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At the destination of his dreams, he must first put on a breathing mask. Asbestos on the ceiling, pigeon droppings on the floor, the stench is biting. But Mark's cousin is going to rise across over rubble and broken chair and spreads his arms out. "Is not this a great place for a cinema?", He mumbled through the mask.
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Yellow curtains, Resopaltische, pennants and Zierteller on the walls. The air is for cutting. Pensioners, and toothless Transen drinkers make Polonaise and swirl beer tubers. Light garlands holzvertäfelten dangle from ceilings.
In Tippel Inn celebrated the last evening. "There's only the demolition once" Fidele johlt the housewife with the top shirt. One of the last of St. Pauli Eckkneipen a new building must be soft, after the municipal housing company building the ensemble has to neglect. "We will be expelled, Hermann," says the lady with Mopfrisur to their weißhaarigen companion.
Five years is the farewell party of her Tippel Inn. A film about the Hamburger Kiez have them back to life. "Empire St. Pauli" is the documentation, the change in the world famous district narrates. The district, which like no other in Germany for cheap fun, is to expensive plaster. Rotlichtspelunken make lounge bars competition, instead of booze coma, there's the three-course lunch for 24 euros. In funkelnagelneuen office and residential block on the grounds of the former brewery Bavaria cavort agencies and homeowners to the wild Kiez only know from hearsay.
"I've heard earlier was a little alternative here," says the young man in a black slim-fit shirt, because of the harbor panorama hergezogen is. When grapefruit prosecco cocktail extols the developer of the project "Design Ready concept" of the proposed Marco Polo Towers on: "Here you can find his desires of individuality, freedom, luxury and flexibility to meet." Top Locations, Hotspots and cream layers - marketing-speech is recovered between geiler Mile and River Elbe. In the hop, where previously the prostitutes were sitting in the windows are now condominiums for 250,000 to 350,000 euros for sale.
MORE ON DAY ONE
Mojo Club
Legendary club: chill out on the Reeperbahn
Photographer on the Reeperbahn: whores, cripples, the night
Legendary photo reportage: Happy in the gutter
The whores get now in trouble with the police, if they participate in the show windows. Reports a stunned residents, previously happy with neighbors on the house stairs verdrückt a beer, that he is aware of the recent law enforcement for a "place reference" has been issued to him entering the forbidden city. St. Pauli, what's become of you?
"Empire St. Pauli", the documentation provided by all told, is a citizens' initiative filmgewordene. From displeasure over rent increases and displacement, the St. Pauli plenary - a round table of local residents - the low-budget production was initiated. "We wanted to document what happens here every day," says Jörg Steffen, social and producer of the film. "We wanted those who live here, a voice."
Has always been live in the shadow of the hordes of tourists, the neighborhood the week rolls on, many immigrants, the poor and the elderly, the entertainment industry has dismissed as a pensioner. And because St. Paulianer know, not on the mouth fallen, scold them in the film neatly against the Lattemacchiatisierung in their neighborhood. "The cut in all their pockets full and we are the poor ghost," says the mature blonde from the Holsten Schwemme - nor a settled Eckkneipe.
DESIGNER CINEMA
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Your movie: What is where and when - the blogs ONLINE planners for all of Germany ...
The Turkish kids by Hein-square-Köllisch dry conclude that what the German Leitkultur commonly accuses them: unsuccessful integration. "When you live here, you should also settle in the neighborhood," they say. "But they've got their own little world." A parallel world, which in the original St. Pauli goutieren can be wordy. "Pikobello clean, hearty good people because we never expected something else to make of it," says the spokesman for the Empire Riverside Hotel tower, the "sharp corner" directly vis-à -vis. "The business travelers want, finally, the typical flair of St. Pauli see." In order for the clientele of the bronze-colored "Live Style Hotels" to make accessible, the hotel investor Pinte rehabilitated.
But you can Freaks and David drunkard on the street from the lounge bar on the ground floor of view. Shielded behind dark panorama windows in Lederfauteuils to chillout music, finger food for Eurasian. St. Pauli behind glass. "We believe that we are here to be positioning itself as a colorful, sassy, versatile District can realize" schwadroniert the lady of the Hamburg Tourist Board on the location, as it is located politician dreaming: abgefahren demarcated, with a few quaint Hartz IV recipients as color. A neighborhood is on the theme park.
