Transcript: Press Conference for Into the White at Oslo Film Festival

published March 2012
written by

Moderator: Lachlan Nieboer, Rupert Grint, Florian Lukas and David Kross and Stig Henrik Hoff.
So, good morning, everybody. Did you have a nice party last night?

Everyone: Yeah!

itw pc1Moderator: I will ask Petter: You have been waiting for this day for quite a while. If you have one word, or one message today, what would that be?

Petter Naess: Rock on. No, I’m just very happy to finally come out with this movie, this Norwegian movie in Norway, which I made for a Norwegian audience. And hopefully and luckily it will be travelling the world as well, but I wanted to… That was only one word? That’s not my strong point. No, but I wanted the movie to be a different war story in Norway, it plays in Norway, there’s a few Norwegians, but first of all it’s a new angle, a new way of portraying human beings behind the uniforms in World War 2. We have seen a few stories about our heroes, the story has been told many times, and of course it will be told again, but we will see something different. That’s about it.

Moderator: And Peter Aalbeck, you chose to come to Norway from Denmark for the first time. Why were you drawn to do this story?

Peter Aalbek: Because I have the privilege of selling the Elling movie, which proved to me that Petter Naess has the capacity of making film for an international audience and then, here we have a type of World War 2 movie where there actually was no heroes, but at least there was no villain either, so actually for once we had a story where we could reflect on wartimes, on the relationship in-between human beings that sparked through the mirror of the remote cabin in the hillside of Norway. So I thought the story was extremely exotic in a way and then placed in that – for the rest of the world – quite fantastic landscape. And everyone from the international scene that have watched the movie have said “Wow, does Norway look like that?” and I’ve said “Yes. It does, yes.”

itw pc9Moderator: Cold and freezy!

Peter Aalbek: No, beautiful! And scary.

Moderator: Florian, you play Mr. Horst Schopis, and you met him once – at least once

Peter Aalbek: Once, yeah.

Moderator: Can you describe him? What was he like?

Florian Lukas: He was a real gentleman and he was very kind to me. And he offered me… he said to me: “You can ask me everything, so please start to ask me questions whenever you want” So he was very open to everything, so he told me a lot about this time and yeah, he was a real gentleman and, you know, like a real old-fashioned officer, in a way. And he had a lot of friends here in Norway and it was great to know someone who was not some old Nazi-officer or something like that, but a very kind person. So we had a great dinner last year, and he told me a lot about the time and that helped me very much.

Moderator: And Lachlan, you play this Davenport.

itw pc5Lachlan Nieboer: Davenport

Moderator: How would you describe Davenport as a character?

Lachlan Nieboer: Not dissimilar to Schopis, I suppose. In terms of that they’re both… He perceived that Davenport was a real gentleman. And when I met Horst, I was astonished at how addressed he was, and how he was a genleman. So Davenport, I suppose, what we have to go on, on the real name he is based on, and we saw a clip of him, just walking gently down a road in Norway. And he’s very tall and saw himself as a gentleman and that’s what we have to go on. And for me, it was like he was slightly superior, or at least act like he was superior but did not really mention that, just sort of be it.

Peter Aalbek: And you mentioned that you copied a teacher from your university?

Lachlan Nieboer: That’s true.

Peter Aalbek: That’s fun to know, that you there was a teacher you used to know and then copying him now in your professional life.

Lachlan Nieboer: It’s true, I won’t mention his name.

Peter Aalbek: Oh, he’s not Norwegian!

Lachlan Nieboer: No, it’s true, he was my teacher at university and he certainly bore himself like a genleman.

Peter Aalbek: And for those of you who don’t know, Mr. Horst Schopis came to Norway for the first press conference in March last year and sad to say he passed away in August. Otherwise he would be here today.

Petter Naess: He would have been in his 100th year.

Moderator: Yes. And then I have to ask you, Rupert: What made you to want to do this gunner Smith?

Rupert Grint: I thought it’d be a great challenge and I thought that filming in Norway would be very exciting, and it would be a complete change of scenery to filming Harry Potter. After ten years of doing the same thing it was kind of, just refreshing on the mountain for three weeks. I play Smith who’s this great character who’s real force and angry and edgy and, yeah, really really fun playing him, and a great experience.

Moderator: And you look like you had a nice time on the mountain and the cabin. And David, what about you? What made you come and do this movie?

