#andreas prochaska

[chameleonjoy]

New pictures from Behind the Scenes of Alex Rider Season 3 filming in Malta, from Producer Richard Burrell 🫶🏼🦂

[byneddiedingo]

Arno Frisch in Funny Games (Michael Haneke, 1997) Cast: Susanne Lothar, Ulrich Mühe, Arno Frisch, Frank Giering, Stefan Clapczynski, Doris Kunstmann, Christoph Bantzer, Wolfgang Glück, Susanne Meneghel, Monika Zallinger. Screenplay: Michael Haneke. Cinematography: Jürgen Jürges. Production design: Christoph Kanter. Film editing: Andreas Prochaska. Funny Games is Michael Haneke's cold and nasty take on the horror-thriller genre, particularly the home-invasion subgenre in which a psychopath traps a family in their home and torments them. The locus classicus of the genre is probably Cape Fear, in both the original film by J. Lee Thompson in 1962 and the 1991 remake by Martin Scorsese, although there have been plenty of other movies designed to needle our complacent sense that we're safe at home. Haneke's version is effective in that regard, although he takes the suspense a step further by making us complicit in the torture: Paul (Arno Frisch), the more dominant of the two young psychopaths in the film, breaks the fourth wall to wink and smirk and even talk at us as we watch his plans unfold. At one point, he says to us, referring to the family he's tormenting, "You're on their side, aren't you?" And at the point where, as in a conventional horror-thriller, the family seems to have turned the tables on their captors, he comments, "We're not up to feature film length yet," meaning that the plot must have a few twists to go. And finally, he shows us that we are among his captives: When Anna (Susanne Lothar) suddenly grabs the rifle and blows away Peter (Frank Giering), the other tormenter, Paul grabs a video remote and rewinds the scene, then gains the upper hand again, leaving the family (and us) at his mercy. In sum, this is a nihilistic film, which Haneke designed to rub our noses in our prurience where violence is concerned. He wanted to film it in the United States, as a kind of statement about American violence, but was forced to make it in Austria. But after the film succeeded and Haneke had built his international career, he was able to remake Funny Games with an English-speaking cast in 2007.

[suchamiracle-does-exist]

Kaleun & 1WO of Das Boot (2018) dir. Andreas Prochaska

[therokoko]

“A bad attitude on set is deadly” - Interview with Alex Rider Director and Producer Andreas Prochaska 

Andreas Prochaska on adapting the books, casting Otto Farrant and the challenges of releasing the series in times of Corona

Based on a podcast interview with Austrian news outlet Der Standard titled “Schlechte Laune am Set ist tödlich”. I’ve translated the important bits. 

1. How he came in contact with Alex Rider: 

Well, that was relatively simple. I have an agent in England, and he sent me the script for the first episode as well as an outlook, a kind of series bible about how things were going to proceed, and I read this and thought: “This works for me. That’s something completely different.” 

I mean, especially … you mentioned “Das Boot” earlier, which was the production I worked on before, and which was burdensome in every way, I mean not only because of the time it took but also because of the topic, because we killed, I think, 26 characters in “Das Boot”, not counting extras, and of course that has an effect on you. And then I also filmed “Spuren des Bösen” [Traces of Evil, a German 8 part crime series made between 2010 and 2019, A/N), in which a mother jumps out of a window with her baby, and I was looking for something with a lighter tonality, and something which I hadn’t done before in this particular form, and “Alex Rider” was perfect for that.

I also didn’t know the book series at all. I read it completely unbiased and thought: “This is actually a cool, daring concept – so to speak somewhat exaggeratedly Coming-of-Age meets Jason Bourne....

[This job] was a result of “Das Boot” insofar as someone working for the distributor, Sonar, knew someone at Eleventh Hour – and it’s not just over here that people talk, and when someone says “listen, this guy has done a decent job, take a look” or something, that helps, and in this case it’s probable that the people became aware of me through these contacts.

2. How they approached adapting the books:

Well, it already started with the fact that our series is a mixture of the first book of the book series, namely “Stormbreaker”, and “Point Blanc” – I don’t remember right now whether that’s the second or a later book.

In Stormbreaker, the drama of the protagonist is established with the uncle who dies and the realization that this uncle wasn’t who he appeared to be. Stormbreaker had been made into a feature film which was produced by Harvey Weinstein and for which Anthony Horowitz had written the script, and that was pretty much a lead balloon. And because of that it was relatively clear that everything bad that had happened with that feature film needed to be avoided, namely that everything was totally over the top.