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"St. Pauli Empire" is not a cinematic masterpiece. But a bitter evil Agitprop film city against political cynicism, as it not only gives St. Pauli. Rebuke it has the documentary Hamburger won. On Thursday premiere is in a former bowling alley at the entrance to the Reeperbahn, the - how should it be otherwise - including the demolition of blooms: Where once the legendary Mojo Club resided, are almost two 85-meter glass teeth grow in height. 33,000 square meters of new office space in a city where already one million square meters unvermietet are, to a four-star hotel. "But on the ground floor are sure St. Pauli affine uses his" promises of the project developer. Whatever the still hot mag.
A documentary by Irene Bude and Olaf Sobczak, Germany 2009, 85 min
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blogs ONLINE: Mr. Abrams, after ten films and five TV series was the vast expanse of the "Star Trek" universe as explored, and the brand as a commercial dead What attracted you to restart?
Abrams: The honest answer is: Because there was never a "Star Trek" movie was how I presented it to me and would like to view. I am not the work of my predecessors devalue. I have eternal respect for Gene Roddenberry, the creator of the original series. But the material still has so much untapped potential! A Bond movie I would have never shot, because the 007-series classic so many years, I guarantee that nothing better could add. With "Star Trek" was the bar lower. However, I was never a serious fan or Trekker.
blogs ONLINE: Is it not more Trekkies?
Abrams: Tell not too loud - the hard fans hate it when they trivialized! One of them also counted as an expert on the inner circle of people who helped me in developing the concept helped chronologically backwards to travel and the beginnings of the characters to light. This decision was the key: We had thus narrative carte blanche and an organic integration into the mythology evolved over decades. I believe that the chances are very good, old and new viewers for "Star Trek" to inspire.
blogs ONLINE: You said in an interview that the optimism in science fiction cinema cool again want to do. What do you mean?
Abrams: We have in genre cinema for years just cynical movies about pre-or postapokalyptische seen worlds, all somber in tone. No question: Some were brilliant and incredibly successful. But I wanted to avoid this route and to me the original series, which is based on a pioneering spirit. Explorers are not cynics. You are at the heart fortschrittsgläubig and optimistic.
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"New Star Trek Movie: Captain Kirk against Mr. Spock"
Kirk, Spock & Co: Star Trek - all at the beginning
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Film clip: "I'm impressed!"
Film clip: "You can read more"
Film clip: "Good luck"
blogs ONLINE: Optimistic is your approach a film with no stars to rotate.
Abrams: I have been at "Lost" and "Alias" very good experiences with this, unknown actor to fill the audience became darlings have developed. Of course the risk is greater, a film on the shoulders of relative newcomers to attend. But I am firmly of the quality of our crew convinced - and the real star is already the spaceship Enterprise.
blogs ONLINE: In the casting phase, you have expressed a desire to Russell Crowe as a baddie to fill.
Abrams: I admire Russell's work, and sometimes my enthusiasm with me through. We discussed the role, but he had to consider that "Star Trek" on the way to the Russell Crowe movie would be - and quite right. Now we have Eric Bana, also an acting heavyweight. However, under a mask, which is so good that it is not even Steven Spielberg has recognized. He asked after his presentation, who this actor was interesting. They have both "Munich" with one another shot!
blogs ONLINE: Many films burst event today before special effects and stun the audience with a review values. Should we do so?
Abrams: No, no man today is more of a huge explosion or a spaceship herumflitzenden impressed if he is not about the characters in this space provides. That was my mandate: First, the characters, then the visual orientation. Our "Star Trek" a Kirk and Spock movie about the difficult beginning of a friendship - and incidentally a science-fiction epic. We also have over a thousand elements with computer settings. But they are the garnish, not the meat of the film.
ON TO ONLINE blogs
New 'Star Trek' movie: The best in outer space Pajama Party (05.05.2009)
"Star Trek" in the cinema: Nostalgic Utopia
Kirk, Spock & Co: Star Trek - all at the beginning
blogs ONLINE: How do you find your next movies still time for your current series "Lost" and "Fringe"?
Abrams: I did with "Lost" have nothing more to do and know the show is in the hands of extremely talented colleagues. With "Fringe" I occasionally help a little with plot ideas. But my focus is and will now focus on filmmaking addressed.
blogs ONLINE: In the movie seem a weakness for series to have substance. Where is this preference?
