact 98 metres long,
which is kind of 300 feet.
This was really one shooting day, you know, we did all the shots in this long hallway.
- That was a 16-hour day. - I really enjoyed that,
because it really got a more and more Kafkaesque feeling.
- Oh, yeah, definitely. - It really felt like a big Kafka film.
I think this was like at... Probably we did this shot at 5:00 in the morning.
It was one of the last shots we did that day.
Don't you think? Do you remember?
No, I remember exactly which one it was. This wasn't the one.
I'll tell you which one. This was the one.
- Oh, yeah! - This was exactly the one.
This was the one at the end of a very long day.
But it was good, because you really looked desperate then.
- I was. - You were so exhausted. This is good.
- And he's really hard... - I always wonder if cuckoo's egg,
if that's a saying that people understand here.
The guy who fathered you didn't live to see your birth.
This in fact always bothers me, this shot,
because you suddenly have so many tears in your eyes.
But you know how we worked with this kind of stuff that we put under my eye,
and it's really hard to work with that because you can't really control the tears.
I don't know how many times we did it, but you see how my eyes are kind of red.
Well, we all have our bad days.
See you around.
Actually, I like that, what we see here.
There's one young woman walking, and now we see the old one.
Right. To be honest,
this was something that Mathilde Bonnefoy, the editor, really discovered while editing,
that we can do a cut that just takes like 80 years.
- So that happened accidentally? - Yes.
- You didn't think of that? - No, it was just by chance.
You shouldn't reveal that, because it really fits in real nice, I think.
Yeah.
That was another long day of running.
Right. But this was also very nice, because we were very much wanting
to have all these structures in the front and in the back
to really get it even more nervous, the whole picture.
Didn't we rebuild this... How do you say that?
- The fence? - Yeah. I think...
The fence was put there, yeah. It wasn't there.
I think we made it even longer.
This is, again, Frank Griebe, the cameraman, in 60 metres height
on his favourite position with his camera on a crane.
So, poor Moritz, still standing in the phone booth,
but finally he's allowed to get out of it.
So, that was still this one day that we shot all the phone booth scenes, right?
It was still this one day of shooting.
Okay, now we enter a sequence that is also one of my favourites
because it was really nerve-wracking to shoot,
because there were these guys carrying this big, big piece of glass...
- This one. Perfect, how he stops there.
And the guy in the car, the stunt coordinator,
he's called Volkhard Buff,
he's really wild because he really always...
We did this shot, like, 10 times, and he always pushed the brakes so close
and always we were so worried
that he would hit the glass before it was meant to be hit.
So, that was always like a lot of sweat.
How many pieces of glass did we have? It was only two, right?
We only had two of them, so...
- It was the last day of shooting, wasn't it? - Yes.
In fact, something very strange about this supermarket...
You wouldn't believe it, but it seemed completely impossible for us
to get permission to shoot in any supermarket in all Berlin.
They all refused to give us permission.
And so, finally, this was the one, the only one that we could take,
which in the end led to the decision
to shoot it also in the whole location of this crossing and everything.
And really had to fight hard with them.
They were really nice people,
but in the end they were completely nerve-wracked
because it didn't really look the same as before
after shooting.
So, this is a technique that's kind of old-fashioned.
You know, in the '70s we had a lot of films that used split-screen technology,
which I still very much like.
I like... Anyhow, especially American films from the '70s, I like very much.
And they used this also very effectively.
One of the best of all split-screen users was Brian De Palma,
in films like Carrie and Dressed to Kill.
They were a strong influence on this.
I remember when we shot this scene, it was written in the script like that
and you explained how it would finally look in the film.
But I remember that I really had no clue.
I couldn't picture what it was gonna look like, you know,
the split-screen when she arrives and shouts "Manni!"
And I didn't get that, really. It was very surprising when I first saw it.
This is something that I'm really proud, and Mathilde, the editor, how she did that,
because we were really wondering how to edit the whole sequence
of the supermarket robbery.
What she did was, she said, "Let's just put all the material in a row
"and just take all the shots in a row
"and then see what happens when we just make them shorter and shorter and shorter."
So, this is how it happened to be so repetitive,
because he says every sentence twice or three times.
And it makes the whole situation much more nervous.
And I like very much this strange dreamy moment between the two of you.
This is our mystic moment.
We can talk to each other through the glass, actually.
Yes, I have never spoken to anybody who was worried about this, you know,
who wondered, "Why can they understand each other
"although there's the glass between them?"
When I was writing this, I was expecting people to be really into this problem,
you know, about the glass between them,
but it seems the tension is somewhere else, yeah?
Drop your gun! Hurry up!
I'm always surprised how, when I hit this guy's head,
it seems to be the most cheerful moment for some young kids when they see the film.