And my job was to [adapt] this material, which actually … I started reading the novel afterwards, and I stopped after 20 pages because I realized that that wasn’t helping me because they are actually books for 12 year olds, or at least Point Blanc is – when I read it I thought: “This is an English, better-quality version of the ‘Knickerbocker Gang’ [a German children’s book series about a group of child detectives, A/N] or something like that”. And the task was to just adapt this material for an older audience and to just draw the characters in a different way emotionally, to draw them in a more realistic way. When you look at the entire season it does occasionally reach into almost absurd spheres, but it was important for me to pave the way for the audience by starting out realistically with a protagonist that could just be the boy next door.

3. How he went about filming a spy series:  

Well, the most important thing for me in every story are the characters and to get as close to them as possible. I developed a sympathy for this unwilling hero quite quickly. And, as I said, I tried to make the surroundings as British as possible given my Austrian view of things, and to draw a character that you believe and for whom failure is always a possibility, because I find it incredibly boring when you have these superheroes and you already know that they are never in any real danger.

And this was very important to me also in working with Otto Farrant, who plays Alex, to guide him and direct him in such a way that you get the feeling that it’s possible for things to not turn out well, so that you go on this journey with him emotionally, and as to the rest it is … I don’t approach things mathematically. It’s not as if I feel: “Ok, in minute 10 this particular thing must happen, and in minute 20 this thing must happen.” For me, every story is a journey, and you try to make these journeys as good as possible following your instincts.

Like, for instance, the opening scene. In the script the villain was sitting on a roof manipulating some things on his laptop. And then the thing that happens with the man happens – I don’t want to spoil anything, because it’s actually a pretty nice surprise – and this was only 2 thin pages, and I thought: “Actually, to start this series off in an epic fashion, I’d rather like to introduce another character here, too, to charge this scene as much as possible so that you’re just drawn into this world.” And equally in episode two, that’s so to speak the episode of the test, where he has to pass the test designed to show whether he’s suited for this mission, and the script called for a hut in the woods and a road in which things happen, and I thought: “Ok, if we are dealing with a secret service, the military is not that far off.” And so I told the location scout to look for abandoned military bases, and we ended up on a former nuclear weapons base somewhere in the South of England, which made the producer sweat quite a bit because this was a relatively complex location compared to what had been in the script. But those are the things where I, as a director, can try to create visual appeal for a global audience. The series has been sold to a hundred countries, which comes with certain expectations, and of course you don’t want to disappoint these expectations.

4. On the circumstances of the release and viewer reactions: 

It came out in England in the beginning of June, which is sad, of course, because we had planned to have a premiere celebration at some festival, which wasn’t possible because of the current situation. And so this release on Amazon almost felt a little stepmotherly. So I just refreshed the link on Amazon.uk again and again to see how the people reacted to it, and there were actually many very positive reviews in a relatively short time. I think we are at 4.6 out of 5 stars at the moment, whatever that means, …

There are of course, again, total haters who only give one star and say: “What a bunch of crap.” But the majority of people seem to really like it. So hopefully, or it seems we have managed, at least in England, to … that the fans who read it as children watch it, so to speak, in retrospective joy and that they remember the times in which they read it, and still [feel like the series] adds something new.  

5. On the casting process: 

There was … even before I came on board, they made an England-wide, i.e. Britain-wide casting call. And in England, there are quite a lot of youth theatre projects, which were also contacted. And we received, I think, more than 3000 e-castings, which were screened beforehand. I still saw about 200 e-castings, and then this number was reduced bit by bit. In the end there were 3 people left in the room, one boy was from Game of Thrones, another one was very young – barely over 16, which would have been difficult -, and then, to be honest, there was only Otto. On the one hand, that was surprising because you think that there are loads of great actors in England, that it would be difficult to find the right hero, but in the end it was just very clear. It was an interesting casting situation: there was Anthony Horowitz, then there were the two executive producers from Eleventh Hour, then there was Wayne Garvey from Sony International Co-Productions, and also a casting agent from Sony America, and they all sat behind me like an assembly, and I just took the camera and worked with the actors and just tried to ignore the audience – I also felt like I was being cast again as well in my work with the actors, but … it was, yeah, it was very interesting and exciting.

I virtually grilled him for hours, tried again and again to draw the different scenes in different temperatures and with different emotions out of him, just to see what his range is and how much I would be able to work with him later on in terms of fine-tuning. Because carrying 8 episodes is an extreme challenge for a young actor, and it doesn’t help me if the boy is just dashing and then he carries only half an episode and then breaks apart. That is why it was so important to really test him thoroughly, also in combination with Brenock, who plays his best friend - we tried different combinations – and with Ronke, who plays his confidante in the household, just to try and find the right chemistry. And that was a very exciting and very satisfying process. What was really great was, when he had those three, there wasn’t any discussion anymore at all, we all agreed – I mean it would have been equally possible for Anthony to favour someone else or for Sony to like somebody else better, but it was really incredibly harmonious and unanimous.