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Abrams: I am fascinated as Filmfan characters to which you have an extended period of time builds a relationship of trust. As a director it irritates me the most, tried to break formulas and those spectators by surprise, which is already one million movies and knows every twist guessed. Sub-conscious is in me seems to be the fan of "Star Wars" and "Indiana Jones" by. I loved it as a youth, these figures for new adventures and to accompany their changes to be amazed. Take only the transformation of Luke Skywalker in the course of three films! That would be in two hours time narrative impossible. Even George Lucas and Steven Spielberg could be derived from their love of the series inspired by her youth.
PERSONAL
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Jeffrey Jacob "J. J." Abrams, 1966 born, was his first feature film with the same Star-Power in the back twist: Tom Cruise himself to be the TV producer, writer and director for "Mission: Impossible 3" (2006) have hired only after a number of consequences of the Abrams - Series "Alias" hellauf was thrilled.
Also for the cult series "Lost" and "Fringe" drew the self-confessed "Star Wars" - and "Star Trek" - Fan responsibility. Abrams' reinvention of "Star Trek" is the eleventh movie in the series, based on the sci-fi series based on the 1966 to 1969 for the U.S. television was produced. Abrams already announced, including another film with the new Enterprise crew to be available.
blogs ONLINE: What you hear, you have a close relationship with Spielberg.
Abrams: He's over the years into a real friend and mentor, has become, not bad times is when I him with e-mails full of questions about his work Bombardier. His class makes me ready to go! He shakes on the set spontaneously scenes from the sleeve in which it is the smallest area while filming five settings - and you have yourself as a professional no idea where the cameras are hidden. The complexity of his film language is someone who is solely and sanded with six-syllable words parliert.
blogs ONLINE: Can they influence your work on the example of "Star Trek" explain?
Abrams: First of all, I am sitting here without him. I wanted to "Star Trek" originally produced. Only when my wife and shortly afterwards Steven read the script and declared mentally for me, if I do a cool story would not be staged, was a light on me. Later Steven saw a rough and sent a couple of pages of detailed notes. Time he found a sequence of twenty seconds too long, then again, he suggested changes in the sequence before cutting. Any comment that was marginally, but overall his ideas helped the film to a better rhythm. Because of course, his arguments were impressive - in addition to him we are all apprentices in the film company (laughs).
blogs ONLINE: As a producer of your own movies, you are also with the economic aspects of the industry well. What does the global crisis for Hollywood?
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Abrams: There is everything to the test. Every budget, every Gage, everyone's status. This caution is already leading to a steep increase of cooperation of the major studios. Super Expensive films are now widely supported by several partners gestemmt. Then they have to share in their profits, but reduce the risk of flops. But compared to other industries, the film business is quite healthy. The audience figures in the U.S. speak a clear language: The people stream in each stage, such as economic decline reinforced the cinema, where she also distraction besides the feeling of inspiration and hope are looking for.
blogs ONLINE: Finally something else: How did you actually the "South Park" parody of the film "Cloverfield" dropped in the monster of the film by a giant hamster has been replaced?
Abrams: From the best satirist in the U.S. television perceived to be in Hollywood as a modern knighthood! I have tears of laughter, how clever they are loose on the camera in "Cloverfield" have fun. The best part: You have not reason and ground, but were almost lovingly. And from the "South Park" boy a tiny bit more to be respected, is notoriously less likely than an Oscar win.
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Ahmed Khatib was twelve years old when he was shot. The boy from the autonomous Palestinian town of Jenin was with a machine gun on the plastic, which looked so real that it was Israeli soldiers held for a terrorist. A terrible mistake, bitter and tragic, just as it can happen in a permanent state of war.
Ahmed's father Ismael, the bodies of his son to donate. Heart, kidney, liver and lungs, in six patients in Israel, the case in late 2005 for a large media interest ensured. A baby has not survived the transplant, two of the recipients remained anonymous - the other three children Ismael Khatib with a film crew visited: the Bedouin's son Mohammed, the small Samah, which belongs to the Druze, and Menuha from an Orthodox Jewish family in Jerusalem.
On this Thursday, the resulting documentary "The Heart of Jenin" to the directors from Israel, Lior Geller and Marcus Vetter from Germany to the cinema, and most spectators are expected to have a moving feel-good story expect the story of a noble man of his grief back in place in order to do something good, irrespective of political and religious boundaries.