David Kross: I thought it was really interesting to get the arm chopped off. No, of course I watched Petter’s film Elling and some of his other work as well, and I really enjoyed the films and I thought it was a great story as well, and also to work in Norway, which is a really beautiful place. And also it’s a great cast, which was a really good bunch of people, and I was, yeah, that was the main thing, I think.

itw pc6Moderator: And Stig Henrik, you spent quite a few weeks together at Grotli last winter. Could you tell a story from the shooting? The most memorable moment?

Stig Henrik Hoff: The weather. The weather conditions changing all the time. There were so many things that were working against us all the time. It was so difficult to shoot in the mountains. But of course those guys know that, so when the chances. And we had bazookas with kind of smoke with four or five guys and somebody changing to the other side, and the wind machines and everything, so… But I have to say the main thing was that shooting in Norway for me which is my country, and being together with Petter who is one of the best directors that we have, and also to have this cast is… when we did the film, we all worked so close together, and we were always talking to each other even when we were off the camera. We were always going on. It was a great bunch of people, and I liked that. And also the script was fantastic.

Moderator: And then we can ask Ole Meldgaard, why did you start writing the story?

Ole Meldgaard: To show that I do now approve of war, and we wanted to show that war is absurd. And we knew that they had this way to go, then, and in the end had to make friends, and we wanted to show that they changed, or that they learnt something. And we wanted to show that war is absurd so it’s an anti-war movie. And we wanted to make it, maybe, a little bit like a theatre play, and when Strunk was shot, with that shot ringin in the mountains, so we have one shot, just one shot in this movie, so this is not a normal war movie. It’s not Platoon 2, we’re making, it’s a very low-key war-movie. We kill rabbits.

itw pc7Petter Naess: We kill rabbits.

Moderator: Anyone has a question?

Press: Petter, you mentioned that this is the film you always wanted to make. Would you still all agree with that, and what were your favourite scenes?

Petter Naess: Me?

Press: Yeah.

Petter Naess: My favourite scenes… I think they come in a very good order. They… I like the scenes, I like all of the scenes, I don’t have any favourite scenes, but it was very important for me to add a unity to the stuff, to have the drama and the seriousness, but also the humour, the absurdity of this encounter. They try to maintain their authority, they are the vain people there in their uniforms. I like to portray men in situations like that which is quite silly, so I like all the humour about it. First of all, I like the movie!

Peter Aalbek: One scene, and we have to thank the writer for doing this, is the scene where you see the two officers, each in their uniform, and then they undress. Besides the uniform, they had the same type of underwear and actually prove that, “here we are, two human beings, you know, in the same type of underwear, and now we have to take off our uniforms and we’re here”. And it’s a scene which, you know, probably looks very simple in the script, but that actually proves that mastermind behind the script here, that allows yourself to tell you such a story in such a little scene.

itw pc2Press: This if for Rupert, and how did you prepare for the role this film, like with the accent?

Rupert Grint: Yeah, it was, it was quite a weird accent. And it was an accent I wasn’t quite familiar with. I always listened to a lot of Beatles and a soap opera that was called “Brooks Hide”. But yeah, it was fun to do, I mean, the accent kind of suited that kind of crisis and that kind of character. And a lot of the times noone understood what I was saying, so yeah, it was good fun.

Press: Again a question for all actors: Can you relate to the person you were playing in any way. Short answers.

Lachlan Nieboer: To some degree, I mean, I’ve never been a soldier, and… yes, I’ll leave it at that. Yes and no. A short answer.

Rupert Grint: No, not really. I’m quite a laid-back, kind of calm person after all. And that’s not quite Smithy…

Moderator: Well, he had a woman waiting for him… What about you, Florian?

Florian Lukas: Yeah, definitely. Cause that’s so nice about acting, you know, in that moment I’m just the person I’m playing, so I don’t have to think about all the bad things in that time, and all the horror and the horrible things that have happened in this time, and just to think what the fuck the the Germans in Norway? And so, it’s still strange to be here and to play in such a story. But in the moment when I act, I can identify very strongly and I’m very connected to this character, and yes, I am of course Horst Schopis in his time, in this moment, and that’s great, yeah.

itw pc10Stig Henrik Hoff: I think that’s right fantastic thing, I mean that’s our job to be a character, and if you don’t love the character, you’re looking down on him and that never makes a good character. I mean I have to love it, or I’m not doing my job.

