00:00When I read the script, I thought, yeah, this is one we should jump in on.
00:06The script was remarkable.
00:08I just like films that try to find new ways to tell the story.
00:12The tragedies at the Munich Olympics,
00:15I didn't know that it was covered by a sports news team.
00:18The script for September 5 was such an incredible take on an event that other films have been made about.
00:23But this one puts us right inside the room
00:25as these sports broadcasters navigate this impossible situation.
00:29ABC headquarters want news to take over.
00:31There are still some mysteries about this day, what happened there.
00:36We wanted to have a new approach to the events that took place 1972 in Munich.
00:41This is our story and we're keeping it.
00:44Also, we wanted something that speaks to viewers today.
00:48On September 5, news was changed forever.
00:52What do I tell the cameras?
00:53What do you mean?
00:54I mean, can we show someone being shot on live television?
01:00To tell a story that takes place in one location,
01:03with the monitors being the windows to the outside world,
01:06I found the challenge interesting.
01:09This is where the best set designers make gigantic contributions
01:13in terms of how the surroundings affect the actors.
01:17To build a continuous set, it feels like you are inside this world.
01:22Whenever you found a door, you could open the door and you went to another set.
01:26Working in this environment created this tension.
01:29Cameras!
01:32Get out of my studio!
01:34Incredible practical set.
01:36And we started to do research about what kind of machines can we find
01:42and how can we rebuild such an authentic set.
01:45We went from private collectors to museums,
01:48storage rooms from old TV broadcasters.
01:51Basically, everything that still exists is now in our studio.
01:56It's remarkable because every single machine worked.
02:00If you flip the switch, the light went off and the fax worked.
02:04And headsets that were from the era and television and phones.
02:08It just grounds you in reality.
02:10It was really important that our actors would not stare at a wall of blue screens.
02:14They had to interact with what's happening.
02:16Take two.
02:19I wanted to make these analog screens one of the key light sources.
02:23It's quite an interesting creative tool to use flicker.
02:26As they are watching the masked men,
02:29we really increased the flicker to raise your heartbeat.
02:33To combine what we shot together with the original footage
02:36led to a lot of material.
02:38Our editor, Hans-Jörg Weisbrich, was crucial on shaping the film.
02:43We wanted the film to be high-paced
02:45to allow the audience to be in the situation like our characters.
02:51Piecing that together alone is a challenge.
02:54Then piecing that together with all the actual footage from the Olympics
02:58is another challenge.
02:59It was remarkable.
03:01We were this creative group making this movie all together.
03:05When there's that collaborative energy, it's just, you know, it's gold.
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