6: On what made Otto Farrant stand out: 

Well, it was his perseverance. I mean, really, we had one scene which we really tried in 10 or 15 variations, and every time I felt that he understood where I wanted to go. To direct often means to change the temperature of a scene using only short adjectives, and for that you need someone who understands you and who can also implement that. And I just saw that he doesn’t give up that he really has stamina, and that was essentially – apart from the fact that he really comes across as incredibly natural and likeable – the deciding factor for me in the end.

7: On the responsibility of making Alex Rider and the first weeks on set: 

Well, I mean the … Alex Rider is, I mean to English fans, a promise like James Bond, on a different level. And you need someone who – and of course you need that with every film and with every series – you need an actor who touches the people emotionally, to whom they can connect. That is, of course, something you can’t … beforehand … I mean, of course you can, as we did, try everything out during the casting process, but you only know whether it really works out after a week of shooting.

And I really – especially in the first 3-4 weeks, in which I was still searching, too – I mean with every production you start on the first day of shooting and you want to throw away all the material you shot on the first day right away and start over on the next day – but he was searching, I was searching, and in a way I became – it sounds a little exaggerated right now – I became a little bit of a surrogate father during that time, because I noticed that he needed a certain type of attention and a certain security that only I as the director could give him. That is, he could come to me with every problem and with every decision concerning the character, and that worked out really well …

8. On the challenge of “carrying” a series as a lead: 

As for the “carrying”: on the one hand he has to, so to speak, function technically, i.e. he must be able to, so to speak, deliver every scene, i.e. to know the dialog, to have the right energy, and do that over the course of months - now, luckily, Otto is 21; I don’t think that would have worked with a 16 year old. And that meant that while we were shooting Otto had to read the other four scripts, which were still being written while we were shooting, and he had to comment on them and to learn them by heart, and the transition was seamless. I had to interrupt my shooting schedule for two weeks because we had a location that was only available at a specific time, and so I left the set and flew to Austria to start the cutting process, and on the next day the other director came in and just kept working with him. That means Otto had to adapt to the other director, and that’s a challenge for every actor, but especially for a young actor. ...

I [as a director] could only keep it together up to a certain point in time, until my episodes where done shooting. [...] And of course, when the lead actor is in a bad mood when he comes to the set in the morning, that is at least as bad as when I come to the set in a bad mood. That emanates in all directions. So the strength of character of someone, who also knows … I mean, he doesn’t know yet about the power he may have in the second or third season, when he maybe becomes executive producer or I don’t know … but [it’s important] that you, as a human being, just treat everyone with respect in such an environment.

Source: Der Standard AT 

[enibas22]

from IG bavariafiction

Wenn´s brenzlig wird, filmt Regisseur Andreas Prochaska am liebsten selbst! 🎥☠️😉 #DasBoot #staffel1

[bluecollarfilm]

Das Boot (2019)

During the Autumn of 1942, in occupied France, U-612 is now ready for its maiden voyage, preparing to head into the increasingly brutal warfare with its young crewmen, including the new captain, Klaus Hoffmann. As the 40 young men take on their first mission, they struggle with the cramped and claustrophobic conditions of life underwater. Their personalities are pushed to the limit as tensions rise and loyalties begin to shatter.

Directed by:   Andreas Prochaska

Starring:   Lizzy Caplan, Vicky Krieps, Rick Okon, Tom Wlaschiha, James D'Arcy, Vincent Kartheiser, Kevin McNally, August Wittgenstein, Pit Bukowski, Philip Birnstiel, Julius Feldmeier, Leonard Schleicher

Release date:   June 17, 2019

[movie--posters]

[cineblood]

The Dark Valley (2014) dir. Andreas Prochaska

[zamankaybolmaz]

Yüksek ateş yüzünden neredeyse ölüyordu.Üç hafta boyunca ayağa kalkamadı.Hiç kimseye bir şey söylemedi.Ama herkes onu kovmak yada daha kötüsünü yapmak isteyenler olduğunu biliyordu.İhtiyar Brenner,  her aileye tohumlarını bırakmıştı.Ve özgürlük aslında insanların almaktan hoşlanmadığı bir armağandı.Bahar her zamankinden erken gelmişti.Mart ayıydı.Bir öğlen vakti Greider köyden ayrıldı.Son bir kez  geri dönüp baktı.Bu onu son görüşüm oldu.İşte o gün Lucas’a hamile olduğumu söyledim.Çok mutlu oldu ve gurur duydu.Çünkü nihayet iyi birşey olmuştu.