And partly it is so simple but it makes the film not. The first scenes are anything but heart warming: There are pictures of the dead Ahmed, from the morgue of the Israeli hospital in an ambulance and brought to his parents in the West Bank will be driven. They rallied in addition to the crying family immediately a crowd of people around the corpse, it shall wind up in a Palestinian flag and carries it through the city. "Raise high the martyrs," calls the angry mob. And: "Each death is avenged by 100".
Even the father, at the center of the film, is not just a sacred gentleman. It was an act of humanity was, he says, "with politics has nothing to do". But later he says, his humanity is to be understood as resistance. "Do you think it has fallen to the Israelis what I have done?" He says.
He calls himself a former resistance fighter, says that he and Molotov cocktails and stones thrown in jail several times landed. Before the donation, he has to a chief of the Al-Aqsa Brigades, demanded whether he really should make, including the mufti of Jenin had his approval.
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Ismael Khatib believes in no reconciliation, just as the devout Jew Jakoov Levinson, the daughter of Ahmed got a kidney. He is eternally grateful that his child should live, but for Palestinians it will remain a threat. "Those crazy Arabs are trying constantly kill us," he says into the camera, and the meeting of the two men is so subliminally unentspannt and hostile that no one can take seriously, the two camps could ever find each other.
There are no heroes in "The Heart of Jenin, just people trying to get the right to do so. Whether this is cause for hope for peace there can be only one viewer to interpret for themselves. That makes this film worth seeing.
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A scene from "Our Earth": Epic World
If tomorrow the world goes down, we still shoot a movie about it - under this motto, the Briton Alastair Fothergill and his colleagues from the Natural History Unit of the BBC in 2007, the costliest and most expensive so far nature documentary ever completed.
"Our Earth" is an epic journey around the world in just 90 minutes from the North to the South Pole - with many stops on all continents and very telecharger gene Stars: humpback whales, sharks, elephants, lions, polar bears and birds of paradise.
DVD EDITION: OUR EARTH
Great Cinema Moments - Our Earth
FSK released from 6
Duration approximately 95 minutes.
Director: Alastair Fothergill, Mark Linfield
BMG Video / Universum Film
April 2009 - DVD-Video
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That sounds easier than it is. Animal documentaries bring the people they make to their limits. I know that since I director in April 2007 Fothergill and his team at work could watch, when filming on the Norwegian archipelago of Svalbard, only 1200 kilometers from the North Pole. For three days we explored snowmobiles on the bitter cold desert along the 78th Latitude, always on the lookout for polar bears. Supposedly there are still around Spitzbergen 5000 copies, one fifth of the total population.
In principle, polar bears here come from all sides; in doubt accelerate faster than a snowmobile. "Sometimes they just want to play," said Fothergill. But that's really nobody in the wilderness is eaten, or starved erfriert, escorted us to the Bears being two local leaders in the Arctic, armed with pepper spray and heavy turrets.
Climate change, the underlying theme throughout the film, was also felt on Spitsbergen, but differently than I thought: The weather changed every ten minutes. Sun, fog and snow storms alternated succession. With snow drifting blurred sky, horizon and ground in the Arctic into a single gray wall. With a little luck, you will still recognize the taillights in front of a moving snowmobile. A polar bear could be directly behind a herhecheln without being noticed him immediately.
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Not all locals in the Arctic are so unpredictable. We observed reindeer, seals and an Arctic fox, for Central European city dwellers a sensation. Fothergill & Co. But that did not even packed up their cameras. Polar bears, the objects of desire, settled in this expedition does not look - animal film everyday.
Never mind. In the finished film, there is enough to see polar bears. The most spectacular scene - a polar bear who swims - Alastair Fothergill even turned itself helicopter.
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As always a distant future also looks like the pub brawl left us. For example, at least director JJ Abrams, in his with plenty of inflated expectations' Star Trek 'Prequel a futuristic beer glut quite the showplace jetztzeitiger Keilerei makes.
Industrial Light & Magic / Paramount Pictures
All and powerful: The new old Enterprise spaceship in "Star Trek"
In the center of the wrangling shares a young man particularly strong, and his peculiar body language when fistfight allows only one conclusion: This must be James Tiberius Kirk, captain of the legendary spaceship Enterprise and Ur-hero of almost five decades, six TV series and now eleven films comprehensive science-fiction franchise company.
