00:06So, in the beginning, I'm Damiano Panattoni from Italy, movie player.
00:11My first question is, nature and animals are important in the movie.
00:15How did you work on this?
00:19Well, I'm a big city person.
00:21We don't have that environment in the big city.
00:25You see, so, for me, it was a beautiful challenge to get out of the streets, to get out of
00:34the cars and out of the, I don't know, crowded and noisy area, you know, to get out of the
00:43light pollution, to come to the nature and try to photograph nature.
00:49From a cinematographic aspect, it's something different than what I did in the past, you see.
00:58So, it was very cinematographic, the world, what I have seen, you know.
01:08And I think, not for the first time, but what I learned with this film more often than in my
01:16previous film, and I should work like that more, I went to, a lot of those shots were based on
01:24paintings.
01:26You know, there's a painter, a German painter, from the 19th century, called Caspar David Friedrich.
01:33He was a painter of the Romantic area, you know.
01:40So, and he worked a lot with nature, you know, a lot of natures, but sometimes fantasy nature.
01:47But, but I could benefit from those paintings.
01:52Some of my shots were one-on-one based on his paintings.
01:56And when you deal with the Romantism, you found out what it is.
02:02Romantism was a movement which came based on the industrialization.
02:12And it was a kind of like, back to the nature, you know.
02:17There was, there was this modernism, this industries, you know, and there was kind of like a movement against that.
02:25Today, we have a similarity thing with artificial intelligence.
02:29The same thing.
02:30So, and, and the Nazis, they tried to use the Romantism, you know, as the home and the heimat, you
02:40know.
02:40And stuff like that.
02:42But they tried to occupy the Romantism.
02:47You see.
02:48But, but these were not Nazi painters.
02:51They were there before, you know.
02:53But it's kind of like, that's why certain, there was one exhibition, I think it was in London, by this
03:02painter,
03:02which was some, somehow canceled from the cancel culture.
03:06Because this is Nazi paintings, which is not true.
03:09The Nazis occupied him.
03:11So, in a way, it was also a way to free the painter back from this, from this cancel culture.
03:26And put it on the right, put it on the right way where it belongs.
03:31That was, in a way, the concept of how to deal with the nature in the film.
03:34So, Moby Dick is often mentioned in the movie.
03:38How are the two stories connected?
03:44The screenplay is very, is very, the way it was written before I adapted it, it was very lyrical.
03:54It was very much like a novel.
03:57And, and because of the, Moby Dick was part of the novel, of the, of the, of the dialogue in
04:05one scene.
04:06It was there before.
04:08And so, I read the novel again.
04:11The whole novel, just because of, to understand what it meant.
04:16I, I had read the graphic novel of Moby Dick.
04:19And I read Moby Dick maybe as a child.
04:22But not the whole book, because it's a very complicated book.
04:25It's not a children's book.
04:26You know, but as a preparation, I read it again.
04:31And, and it was the perfect, it was the, the perfect, for me, meditation before the shooting starts.
04:44You see, so I tried to kept as many aspects of the book as possible to, to bring it in
04:52the film.
04:52But not just Moby Dick.
04:54Also about, this film is about an island.
04:56And islands has a certain iconic standing.
05:02So, I read Robinson Crusoe again.
05:05When you read Robinson Crusoe, it's all about food.
05:09Nothing else.
05:09Today I eat three eggs.
05:11Today I eat a fish.
05:12Today I, I stole, I don't know, honey.
05:15This is Moby Dick.
05:16Eh, not Moby Dick.
05:17Robinson Crusoe.
05:19And I read Lord of the Flies by Goldman again.
05:22Everything on islands, what, what I could read, you know.
05:26To, to, to, to shape my, my, my, my mentality to that film.
05:33To get focused, you know.
05:35How does the movie connect to our present time?
05:41Well, in Germany, and like everywhere else, we have this rise of neo-Nazis.
05:50We have this strong party, AfD, Alternative for Germany.
05:55And, and, and, um, they are like second or third strongest party now in, in, in, in Germany, you know.
06:02So that means, if so many people vote for them, it's not a marginal group, you know.
06:08It's, it's in our society.
06:10Deep.
06:10It could be a friend.
06:11It could be your mother.
06:14It could be your child, you know.
06:16So, so the film deals about that.
06:20And that was the, for me, the most attractive thing on this film.
06:23When I first read the screenplay, it was not the nature.
06:27It was not the Moby Dick, you know.