Karanlık Vadi / Das Finstere Tal

[byneddiedingo]

Juliette Binoche in Code Unknown (Michael Haneke, 2000)

Cast: Juliette Binoche, Thierry Neuvic, Josef Bierbichler, Alexandre Hamidi,  Maimouna Hélène Diarra, Ona Lu Yenke, Djibril Kouyaté, Luminita Gheorghiu. Screenplay: Michael Haneke. Cinematography: Jürgen Jürges. Production design: Emmanuel de Chauvigny. Film editing: Karin Hartusch, Nadine Muse, Andreas Prochaska. Music: Giba Gonçalves. 

Michael Haneke's Code Unknown is celebrated for its opening sequence: a nine-minute traveling shot that introduces the key figures in its narrative. The actress Anne Laurent (Juliette Binoche) finds Jean (Alexandre Hamidi), the younger brother of her lover, Georges (Thierry Neuvic), at her door in Paris. He's hungry, having run away from the farm where he lives with his father (Josef Bierbichler), so she buys him a pastry and gives him the key to her apartment so she can go to an appointment. When he finishes the pastry, Jean, who is a bit of a lout, tosses the empty paper bag into the lap of a homeless panhandler, Maria (Luminita Gheorghiu), a Romanian immigrant. Seeing this, Amadou (Ona Lu Yenke), the son of a cab driver from Mali, orders Jean to apologize. When he refuses, the two get in a fight that's broken up by the police, who then arrest Amadou and Maria, but let the provocateur of the incident, Jean, go. The film then follows the stories of Anne, Jean, Maria, and Amadou, but in a fragmented way: long, disconnected takes that suddenly black out, leaving the viewer to piece together the narrative. It is, in short, a brilliantly maddening film. If I have reservations about it, they have to do with whether such a display of exceptional cinematic technique does service to writer-director Haneke's apparent concern about the disjunctions of European life in an age of immigration and economic globalization. We get to know more about each of the characters, but the effect is aesthetic rather than political, which would seem to be at the heart of Haneke's choice of subject. The performances are uniformly fine, especially by Binoche, who ranges from raw emotion to crisp wit in the film, which depicts both Anne's real life and her work as an actress. We see her acting on the one hand a harrowing scene set in a prison, and on the other an audition for the role of Maria in Twelfth Night, and we long to see Anne/Binoche in both roles.

[suchamiracle-does-exist]

1WO and Kaleun of Das Boot (2018) dir. Andreas Prochaska

[multiprises]

Alex Rider, 1.02

Andreas Prochaska (D), Guy Burt (S), 04/06/20

[smallscreengifs]

[mikazuki-juuichi]

Día 9

Sarajevo. 

(Austria, 2014. Dir. Andreas Prochaska) 

Reconstrucción histórica del asesinato del Archiduque de Austria y su esposa, la duquesa, el 28 de Junio de 1914, hecho que condujo a la primera guerra mundial. Aquí se narra desde el punto de vista del investigador Leo Pfeffer, quien se encuentra con toda clase de irregularidades y encubrimientos en el proceso. Y es que cuando hay intereses económicos de por medio, la justicia es lo que menos importa. 

Una producción televisiva, que de cualquier modo es un interesante thriller histórico. La arrogancia de los dirigentes políticos y los resentimientos xenofóbicos que vuelven a la gente fácil presa de oportunistas ideológicos no se antojan muy distintos del mundo actual. 

“Europa es una serie de espadas cruzadas, como palillos chinos. Mueve uno y todos los demás se agitan.”

[filmnoirfoundation]

Check out our newly updated NOW PLAYING page at http://www.filmnoirfoundation.org/now-playing.html featuring Sean Axmaker's reviews of the six-part TV-miniseries I AM THE NIGHT and Andreas Prochaska's eight episode series DAS BOOT.

[filmola-de]

ZDF dreht drei weitere "Nord Nord Mord"-Filme auf Sylt

ZDF dreht drei weitere “Nord Nord Mord”-Filme auf Sylt

© ZDF und Manju Sawhney

Peter Heinrich Brix, Julia Brendler und Oliver Wnuk stehen seit Donnerstag, 20. August 2020, auf Sylt sowie in Hamburg und Umgebung erneut für die ZDF-Reihe “Nord Nord Mord” vor der Kamera. Es werden drei Filme mit den Arbeitstiteln “Sievers und der schwarze Engel”, “Sievers und der schönste Tag” sowie “Sievers und das mörderische Türkis” gedreht. (more…)