David Kross: Well, I think it’s difficult to imaging how it really was in war, I mean, to think “What would I do?”. But I think I understood my character, what it was like to grow up with that ideology of Nazi Germany and this is what he thought, so he got taught all about it, and this is like a brain-wash. And he really sticks to it, he sticks to it through all this horror which they experience in Norway, especially with him and his arm. So I think I can good relate to it.

Stig Henrik Hoff: And it’s all difficult for us, I mean, we now know everything about the war, we know what everybody was like, and we got the knowledge and we know who were chosen to do this or this or that. And when you’re stuck in a situation like we were, you know, you don’t know how we would be, like, we would be amateurs as they told us at the beginning. I mean, when you’re playing, you kind of know what you’re doing, but when you’re in the cabin, we’re all amateurs, what you behave like. But that’s the point, that it’s so easy to be clever in 2012, to tell how people reacted in 1940, so I think that’s a point as well. I mean, the feelings, they’re simple: Are you hungry? Simple. Are you not hungry? Simple. Are you talking too much? Simple.

itw pc3Petter Naess: That was the hardest thing for Stig. To be the big silent guy.

Moderator: So now, for the cast, we have one more question before we wrap this up, okay.

Press: I have a question for Rupert: How do you plan your ongoing career after this?

Rupert Grint: I think I still take it as it comes. It’s still kind of a strange experience since the last Harry Potter film. I’m just picking things that appeal to me and, yeah, just enjoying it. And what appeals to me about it is the great story and…

Press: Do you have like a strategy to pick roles that will make people think “He’s not Ron Weasley”?

Rupert Grint: Erm, yeah, I don’t really have it planned, it’s just… I mean, yeah, I’m maybe lookig for characters that are not wizards.

December 23, 2012 | posted by admin | with Comments Off on Transcript: Press Conference for Into the White at Oslo Film Festival | in

Transcript: Q&A for Into the White at Colosseum Cinema

published March 2012
written by

Moderator: … and I have to say that I am extremely proud to have two guests here, Stig Henrik Hoff and Colosseum1Rupert Grint!
Please welcome them to the cinema. Rupert, Stig Henrik, congratulation on a great movie. And welcome to Oslo and the Colosseum, Rupert, and this is your first time here. Well, I’ve read in the papers that you have become very good friends during the film production

Stig Henrik:Yeah, it’s really a great pleasure to work with such a nice guy. He’s a fantastic actor, I think, and he’s a real shitty skier. It was a pleasure to meet him and especially to work with him, so yeah…

Moderator: What do you say?

Rupert: Yeah, we’Ve had such a great time as the characters have got quite a lot of scenes together, as you can see in the film, and our relationship is quite a nice thing. And yeah, we spent so much time together on the mountain and, yeah, it was a pleasure to work with Stig

Moderator: Well, Rupert, is this your first film after your eight Harry-Potter movies?

Colosseum2Rupert: Yeah, I guess it is. Yeah, it’s the first one I’ve done since we finished filming.

Moderator: Well, you’ve lived ten years with Harry Potter actually, and do you miss Ron Weasley?

Rupert: I do, yeah. I mean, Harry Potter’s such a… *crows awwws, Rupert chuckles* No, I mean, I think I always will because it was such a huge part of my life and practically my whole childhood. So there are so many great memories, and just to shut it out of my life completely is kind of hard and I’m still getting used to it. But yeah, it’s great to come and do different films and play different roles and, yeah, I’m enjoying that. It’s fun.

Moderator: So this was something completely different I think?

Rupert: Yeah. Yeah, this is kind of what appealed to me the most, really, about doing it, it was the fact that it was just something completely different, in a completely different country, and I loved working in Norway, it was great. Yeah, it was… I just loved the whole experience.

Colosseum3Moderator: Well, I have to ask: What plans do you have now?

Rupert: Erm, yeah, now… I don’t know. I think maybe the next thing may be Eddie the Eagle, about the ski jumper. So more skiing. So yeah, I’m just kind of enjoying making more films and different characters and, yeah, it’s wonderful to do it.

Moderator: And one last question: What do you think about your fantastic audience in here?

Rupert: Yeah, it’s amazing. Thanks for coming, and it’s great to have that kind of support. Cause it’s quite scary coming onto a different film without that kind of safety of Potter, but yeah, I’ve loved being in Norway, it’s such a great country, and hope you will enjoy the film, yeah!