Yes, they like it a lot.
Girl, listen...
This is the 100% jumper for the movie. Everybody jumps.
At least if the theatre is packed, people get to scream about it.
A lot of people think that I shot in his eye.
- But you don't. - No, I don't.
Look at it on the DVD now and you will see nobody's hurt.
There's no blood, actually.
Hurry, before the cops come.
- In fact... - The music is perfect there.
Yeah. It was an idea from Frank, in fact, Frank Griebe, because...
- The cameraman. - During the editing, we always had...
You know, just as a layout we took an old Elvis song,
and the problem about this song was we couldn't afford it.
So, we had to really find something that works with it as well as this one.
So, I was so glad that Frank had the idea to take this song,
because it fits also quite good.
- Did we shoot this with Steadicam, too? - Yes.
He had to run behind you and then make this circle.
- Yeah. - This one.
And then we had this amazing actor who really has a strong presence
although he has only one or two close-ups, this policeman.
He's kind of important because he shoots you.
So, tell us about this scene.
I was so scared before we shot that, because I've never been shot in a movie.
And we did it with a little explosion.
Under my shirt, they put this little bag with blood in it
and lot of cables.
I think, in fact, we were prepared to only be able to do it, like, two times,
because it would mess up everything and we didn't have so much time.
So before we shot this scene,
probably 10 people came to me and tried to explain how I had to die.
And men would come, telling me how people do it in Western films and all this.
And I just tried... I don't know what I did,
because, of course, I don't know how it is to die,
- so I guess I didn't think of anything, really. - That's great. I see...
Actually, I was really shocked when it happened.
- That really helped. - That's what you see.
You see that so much, that you're just so shocked about the explosion.
Yeah. When it exploded... I mean, it didn't hurt me or anything,
but it was really a shock, and would really kind of push me backwards.
Yeah, that's what you see. You see you don't really create something,
it's just like you take it from the moment and from the surprise.
I think we only did it once, then.
Yeah, we did it once.
- With two or three cameras, right? - Three cameras.
Actually, it's one of the scenes that I really love to see most, somewhat.
It's strange to see yourself die. It's not you, but it's you.
Manni?
Do you love me?
So, this was a day of shooting
where we had only Moritz Bleibtreu and Franka Potente lying in a bed,
having a camera very close with them, putting some red light on them,
and just shooting these dialogues, which is amazing.
When you have a shoot like Run, Lola, Run where you have all these setups,
all these very complex shots with lots of technology,
with lots of cranes and dollies
and thousands of people really working all the time,
and suddenly there's one day in between
where you only shoot two people lying in bed, very silently...
- And it was a small team that day, too. - Yes, with a fixed camera.
No, they were all there, but they were waiting outside and really being bored.
So, the amazing effect of it was that while we were shooting it...
I'm really amazed of the acting, what you do there,
and I really like the way that you get so close and so intimate
- and still stay a very normal couple. - But the set really helped.
At the end of the day, I met up with Frank, the cameraman,
and we looked at each other and we realised,
"This was really the heart of the movie that we're shooting now.
"We really shot what this whole movie is about."
That's the love the movie is kind of celebrating,
and that's why Lola has so much energy,
because she cares so much for these situations.
In these situations, they realise what their love is.
Didn't you come up with the red scenes in the second draft or so?
Yeah, it was something that was not there.
In fact, in writing the first draft...
Because the first script I read, it wasn't in there, I think.
No, it was just the structure of the repetition,
and then we realised something still was missing.
Especially producers Stefan Arndt and Maria Kbpf came to me and said,
"Listen, we have to find out something in this movie that's still..."
And I knew it, too.
There was something missing about the emotional depth of it.
And it's so amazing, you know,
I can't at all imagine the whole movie without these scenes now.
It's really... They're so much the heart of it.
And what was amazing for me when I read it is that...
I mean, you wrote not only the man's part, but you also wrote the woman's part,
and even though I really, very often, like to change my text and everything,
I guess all actors do,
it was perfect. I don't know.
How could you think...
I guess, as everybody, you had many talks and situations like that,
but also, everything, like the man's text and the woman's text, was...
n just fit.
But I don't want to. I don't want to leave.
Well, one of the big problems of the movie, for me, was always that I thought,
"How can we make the repetition idea become something spectacular and exciting,
"and not make it feel like,
"'Oh my God! It's starting again. How boring"'?
So, this was really a big task for me, you know,
not losing the concentration of the audience
and really having them care for what happens again and again.
So, we tried to really make it very exciting, and very strange, and different.
And, already here, we have a new variation. This didn't happen in the first time.
I remember that I asked you a few times, "When are we going to shoot the staircase?