06:29The first thing which attracted me was, how is it in one family, if one sister is left and one
06:38sister is, I don't know, Nazi.
06:40How is it for a child, you know, to be between the aunt and the, and the mother, you know.
06:47Can a mother love, can a Nazi mother love a child?
06:52And does a child love the mother, you know.
06:54So, these were the aspects which interest me most, which were, I think, very, very actual things were happening today.
07:02Not just in Germany, but in the, in the whole Western world.
07:08What did you find that Jasper is a very good actor?
07:13Was, was the, the, the, the person who did the casting, the child casting, she went to sail schools.
07:22Schools where they learned sailing, you know.
07:24So, because they had some sailing scenes.
07:27One sailing scene is left in the film.
07:29And it was helpful that they knew the nature and the water and sailing.
07:34And he was one kid of, of, of that school.
07:37Was a very shy kid in the beginning.
07:39Very shy.
07:40I, I like his face from the very beginning.
07:44From 100 or 200 kids, I saw this kid and said, he has a good face.
07:49You know, because his faith is not that cute that you immediately like him.
07:55He's the children of Nazis.
07:56He has to earn the sympathy of the audience, you see.
07:59You know, the other kid, his friend, he's sweet.
08:02He's like, immediately, we like him, but, but he would be wrong.
08:07You see.
08:08So, so I, I like his face, but he was shy.
08:14So I called him again and again and again until he get used to that whole process, you know.
08:22It's a, it's a political story.
08:24And I ask you, what do you think about what Wien Wenders said in Berlin Hall?
08:30I think, I have to defend Wien Wenders.
08:35You know, I, because I think he expressed himself, unfortunately.
08:44I think, I think, I think, what he tried to say is that we filmmakers, we are not politicians.
08:53You know, Friedrich Merz is a politician.
08:55Meloni is a politician.
08:56Trump is a politician.
08:57Rubio is a politician.
08:58All those, all these people are politicians.
09:03Fidel Castro was a politician.
09:05Che was a politician.
09:07Rosa Luxemburg was a politician.
09:09You know, but we are not like them as well.
09:14And I think if, if we go to the niveau of being politician, we would be corrupted.
09:24I think Wim wanted to say that, but we live in very strong political times.
09:31I mean, no, we live in very fucked up times.
09:33Let's say it like that.
09:38And to change the world, to change the society, I believe that film can be a medium.
09:45Literature, art in general, can be, can be a medium, you know.
09:50But the question was, if, is the Berlinale, who is supporting Ukraine and Iran and not supporting Palestine.
10:03I think it doesn't work like this.
10:08Because, look, no other land.
10:10I think the most important film about the, the, um, one of the most important films about the conflict, uh,
10:19between the, about the apartheid of the West Jordan land is No Other Land.
10:25This film is not about the genocide in Gaza, but it's about the apartheid system in, in, in the West
10:30Jordan.
10:31And No Other Land was shown at the Berlinale.
10:35You know, it was not shown in, uh, in Venice or in, in, in, in Cannes.
10:39It was shown in the Berlinale.
10:41So that means they give that, uh, uh, uh, uh, freedom of speech.
10:47Or when Tilda Swinton get the honor award last year in the opening night, she called for a boycott for
10:56Israel, you know.
10:58So she could do that.
10:59She could say that.
11:00Of course, there was a huge, I don't know, protest against that from the right-wing media in Germany, from
11:11the right-wing press.
11:13You know, the, the, we have certain press group here, which is completely pro-Israel.
11:20And every critic on Israel, they, they call you anti-Semitic for that.
11:24This press attacked her, but it was not the Berlinale who attacked Tilda Swinton or the, the two filmmakers who
11:33did No Other Land, you know.
11:34So, um, yeah, the German state founds the Berlinale and the German state has the Staatsräson and the German state
11:45supports the genocide in Gaza by sending weapons there, you know.
11:51You know, this is all happening, you know.
11:54But the Berlinale as a, as a, as a festival, I don't think that they are under censorship.
12:05And what, what Wim said, I said before, I think it was, he could express it better, yes, you know,
12:13but he did not deserve the shit storm, um, which is, which is, uh, which is, uh, came out now.
12:22That's my opinion about it.
12:23Thank you, Fatih.
12:24Thank you for your time.
12:25Thank you.
12:26Of course.
12:27Ciao.
12:27Ciao, ciao.
12:28Ciao.
Commenti