Moderator: We have two signed posters, they are signed by all the actors and the director. And we have two lucky winners, so could you help me, Rupert…

December 6, 2012 | posted by admin | with Comments Off on Transcript: Q&A for Into the White at Colosseum Cinema | in

Transcript: Into the White World Premiere Introduction

published March 2012
written by

Peter Aalbæk Jensen: In Grotli, Strynefjellet, in Norway. We’re extremely honoured to be here and to be the closing film at the Film Fest Oslo. And whenever we’re finished with the film, we actually get a lot of drinks. There’s a few outside, and we, the Film Fest Oslo and Zentropa, would like to see you get a little bit drunk. Is that alright with you? Okay, that’s fine. I have some great support down here, and that is Scanbox, our Norwegian distributor, a great girl, Inga ???, to have ??? and fought for this film here, and our great publicist for the film, the film company ????, and they have been very great to create this buzz around the film. Personally, I am extraordinarily happy to later on see the producer of the film, Valeria Saunders, to be here on stage. But one person of course is more important than everybody, and if I was a little bit more gay, just a little bit more gay, I would propose to this wonderful gentleman right here in front of you. He’s the fucking greatest director in Norway, and I’m dreaming of him, I am dreaming of him. Please welcome the director Petter Naess!

ITW Intro1Petter Næss: Thank you. Thank you, my friend. Okay, I say… Oh, thank you. Well, I’m not that gay, so… As they say in… as John Cleese says in Fourty Towers, about his manual, “Well, he’s from Barcelona”. He’s from Denmark. But he’s alright. Well, I’ll put these flowers in front here and I tried to make it short and sweet. I’m short, but I’m not that sweet, but I’ll do my best. I’ll introduce you to the cast and the crew, and the head of departments, and first of all I would like to give a big Thanks to Peter Aalbeck, it’s a wonderful encounter to meet you, I’ve seen you, I’ve admired you doing all your natural moves, and I also wanted to work with Danes, and I also wanted to work in Denmark, and now I got to work with a Dane in Norway, and it’s like being a part of the world. Thank you very much.
So, we’re here to see some people on screen, you’ve already seen them, so they can just wait outside – no, I’d like to, I’ll scream out the names and they’ll come running on stage, and then you’ll give them a big hand when they’re all here, okay? Well, first, no, I will not start with the actors, I will start with the producer, Valerie Saunders. She was the one who came to me with this script and with the idea of making this story, so I’m grateful that we’ve pulled this through and pulled it off, and that we have managed to make this movie, so thank you so much, Valerie.
Now, I’m not joking, now I’ll talk about the actors. So here they are: Florian Lukas, David Kross, Stig Henrik Hoff, (known for ???), Lachlan Nieboer and Rupert Grint, known for Cherrybomb. Take a bow, guys. It’s a wonderful cast, and I spent several weeks with them in the mountains and in a remote cabin, and they let me into the cabin and be that sixth person that you luckily don’t see on screen. Now at this point, I’ve been asked to say that there’s a gift to the actors, given to them from Anton Sport and Film Fest Oslo, and I guess you’re ready to give this gift to the actors, so please, enter the stage. Just what they needed… tonight. To get safely and safely back home to that point that Peter just invited us to.ITW Intro2
So now, next, I hope he’s here, I haven’t seen him tonight, but he is a very important person, and that is the write of this film, mister Ole Meldgaard from Denmark, are you coming down? Ole, Denmark. He’s also Danish, but a great guy, and it#s been wonderful to work with you. We collaborated with an American called Dave Mango, who’s unfortunately not here tonight, but together we finished the script that Ole started off, and I’m so thankful and happy for the summary. Thank you, you’re a great guy and a great writer. But first of all a great guy.
And next is the composer, a friend of mine, actually, he became a friend of mine, we did three movies together and three theatre plays. Nils Petter Molvaer. He is not to play his trumpet tonight.
And then our first A.D., Yvonne Lundin, please come on stage. Actually, she’s the producer’s and director’s best friend, and that’s a great combination. And I’ve known her for thirty years and I think I will know her for at least thirty more. Hopefully. And I will work with you for many more years.
The photographer/cinematographer, Daniel Voldheim, who got a daughter three days or so ago. Please come on stage.
I have to say it in English, but I know what ??? is in Norwegian. The gaffer, Olav Haddeland, come along. A wonderful person. And there are so many great men, but I focus on women all the time, but there are so many great men. And here’s one of them. Yes, I had this focus on women all the time, that there’re so many great men as well.
And sound, please, Tomas Naug, come on stage.
And then, I’m so proud that he is here tonight, our line producer, Jan-Erik Gammleng.
And then, a wonderful girl I met for the first time in my life, the editor Frida Eggum Michaelsen. Can you please come? Here she is. So friendly, so helpful, and so talented.
Hm, it will take a while…
And now, the Danish sound guy, sound designer, is that what they call it? Thomas… no, I need my glasses, it’s getting late. Nicolai Linck, from Denmark. They have this wonderful expression in Danish, which I can’t say in English. It’s called “?????”. That’s him. Master of the ????
We have two wonderful German girls, who are unfortunately not here. One is ill, the other one’s in Germany. I don’t know the difference, but… *to Florian* That was bad. That was a bad one. Cheap. Cheap, cheap trip. Steffi Bruhn, costume design, and Kathy Kratschke, who had the makeup design. Give them a big hand.
And last, not least, the production designer, the ever hard-working, wonderful Udo Kramer, can you please come on stage?
ITW Intro3Hopefully I haven’t forgotten too many people, but two people extra I would like to bring on stage I have not announced to them. One of them is a Danish line producer who has been working really, really hard to get this thing off, and that’s Charlotte Vinther, are you here? And find a way on stage. You’ve been wonderful, and helpful and greatful and always calm. And while she’s making her way, you can give her a big hand when she’s here, and I will also bring another person, who has really been supportive like all those of you, and that is the owner of the Grotli Hotel where this whole incident took place. The family Beitheim (?) and the whole hotel there has been so supportive and a great asset to this production, so please, Are Beitheim, can you please come on stage. Without them, and I know that it was very important for you that we made the movie at your place where this accident actually took place, and you knew Horst Schopis, you met him and… yes, thank you
And yes, all the rest of you who have been working on this movie, can you please rise? Can you stand up?
Before we show the movie, I would like to give you all a warm thanks, and to tell you that the family and friends of Horst Schopis, who unfortunately passed away at the age of 98 years – Florian Lukas is playing him, Horst Schopis, he passed away in August, but the family and relatives are here tonight, and I want you all to give them a big hand, I’m so excited.
And – thank you – and I just have to tell you, that’s to the foreign audience here, that this is a Norwegian Film Festival, we only have subtitles for the Norwegians. So the first part you won’t understand because they speak German, and there are no English subtitles, but hopefully you will understand that they are Germans and in the middle of nowhere. Which means Norway.