"When do I have to run the staircase?"
I always forgot that it's...
Thank goodness it's the comic Lola doing that.
Right. We wanted to prevent you from running down all these stairs all the time,
so we made it animation.
What I can tell you generally about how it came...
How it happened that I wanted to do a movie like this,
was really, initially, there was an image in my mind
- that I really liked so much... - Was it this one?
And it was exactly the image... This image. Exactly. More or less this one.
And I liked the image so much, of a running woman with a lot of passion,
and in a way desperate,
because it combines very basic elements of cinema.
It shows an energetic body, and it shows movement,
and emotion, in one picture.
And I think that's what cinema, for me, always seems to be about,
that we see dynamics and feelings, and can follow them.
Then very soon after that, there was the title of the movie,
which I really liked immediately.
So I found out I just have to build a story around this
so it might be an interesting movie.
How did you find the title, though? I mean, did you wake up in the morning saying,
Lola rennt, or what?
- In a way, it just happens to... - Or did you play around, like saying,
- "Running Lola, Lola Runs," or something? - No, no, no. No, no.
It was there and I liked it. That was the first title, and I always liked it.
So, then when you start to write the script on this,
you just have this image, and you want to make this image become a whole movie.
That's kind of weird. But I always start with an image.
I very much am depending on images that inspire me.
And it's not always that the image turns out to be the central image of the movie.
But in this case, it did.
And what it turned out to become
was a script that very much handles the subject of fate and coincidence,
and how they are intertwined with each other,
and how a very, very small situation can change your whole life forever
and push it into complete different directions.
And I thought we should really try to make a movie that
shows this idea to the max.
And also, in terms of how we handled time,
trying to make a film that not, as usually what films do,
take one hour, I mean, one year, or one week or a whole lifetime
to squeeze into 90 minutes,
but on the other hand, take 20 minutes and stretch them into a full-length feature,
and see what new gaps appear, and what, suddenly, you can show different
and where you can focus on...
That you couldn't do in normal films because you don't just have the time.
So suddenly we could do...
We could tell 20 minutes in one-and-a-half hours,
but, on the other hand, we could tell a whole lifetime in three seconds.
Has there been any particular situation where you...
I don't know... I'm thinking of that because I heard the director of Sliding Doors,
a film I've never seen, but I know what it's about, he said,
one day he almost got into an accident, and he saved his life because
one second he did something different that didn't make the accident happen.
And that's how he came up with the idea of the film.
I think we all know these situations.
We all know situations that we remember, a seemingly very unimportant moment
where we just took some decision that didn't really seem to matter to us,
and later we find out, just because of that, it happened that we went to some party,
and we met some person, and we got married, and had children, and everything,
and just from one slightly different decision, this wouldn't have happened.
We wouldn't have gone to the party,
and our life would have taken a complete different turn.
It's very much about the way, how you ended up being, now, Lola.
Yeah, that's true.
So, tell the story.
Well, it's a long story, but you can really shorten it.
I was... Actually, I was... My film career started in a bar.
By chance, I went to a bar where there was a casting agent
who casted me for my very first film, which wasn't Run, Lola, Run,
but a film by a young director, who, by chance, got this videotape
because he was friends with the casting director,
who casted me for something totally different.
And I think this is the film that you saw, and you kept me in mind for this part, right?
But this was, like, three or four years ago, so...
- Yeah. So, thanks to... - If it had rained that night,
I probably would have never gone to that bar,
and it ends up that I can say I would probably not sit here today,
commenting on this film we made together.
Exactly. So, thanks to... That there was no rain that day.
This is really a short version of that story, but I guess that's pretty much it.
Actually it's kind of scary how you can really tell this in 10 seconds.
That's true. So that's the same thing about movies.
- Because there's a big meaning to that. - They can point towards situations
that are so dramatically important, or have such a strong impact on your life,
and you don't know yet.
But the film can emphasise on different things.
I can't!
Why not?
I remember this scene, that we tried it, like, three, four times,
and I was never happy with the crying, and the...
- Me, too. - My emotional impact.
And I remember that I started getting really angry at myself
because I was so unhappy. And you know how
sometimes you haven't found this particular, little tiny thing
that makes the scene special. And I was really getting angry about it.
- So, you see how angry you got. - And this anger really helped me
to finally start the crying, and get all the emotions going.
- Right. - Because I was starting to get
really tense and angry. Then, I think you can... I think we both,
and especially me, you know this is it. This is the take that we want.
- Right. - You totally know it immediately,
when you get it.
And actually, I really liked it that you would never give up
and you would ever give me... Always give me another chance until we were satisfied.