Alone, the sultry rioters did not know his happiness, and finally with a new cast is the history of the classic series from 1966 told. Instead of the merry Fossil William Shatner is about young actor Chris Pine in Kirk neat boots, and even more impressed with his physical play in this scene. Perfect Pine plays the little ticks and Manierismen after Shatner, whose Captain always tangible arguments to have been: The Kirk is dead, long live the Kirk.
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Misleading is the title. "Silences" - silent, still on top in the plural, promises the show, and already here is a hidden confusion. Because in truth it whimpered between the works, characters in the half whisper, whisper number combinations speakers, videos, sound spread from a U.S. pop music jukebox drips. Does not even a siren?
The tour through the narrow, artificial maze reinforced the acoustic confusion. The environment acts as a menacing, urban environment, between the four, five meter high panels are narrow gorges, usually dipped in aseptic white. The scenery almost reminiscent of the expressionist films of the twenties, the path between the works, such as a switch between total, Halbtotale and sudden Naheinstellung.
No coincidence: The exhibition is the brainchild of Marin Karmitz, 70, of his professional biography began as a cameraman, shot short films and later as a producer, distributors and cinema owners reüssierte. His chain of MK2, with rights to more than 400 international titles, is one of the most successful in France. In 2005, Karmitz the management to his son - and almost simultaneously came the vision of an exhibition.
"I wanted to establish connections between film, video, literature, painting, music and visual art," says Karmitz, with this idea of the cross when the former Director of the Strasbourg Museum of Modern Art in "surprisingly positive response" was - long before the beginning of the year by President Nicolas Sarkozy to the General Delegate of the newly created Council for artistic creation "was appointed.
The ground floor of the building floor, next to the historic city of Casemates received Karmitz an area of 580 square meters - and completely free hand for the selection of works by 15 modern artists. "I have a rare degree of trust and generosity increases," says Karmitz. Especially as the city of Strasbourg, the project looked without skepticism. "We have here a man free hands, neither artist is still a painter, not a critic, not even a collector," says the Director General of the municipal museums Joelle Pijaudier-Cabot on the experiment.
Also by the film producer (Kieslowski's color trilogy) to the museum curator changed Paris, it was a "decision is not without risk", even if the man cinema in 1966 with a film about a piece of Beckett's attempts to film and video stage language to unite . Still standing Karmitz, later with a short, play movies and protest domestic and international prices finally into specialized manufacturing moved in front of an unusual problem: "Where is the substance crystallizes what works choose what era of presence at the center? What story? me before I arrived as a director without a script, "says Karmitz in Strasbourg," and only to the extent where I gathered the works, was also the match, cross-conception. "
"It's like mayonnaise"
Is characterized by the attempt to artists in relationship to. "It is a reflection of some artists, the beginning of the seventies began to seek the silence through the screen - to words, sentences, scraps of language. I have chosen people who overcame the silence with film, video, sound installations. "
"Silences", Karmitz and built by the architect Patrick Bouchain, starts with a lock, in the letters from plush (Annette Messager) the word "Ciineeemaa" form and in the vanishing point to a scare piece ( "One Laughing at the Red Ball") Juan Munoz lead. Then the visitor emerges into the half. Between open chambers, rooms, boxes - small refuges for the productions of the works: "One space per Oeuvre, a specific volume, Karmitz comes from the film, it was quite natural for him to work in the right light," says Bouchain.
The visitor encounters among others on the leisure of an American nightmare beach staging (Martial Raysse, 1962/2007), to a Glasiglu by Mario Merz (1969/1991), passed an almost appear as an emergency exit door (Robert Gober, "Door with Light Bulb ", 1992). Then he loses in the "Labyrinth" by Ilya Kabakov and Emilie - a maze in the maze ( "My Mother's Album", 1990) - and suddenly sees himself surrounded with Christian Boltanski's masked figures, disturbed passers between the rows, the short sentence Tatters murmur. Will be dismissed with the frontal view of Georg Baselitz ' "Three heads with snail" (1966) - a disturbing, provocative finale.
The result is a cohabitation of various works between time and space in a territory "(Karmitz), which is not immediately opens.
"Yes, it takes a little time to access to find, but it will work Marins bridge," says Christian Boltanski. "It's like mayonnaise - oil, egg, salt and stir it takes to succeed in the sauce?"
"Silences," in the Strasbourg Museum of Modern and Contemporary Art "until 23 August, 26 October 2009 until 10 Januaar 2010 in the Berardo Museum in Lisbon.