So, enjoy the film.

December 6, 2012 | posted by admin | with Comments Off on Transcript: Into the White World Premiere Introduction | in

Transcript: Q&A at Oldenburg Film Festival

published 17 September 2012
written by Karo

OldenburgFFModerator: Here are Petter Naess, David Kross und Florian Lukas! But we also have a few other guests as well, for example the Co-Producer, that’s Maria Köpf, and the relatives and friends of Horst Schopis, Florian Lukas’ charakter, they are here today, too. Those are Heide Bockermann and Ingrid Joch, a very warm welcome. I am very exited that they are here.
First of all, it’s a very emotional movie, so first we have to talk about some feelings, I guess. So, what is it like to see such a well-known and familiar face portrayed by a young man, by Florian Lukas, in such a fantastic way and manner on the big screen? It doesn’t happen very often that friends or relatives of such a person are present at a cinema premiere. You have already seen the film once in Oslo…

Heide Bockermann: I have seen the film twice and it touched me a lot, and I want to thank Florian Lukas, it turned out great!

Moderator: And it is great that you are here in front now, because that is quite something, I really do respect that. Thank you very much!

Ingrid Joch: We get a lot of goosebumps. We have known our Horst for so many years, and now he continues to live on. Thank you.

Moderator: Thank you, Florian, yes.

Florian: I have to add, I got to know Horst and his wive and niece in Oslo before we started filming, at a press conference. Sadly, he died in the summer last year, so he did not live to see the premiere in Oslo. We all did experience it together in Oslo, sadly without Horst, but it was great to meet him, in an aircraft museum, in front of such a Heinckel, and he was very proud, I think, that he was allowed to experience something like that in his 99 years of live, but he did not make it to the premiere. But it was great to meet him, and we had a long evening during which he offered me immediately to call him Horst, so Horst and Florian spent the entire evening talking, and he told me a lot.