So, after a 16-hour day of shooting, there is some satisfaction,
I mean, even though... No matter if the audience sees that,
I always knew for myself, at the end of the day, that we achieved something.
Well, the audience definitely sees, so...
And especially about your energy in that scene.
The whole sequence here, it's really very nice how you kept up with the energy,
because this was shot on three different weeks
and it looks, really, like one unit. It very much looks like one emotion
- that you keep up with. - Yeah, we didn't do that chronological.
- No, it's not at all shot chronologically. - I forgot about that.
This was like four weeks later than the scene in the room with the father.
I forgot.
- So, now we're four weeks back again. - Yeah, I totally forgot about that.
That's normal about shooting. But sometimes you see that,
and you recognise there's different emotions mingling.
Come with me.
Have you gone crazy?
- Think you can do anything you like? - Shut up!
I remember how the gun was really a subject to me because
I really wanted... Actors and guns, you know...
You're very tempted always to really act out on that thing because...
And, in fact, it's really a strong thing to use, a gun, I think.
Also, blood and stuff like that. It's a strong image.
I really wanted to make sure that she's not really familiar with guns.
Even though, in this particular scene,
how we tell that she remembers how to handle the gun
from the first sequence, from the first version.
- Listen, dear, we can talk it over... - Fuck off!
In fact, the sequence you just saw, with the photo flashes,
it's one of those things that I think I could convince the actress to play this part,
because it had so weird, different directions that this whole story goes.
And people in other countries might not know,
but most of the supporting cast of this film is quite famous actors in Germany.
They're all pretty well-known. So, the idea was, of course...
Also him. The guy who's here, working in the bank. It's Lars Rudolph.
He's also a kind of well-known actor. And Suzanne von Borsody,
the woman Lola always meets in the hallway...
- I like her. - ...she's also very much known.
And the idea about it, was that the film in Germany, especially, of course,
gives everybody the impression, "Okay,
"more or less all of them are possible lead actors, leading characters."
So, you always expect the film to say,
"Okay, we follow this person now for the rest of the movie,"
because it's anyhow somebody that plays lead characters, usually.
So, always be in preparation for changing completely into a different direction.
Come on, little miss.
Leave your daddy alone.
What happens next is kind of important.
How he gets a heart problem now.
This is really important.
There is a secret connection between this moment
and moments that will appear later. And we'll come back to this later in the movie.
That the guy, the security guard, has a heart problem
will end up being quite important for the ending.
Okay, get going. GO, 90!
Hurry up, man!
So, as it's obvious, this movie sometimes needed a break,
apart from the red scenes when Lola and Manni are lying in bed.
So, I always thought this could be a good moment
to have at least a little sequence of silence.
Because there's also some strong emotional problem, of course, in that situation,
because the daughter is robbing the bank where the father is working, so...
So, what the actor, Lars Rudolph, did, in fact, he had the idea
that this guy, how he thought of him, he brings a little bit more money
than he needs to fill up the 100,000 marks,
because this guy is so strange that he always thinks already of the situation
when the robbery is over, that he still might need money to serve the next customer.
And I really like the idea of this. The small idea of this character.
Bye, Dad.
This is a shot that I always wanted to do, the one when she runs into the camera.
And I wanted it to look like in the first Readers of the Lost Ark movie
when Indiana Jones loses Marion.
So, now it's only the other way around. It's the girl.
I remember it was kind of hard to do because I had to be very precise,
stop in front of the camera. And I had to look at the companion.
- Right. - And it was kind of hard to focus.
And you had to take care
- not to run into the camera. - Yeah.
Attention! This is the police!
The building is surrounded...
- What a ruckus. - Do you have the time?
Okay, let me give you some information about the music, how we came
to do the music the way it is now.
I always work with two guys who are called Johnny Klimek and Reinhold Hell.
We, all three, come from very different directions of music,
which is very nice in the end because all the influences come in and kind of
work together quite well. So, what we do, we very early start creating
a kind of character of the music,
how it could be, and build up a lot of sample banks.
This is the big stunt that we had.
So, I'm coming back to the music. Just to tell you some details about this.
That was really, really a nerve-wracking day,
because, finally, we could at least, after 10 takes, we could destroy
this piece of glass. And of course, we were very afraid
that something would happen to anybody.
The whole glass was not broken by the car itself, in fact.
So, if you look at the film, frame by frame, you will see
that one frame before the car hits the glass, there's an explosion in the glass itself.
So, that was done with a very small piece of dynamite.
So, it was crashed before, so the car only pushes away
the small pieces of the glass.
And in the end, the craziest thing about the whole glass scene was that
we had only two pieces of it, and in the end, we only needed one
to be destroyed. So we ended up having another one when we already wrapped.
And the other actor said, "I don't want to carry this piece of glass again,
"back to somewhere."
So in the end, we ended up destroying it there, just with a hammer.
- Which was really kind of strange. - Was it really expensive, one piece of glass?
- I mean, it was huge. I remember that. - Yes, but...
It's probably a special kind of glass, the way it broke.
Yes, but you couldn't use it for something else.
There was no use for this glass at all. So we had to just destroy it.
Okay, coming back to the music, we...
The whole process of the music was more or less parallel to the editing process,
and we really were working on the music while we were proceeding with the editing.
And the closer we got to a rhythm in the editing,
we grow with the layouts of the music. So, in the end, we went back and forth
between music studio and editing studio to really make music and film
become one unit, to get it completely intertwined with each other.
Now, there's another stunt sequence,
which was shot from very many different angles.
The one from top, by the way, is a trick.
It's a combination of two images, and it was also done on a Domino compositor.
So, we first shot the car, and then Manni lying on the street,
and combined the two images.
The shot from the front of the car, where the guy is hit,
there's one very, very short shot where you can see it's a stuntman.
And all those, of course, are the real Moritz Bleibtreu, the real actor.
So, the music and editing process took really a long time
because I absolutely wanted, especially in this case, but generally,
I like when films have a very musical appearance
and when they really give you the impression of being very rhythmical
and very much atmospheric, also, because of the sound,
the whole sound elements. The sound design also took a lot of time.
So, post production always takes a lot, lot, lot...
A big part of the whole production process.
Lola.
Actually, we were recording the whole music part
in the US, in Santa Barbara,
where the studio is located, where Reinhold Heil,
one of our three band, has set up a studio.
I'd throw you into the ocean, shock therapy.
What if I were dead anyway?
These scenes were so much meant to become
a part of the movie that shows how normal this relationship, in a way, is,
and how much you can relate to it.
And I wanted very much that people relate to this relationship as being not something
like Romeo and Juliet. As much as I wanted Lola to be a character
not completely invented, but, in fact, very much down to earth,
very much believable, and not this idea of having a Tank Girl or Lara Croft identity.
That's why, in fact, Franka was so perfect for the part,
because she's also not that a sports person. She's not so much into sports.
In fact, she isn't very much into sports. And she's a smoker,
and quite a strong smoker. She didn't even quit smoking during the shooting,
even not in those shooting days, when we were shooting the running scenes.
So, that made me nervous on the one hand, but on the other hand, I liked very much
that it made her become a real, very complete, normal, believable character,
and not something that is completely
invented and too much comic strip-like.
But talking of this running and sports aspect of it,
I think... I mean, you're right, I'm not much of a sports person,
but I think it was more like a mind thing, it was an attitude that I tried to build.
And it worked out for me. It was exhausting, as you know,
but it was good, I think, that nobody on the set really...
People from the team would always come up to me,
having pity on me. Because then, I guess, that's when you start yourself
to have a pity on you. And...
No. Nobody was really feeling pity for you. That's true.
Of course, it was exhausting, but when I saw the rushes, I guess, I had
a strong feeling about that it was good and it was right, what we were doing,
and it was worth all that running.
- All that suffering. - All that suffering.
At least, you have to really say that...
How much percent of the running I did, or we did,
do we see in the movie? Is it... It's probably like five percent, right?
Yeah, it's even less than five percent, but the coverage of the movie was 1-to-20.
That means we shot 20 times as much as you see in the movie.
So, more or less, you can imagine Franka was running 20 times more
than what we see on screen, in fact.
Which is a lot.
Another thing is that I wouldn't really recommend these shoes,
Doc Marten shoes, that I'm wearing there.
- If you want to... - For a runner, you mean.
If you feel like running after you saw this movie,
you should better take sneakers, I guess.
Actually, I must say, I was really amazed
how fast it looked, and how fast, actually, I could do it.
But I guess, it's really... Probably in privacy I couldn't do it,
but if you do it for...
- For me? - You know, for a part, or for you,
or for the whole movie,
I don't know, it's... There had been a very encouraging atmosphere on the set,
and whenever you have a high concentration level,
it's not so much... I really learned it's a mind thing.
And you were into the character, and the character somehow...
Lola grows... Her strength grows bigger than she ever was before,
out of this passionate desire. And I really believe that, too.
So, this was the third episode, which always worried me
that people would say, "Okay, I've seen all of this."
And I really wanted to come as soon as possible to this situation here, now,
when you realise, "Now we're following this man,
"who we didn't follow before. So, what will this lead to?"
- This is video again. - Yeah, this is video again.
I was really... It was really important to me that
people don't lose contact to the movie now, and that they start now to realise,
"Okay, this will take a complete different turn."
Because suddenly, the bum appears again.