Moderator: Yes, and the director is here, too, so, it’s a very small story about five people in the white mountains lost for a few days. How did you stumble into that story?

Petter: It came to me from Zentropa. I was attached to do some movies for the company Zentropa, and the producer Valerie Saunders, she had heard about that story. And I, vaguely, I had heard it as well, and many Norwegians kind of know about it. It’s not a big story, but Churchill heard about this story, and he talked about it in the House of Commons during the war, and he called it “anachronism of war”, they should have finished them off in the air, that’s what he said. So Churchill heard about this story long before I was born, but when I heard about it, I found it… it’s kind of a wonderful set-up for a movie. It’s too good to be true. Two enemies shoot – literally shoot each other down, and they seek shelter in the same cabin in the mountains of Norway. In kind of Nomansland in that time, because nobody knew who was in charge over that part of Norway at that time, it was two weeks into the war, so it’s literally Nomansland, it’s very at the mercy of nature. So, that was a very long answer. Yeah, but I like the idea that it’s a very classical set-up, where enemies are forced together and they have to deal with it. And this is based on true events, and they did become friends after the war so it’s an encouraging war story.

Moderator: Do you have an explanation why there isn’t a start date for the German cinema?

Petter: I don’t know anything about that, maybe you should ask the German co-producer about that. I just made it.

Maria Köpf: The film will be in German cinemas at the end of October. The release date is around the 28 October.

Moderator: Okay, then I can relay, because there is nothing yet on the internet, but that can be changed right after the filmfest. Because I was already worried that the German distributors don’t have enough respect for the topic of this, or the audience. But I think it’s a very wonderful movie with special feelings, and there’s a lot of humour in it, and a lot of kindness.

OldenburgFF (1)Petter: For me, humour, and maybe you’ve seen my movie, which I made some years ago, Elling, which is a theatre play also, and for me it’s very important to use humour, because this is war, this is drama, and I screened this movie about these German and these English pilots, and I screened it to Norwegian war veterans, people who had literally been shot down by Germans, and they loved the movie. Because of the humour. And maybe it’s the jargon, and the way they talk, and “no, no, that’s exactly the way it is” they said. It was so much humour, and these guys together, when they talk, they used this kind of language and the humour is a very existential way of communicating.

Moderator: *to the audience* Any questions from you?

Audience: I have a question for the producer: When the film will be released in Germany, will it be synchronised? Because I wonder if that works.

Petter: You can answer it later, I really hope it will be subtitled, because the whole idea is the differences of languages. And if they all speak German, I think it’ll be strange. But then again, you’re Germans, I don’t know.

Florian: Well, normally the German distributors don’t bother about that. But I think, if there would be a synchronised version, then that would have been made already. I mean, I am hearing of the release date as 28 October for the first time, so I think it’s impossible, except if it’s sometime next year. But if we start in October, I don’t think there will be a synchronised version.

Moderator: Florian is already holding the microphone, so this would be an opportunity to ask David and Florian more questions. Maybe, because we were already talking about the way, the humour of the film, can you imaging a film like that being produced in Germany, was that the important thing, the refreshing, to do this abroad? Where the element ‘humour’ is being added differently?

David: Well, I don’t know. The scandinavians have a very dry sense of humour, which I really like, and I have also seen Elling before, and I found it extremely funny, and I heard from Petter that he adds these absurd moments. Though, it’s not particularly funny for my character, it’s rather sad, and I spent most of the time in bed, but still, the work was very enjoyable, and it was a funny atmosphere on set, even though it doesn’t look like that on my end.

Florian: Yes, I agree that a film like that is better made in Norway, and of course with Petter, who has a lot of humour anyway. And we had so much fun out there, and then during the three weeks in the cabin. But yes, I think us Germans would struggle to deal with a topic like that in such an easygoing way, so I think it was good that a Norwegian director, and in this case Petter, filmed this in Norway.

Moderator: That would be my question as you mentioned the cabin, did you really spent three weeks with oatmeat gruel to make it look authentic?

Florian: Well, the catering wasn’t very… there wasn’t a lot of money… *laughs* Well, we spent three weeks where this story really took place, we stayed in a wonderful hotel and always went to work in the morning with scooters, and there were no streets or anything, there was only just that hotel. And then we moved to Sweden into a coolhouse, and they had built a cabin there, and then we spent three weeks inside that cabin from morning til evening… And we always had to get up so very early, because the Swedish finish work quite early in the day. So we had to get out at 5 in the morning, and film a half-drunk scene like that one at six thirty in the morning, but then were done by 4 p.m.! And, due to the fact that we are taking down the cabin, we had to film chronologically, so we did rehearse and film in chronological order, like a theatre play. We did a scene, then the team joined us and a side wall was taken out, or everyone sat down in some corner. And then we did a little theatre play of 3, 4, 5 minutes, then we filmed it, and then everything started again. So it was like theatre. But with a camera.

David: And I was in bed the whole time!

Moderator: One question about Rupert Grint, maybe, who most of us have known as Ronald Weasley over the past ten years. My question is, is that his real accent, or did he exaggerate and adopt it?

vg_noPetter: It’s real. It’s not his accent, but it’s real. It’s a Liverpool accent and practiced it, he was prepared with that accent. Was that the question?

Moderator: Yes, it was. Are there more questions? About Rupert Grint again, but…

Florian: But it actually was like that, we never understood him. I knew the text, but even then it was really hard. So we kept including that, that we didn’t understand him, because that wasn’t in the script, because it honestly wasn’t possible to understand – my opinion anyway – so, well…

Moderator: And isn’t it enjoyable to be able or allowed to participate in an international production and speak such a great German English? Where you don’t need to bother with articulation and “th” and so on, and you simply break it down?

Florian: Yes, absolutely. Without a coach and everything! Well, I did watch a few films from that time, and things that were made after the war, or during it, and that is quite a bit stronger. I mean, you cannot listen to that nowadays, with such a hard German accent and extra exaggeratition, in the way they talk. *imitates* Ahahaha, kamm hier, I vill shoot you. Hahaha!” Soem film by Billy Wilder, I think. Well, I didn’t want to do that, it really was cruel to speak in such a military, harsh, German Englisch. So I didn’t do it.

Moderator: Further questions?

Audience: Question to Florian Lukas, how often does it happen that you play someone you actually know? It’s not common in your job.

Florian: It’s the second time, if I remember correctly. Yes, the second time. I have met someone once, who had a really sad, horrible story; that was a film about the flood in Hamburg during the 60ies, but he wasn’t as open, and he had really been doomed. That was the first time ever that he spoke about that story, so it wasn’t quite as… it was much harder than with Horst Schopis now, to speak about it, who was much more open and interested in talking about it, and to be in dialogue with me and to tell me many things. And yes, you don’t have that very often, and it’s really sad that he is no longer here.

Moderator: So, if there are no more questions, it was great that you were all here, it was a very special evening, Thank you for coming!

December 6, 2012 | posted by admin | with Comments Off on Transcript: Q&A at Oldenburg Film Festival | in

Report: at the ‘Into the White’ World Premiere at Oslo Film Festival

published March 2012
written by Kathy & Karo

OSLO Film Festival: Here we are!

3rd March

After a short flight and a very confusing train- and bus ride, we are finally here. With no idea how amazing the next few days will be…
It is Saturday and we have 24 hours to get everything sorted for the big premiere of Into The White at the Folketeateret. Leaving the hotel, we have our first scream-worthy moment (many, many more will follow) as a tram with a big “Into the White” bill passes us.


We take a first look around town, checking the theater, the location of the aftershow-party and getting our passes for tomorrow. Pictures: Oslo
We send over some scans for our someone-has-to-stay-at-home-and-post-news staff, giving them the latest news, and the beds are already waiting. Everything is ready for the big day.

4th March

The Premiere will take place in the evening, so we have enough time on Sunday to do some last checks and grabbing some food. We will not tell you which fast-food-store we are in, but it seems like we are not the only ones who had this idea, because no one less than Florian Lukas and David Kross are coming in. It is easy to recognize them, considering that they are the only ones like us wearing gloves and woollies. Seems like German people are a little weaker with the low temperature these days 😉 We say hello to each other, Florian (who met us last summer for our interview) introduces us to David, and we already get a feeling that this whole trip was totally worth it.

Only one hour to go, and we are ready to start. We have our spots in the front row and are ready to defend them. The Red Carpet is short, and since the actors are a little late there is not much time, but we are doing our best, taking pics, filming and get a few words from Rupert.
Sitting second row at the cinema we get a good look at everyone during the introduction and doing again our job taking pictures and filming. For a transcript of the introduction, go over here.