And that he's buying, now, a bike.
He has a lot of money to spend.
He can buy whole lots of fries and bikes now.
Yes.
Sebastian Schipper is the actor who plays this guy here, the guy with the bike.
He's now becoming a director, and he just finished his first feature film.
Which we produced.
I always loved to do these stunts with a car.
It's not that I did all of them by myself, but...
Of course we had to take care of my legs and everything, but I remember
- I did this one, jumping on the car. - Yes. It looked really good. You were daring.
No.
Here we go again.
Is that my voice that we hear now, that's looped in the background?
- The angel kind of voice. That's me, huh? - Yes.
All the voice stuff, the female voice stuff, apart from one song,
is Franka Potente in this film.
The whole music element was growing and growing throughout the work on the movie.
And in the end, the idea to take Franka's voice, to take your voice,
was coming out of another idea that we had first had,
because in the script it was written that, while Lola is running,
we listen to all the thoughts that are crazily bumping into her mind,
and completely, chaotically, are one on the other.
And all these thoughts...
We were recording one day, and recording from, like, recipes,
- cooking things, or... - Names of chocolate bars, I think.
Yeah, and even panicking thoughts, like, "Did I leave the door open?"
- Or, "Did - Switch off the oven, and all these things.
All these strange things that you think of when you're really panicking,
because, of course, you're not always thinking of one thing.
- It's not reasonable at all. - No.
And while recording this, I took some pieces and put them into,
just like elements, into the music layouts. And it really was interesting to hear.
So, the closer we got to finalising the film,
we realised it could be really interesting to make it become a song,
more than just a narrative off-voice in the background.
So, we decided not to take it as a narrative off-voice,
but make it become a song and a singing part.
I thought that was very convincing, even though I never pictured myself as a singer.
- But I mean... - You've done well.
Yeah. I just thought it would make sense that it's, of course, my voice in the songs
because it's somewhat Lola's head voice, or mind voice, inside voice.
Would have been kind of strange if it would have been a different voice, I think.
Dad!
Wait!
Actually, this was kind of hard to do. I remember this is the only time
where she is running and shouting at the same time.
- Oh, yes, that's true. - And I'm glad
that we didn't do that so often, because that's something really hard to do,
to run and also shout real loud.
That's true.
Shit! Shit!
So, here he is again, this strange person that always appears,
and you think, "What's he doing now, here?"
And saying things you don't really understand.
She looks at him, as if she knows him.
I love these kind of disturbances, these irritations in movies
where you don't really know why are they looking at each other like this now.
And I was always trying to make the heartbeat become a bit louder,
so people really hear his heart is... Is it stopping?
Well, there's the relation to what you said before, now,
- when we see him in the bank. - Right, and...
But there's a... The scene will still come up.
Thanks.
Wait.
I like it how, like, these little characters in the movie lead...
It seems as if she leads him. Even though she's blind, she leads him
to look over there and see the bum, no?
- Of course. - If she hadn't turned her head,
he wouldn't have looked over there and seen him.
No, of course.
I think that she's probably somewhat comparable to what you just said, to this...
- Yeah, like most of the supporting cast... - To the security guard guy.
...most of the small characters in the movie, they all have a strong impact on the story.
Watch out!
Oh, yeah. In fact, this is something I really want to explain.
The guy who is on this bike and who falls on the other car,
he is, in fact, the guy who, in the very beginning...
Because very many people miss that.
- Who in the very beginning steals the... - Motorbike.
The motorbike of Lola. And he's, in fact, driving with a stolen motorbike.
So in the end, he also gets punished
for setting all this off.
But this is something that people only discovered
after seeing it five times or so.
Because you just see him very, very shortly in a flashback.
Oh, see, I remember shooting this scene, because I had to run with my eyes shut.
- Oh, yes. - I was really scared of doing that.
I remember that. And didn't we even...
I think we tried, and I was really scared because...
Wasn't I holding your hand, even, while running?
We tried it like that, but it was kind of hard because the streets were cobblestone.
And I was always scared to fall. And I was always too slow.
So I think you put a rope around my waist,
- something like that. - Oh, yes. That's what we did.
You were holding the rope and driving a car next to me.
I think that's how we did that.
Because it was really scary, somewhat. But, see? I trusted you.
It's also hard to keep in focus.
Good job. The focus puller did a good job.
You wanna get killed?
One of my favourite shots from the key grip. He's always able to do these
strange, crazy movements in the middle of the road,
where there's a lot of traffic, and he still manages to put his dolly somewhere
and move it around characters. Wolfgang Franke.
- This is not a casino, right? I mean... - No.
What is it? Isn't it an opera house or something?
Well, the outside is something like an opera house,
- the inside is, in fact, the mayor's... - The town hall.
- Yeah, it's the mayor's building. A part of... - Town hall.
...Berlin.
I have to.
Ninety-nine marks, 20. What kind of chips?
One for 100?
- In fact, it's used for a lot of films. - Yeah?
Yes. All kinds of films. Usually those who play in the '30s or in the '40s,
they always have a scene happening there.
A lot of extras in this scene. Do you remember how many there were?
I think we had to have, like, 100. It was close to 100 extras.
Which for our circumstances,
considering the budget of the film was less than $2 million,
having 100 extras is already really a big issue.
- It's a lot of money. - And all the croupiers, they're real...
- They were real croupiers, right? - Yes, the guys on the table, they were real,
like, they are really working in a casino.
And especially the actor Klaus, this one here.
- I think he's... - He's a real casino, and he's...
- He did a very good job. - Yeah, I think that, too.
- He got a lot of close-ups finally. - Yes, because he was so well.
- He did a good job. - All his reactions are really strong.
Twenty, black, even, pass. No series.
Okay, this is all... The details that we were shooting here,
I really enjoyed doing this on separate days, this kind of stuff.
And very close-ups of all this,
together with a small crew and Frank Griebe, the cameraman.
We both sit down and storyboard all of it very closely,
and then we sit down and shoot it in a separate day, in a small room,
sit there for, like, 20 hours and...
Stuff like this.
And you experiment with all your snorkelling cameras and all that stuff.
Right. Yeah, especially the Snorkel camera that had to move inside of the roulette.
Gonna see that later.
Just one more game.
Please place your bets.
Wasn't it after that day of shooting that we actually really went to a casino
and were betting on the 20?
- Yes, we did that. - We didn't win, though.
No.
I love that scream. It was so much fun.
And all the extras, they put stuff in their ear
because the old men, like, sitting right next to me... You see them right here.
They were freaking out because it was really so loud.
That was so much fun. I love that.
And the clue was really that... I know that from my singing class,
that in between when you scream, you don't talk and you shouldn't eat nuts
and you shouldn't drink milk, just have plain water and not talk.
Otherwise, it ruins your voice.
Yes. And all the extras, they were pretty much wondering,
"What kind of movie are they shooting here?"
In fact, the shot when the ball enters the 20,
it really, really is... It happened while we were shooting it.
It really happened. You know, it was...
We were just trying and, like, the third or the fourth shot
really worked with a 20. It was pure luck.
Okay. Now, we're gonna see a very strange shot
of all those people looking like,
you know, the grown-up children from the Village of the Lost...
Village of the Damned. Like, a bit like Night of the Living Dead.
And I just remember this shot was really exhausting to do,
because it was a very long track for the dolly
and Frank was sitting on it, in fact, and we were moving
and I didn't want the extras to move,
but the camera, of course, was very close to their heads
and they had, like, an 18-hour day. They were completely exhausted.
And we had to take it like 10 times.
- What about this painting? - Oh, the painting on the wall.
Because I think there was something special to that. We...
- At first, we didn't have that, right? - No, the painting wasn't there.
The painting where you see the blonde woman from the back side,
it's supposed to be Kim Novak in a mixture with Carlotta Valdes.
And the idea was to have...
I hated the empty space on top of this roulette table,
so, I thought, "Let's put something there,"
and the art director went crazy because he said...
Alexander, he said, "I don't have a nice picture for this."
So, in the end I said, "Okay, we have 15 minutes. Paint one."
And in fact, he did that. He is so amazing in this, you know,
because he was really able to paint this whole picture in 15 minutes.
And I said, "Okay..."
He asked me, "What do you want me to paint?"
And I said, "Paint something out of Vertigo."
And he said, "What do you want out of Vertigo?"
I said, "Well, paint Kim Novak, a portrait."
And he said, "I don't really remember... What do you want me to show?"
I said, "Okay, forget it. Just paint her from the back side."
So we ended up having the back side of Kim Novak in this image.
And I love it because, of course, there's, again, the spiral sign
which reappears in the movie all the time,
like the spiral symbol is a very strong symbol for the whole film.
And everybody was very impressed that he was able to do this in 15 minutes.
That's a nice picture. You have it in your living room now.
Yes, it's now in my living room.
So... Sorry, we missed that wonderful scene now
with Moritz and Joachim.
I am still wondering. If we ever do a sequel,
we will do it about, "What's the bum going to do with the gun?"
Yeah!
'Cause we never came back to this. We didn't have the time, really.
So now we're coming to the scene that I was pointing at before.
Because sometimes people do not really recognise
the person who's in the ambulance, the guy who's lying there.
That's him. He's the security guard.
I mean, most people recognise, but some don't,
because he really looks bad.
He really looks very ill. But it's the security guard.
And, of course, the idea is that... I can't answer all those questions,
of course, but I always liked the idea that in the second episode,
he's got some heart problems, and in the third,
we see him lying here. So, this is one of those
silent connections between the three episodes
that I wanted to make them, in a way, secretly bound with each other,
or more intertwined with each other,
and to have them have this strong connection is somehow irritating
because they seem to be so distanced to each other. There's kind of an
invisible line between them
that really is disturbing. I like that. Without explaining.
Okay.
I like that miracle kind of atmosphere in there.
This guy who plays the ambulance man,
he's in my first film, too, and he also plays
a man in an ambulance.
And it's the brother of Nina Petri, in fact, the love interest of the father.
I don't remember how we managed, really,
to keep everybody off the streets in that scene.
It was Sunday. That was, of course, the most important decision, to go on a Sunday.
And it was quite early in the morning.
And on every next crossing, we had
people from the set struggling with people who wanted to cross the street all the time.
But that's a normal problem. Imagine that would be New York.
Oh, my God.
Imagine this being Fifth Avenue or something.
- Times Square. - Getting it empty?
I think we have to add some digital effects then.
We were trying to do this scene in a way
that Lola seems to
act in a way
that it looks like she really knows what happened during the whole film
because I very much wanted the film to feel like one voyage
and not three of them. Just one constant voyage with this woman
through all these obstacles and all these horrible situations
and that, somehow, it appears that she looks at him now
and he is so completely unaware of all of this.
Look at him. He's really, like...
I like what he does with his eyebrows in the next shot.
Now.
- Oh, this one. - Yeah.
Well, he doesn't really matter.
But you look at him like, "if you really knew..."
You died for him, he died for you, everything happened, and there's such a...
I really appreciate that you acted like that, because it makes us much more
feel close to your character,
because we don't feel like it was all just an experimental movie.
We really ran with you throughout the whole movie,
and through all the three acts.
So, as I'm pretty much into credits anyhow,
I really like creating title sequences,
and I also like to have a nice ending sequence.
So, we were wondering how to do this one
- and somehow it seemed... - There's so many people to mention, right?
No, that's not the problem. I mean, the problem is how to create it,
that it still has a kind of
nice, interesting atmosphere about it,
and that, of course, it will make sense with the movie.
And the movie always goes backwards and forwards and backwards and forwards,
so, I thought, "Let's put the letters in this contradictious way."
So, now we can see all those people that we missed to talk about during the movie,
all those incredible persons who really had
a long, long seven-week shoot, and long, long overnights...
Well, additional hours of work,
and...
People who really, I think, suffered a lot from the speed of Franka's running,
- because they had to keep up with it. - Yeah, right.
Especially the whole grip department,
always trying to find things that keep up with a person running,
which is amazingly fast, you know. You cannot find any dolly
that can really keep up with a running person.
So, you have to invent all kinds of vehicles, or build them, or create them,
combine them with cranes and all this, so that's really a lot of...
Of course, it's also a lot of fun doing this kind of stuff.
The stunt department had some interesting tasks,
but definitely the one with the big piece of glass
was something we were most worried about
because no one of us and them had done this before, in this size.
And it seemed kind of dangerous
because glass is very unpredictable, where it goes.
Okay, so there's also the department of...
Those people who worked on the streets all the time,
and had to take care of the permissions, which is terrible these days in Berlin
because all Berlin, the way it is now, is a city that is full of construction sites
and it's really hard to get your way through there anyhow.
So, if you want to block a street, they go crazy because the whole...
Traffic will completely collapse.
So we always had to discuss... No, they had to discuss it intensely
and solve all these problems, because you have this director sitting there
and saying, "Oh, I don't care, I just want this street now.
"So, I don't care how you do it, just do it!"
And I'm pretty impressed how they did it, and how they managed
to get us in all those streets, which are...
You know, usually you can't really shoot there
because they're so important not to be blocked.
Okay, we have the music credits here, which just brings me to the important matter
that there's, of course, the soundtrack of the movie on CD.
And for me it was the first CD of a soundtrack
that really worked also in the charts, and it was very exciting
to be even in the top 10 for such a long time in Germany.
And Franka, and the guy we did this song which is now running with,
he's called Thomas D, he's a big star in Germany, too, a German rapper.
This single, this song here, now, even went Gold and won an MTV Award.
So, that was kind of exciting also, having this.
Okay, so, thank you very much for your interest.
This was Tom Tykwer, the director of the film you've just seen,
and I would very much like to thank Franka Potente for joining this session.
Oh, well, thank you. Actually it was a lot of fun talking about our movie.
Okay, see you with the next one.