Finally seeing the film is amazing, and the response of the audience is great. Standing ovations for several minutes. If you want to know more about our personal opionen take a look at our review.
After the premiere, we are lucky enough to get in at the aftershow party thanks to someone we will not mention by name, but let us simply say, we got in with a simple line: “These two are with me!” So cool!
At the party, we get the chance to speak with Petter Naess and all five actors, and it is amazing to talk with them about the film right after seeing it. Everyone is so happy about how it turned out and the atmosphere is awesome. It is also great to get a direct response to the interviews we have done with the cast and crew over the last year. Seems like we haven’t done such a bad job…
An exciting day comes to an very late end and we couldn’t have asked for more, especially with the presscall coming up the next day.

5th March

The press conference happens to be at the hotel right across from the Folketeateret, and we meet the actors, Petter Naess, the producer Peter Aalbæk Jensen and screenwriter Ole Meldgaard in a cozy salon with a beautiful view over Oslo. The conference is short, but very interesting and relaxed. Everyone seems still a little hung-up [hungover???], after yesterday’s party. You will find the audio of the pressconference here, the transcript here and the pictures here.
Afterwards, we get the chance to take some pictures of the actors and Petter Naess, and a really lovely Rupert agrees for some stunning portrait shots as well; which you will find here.
But that’s not the end! We are also given the opportunity to get an exclusive interview with Rupert himself, and when we greet him with “Hey, nice to meet you, how are you?”, he replies with a very honest “I’m great. But I’m just so tired! From last night…”
Tired or not, Rupert is charming as ever during our interview, and even agrees to a Photo Interview! After a far-too-short time, it’s over, but there is still time to hand him our presents (a crash-pilot teddy bear and German survival food for crash pilots: Gummibears!) and to say our goodbyes. For today, anyways.

6th March

After enjoying an evening and a morning in Oslo, we head over to the Colosseum, one of the largest cinemas in Europe. A crowd of fans has already assembled in the cold along the red carpet, and even the Norwegian fans start to freeze while we are waiting for Rupert and Stig Henrik Hoff to arrive.
ColosseumRCThey do, and Rupert once again does his best to fulfill the fans wishes for autographs, hugs, pictures, more hugs, and another “Hello! *hug* This is crazy!” “Yes, it is, but it’s really cool!” between Rupert and us.
Once we have made it into the cinema, a short introduction with Rupert and Stig Henrik takes place, at the end of which two fans are given a signed poster and a hug from Rupert. Both the girl and the boy seemed really happy about this!
It is great to see the film surrounded by fans this time – quite a difference to the World Premiere screening! The reactions are just as great, but there is far more squeeing going on – is it a good thing that Rupert has already disappeared?

With the videos from the premiere and the Colosseum in our luggage, we head back to the hotel, and, after a morning enjoying a huge snowfall in Oslo, return home after our plane has finally made it through the un-freezing-shower. With a three-hour delay, but at least we did not crash down somewhere over the Norwegian wilderness…

December 5, 2012 | posted by admin | with Comments Off on Report: at the ‘Into the White’ World Premiere at Oslo Film Festival | in

Media: Into the White Preview at Stockholm Film Festival

published November 2011
written by

Into the White being presented at Work in Progress:

A chat with director Petter Næss:

Interview with Petter Næss:

December 3, 2012 | posted by admin | with No Comments | in

Interview with Petter Naess at Berns Hotel

published 27 Deceber 2011
written by Malene and Majbritt

On Novemer 18 2011, had arranged to meet up with the director of Into the White, Petter Næss, to meet him at Berns Hotel in Stockholm where he was staying during the Stockholm International Film Festival. The hotel reception was quite impressive with huge chandeliers and great posters of legendary film people such as Quentin Tarantino and Susan Sarandon hanging from the high ceiling. But it wasn’t just the hotel that ended up being impressive – so was Petter Næss and his passion for the film, Into the White. We have some fan questions from the website because we asked if people would send in some questions for you, and then we would choose a few questions. So we have one from Argentina – this is Luciana and she asks: What kind of characteristic made you realize that Rupert was the one for Gunner Smith role? Because even though the agent suggested him, you might have had some thoughts yourself?

PN: I had some thoughts myself, and I mentioned those thoughts to the agent and then he suggested Rupert because we were just starting to search for actors. There’s something about… it had to be a fiery, street-wise [guy] and there’s something about seeing him in the movies, in the Harry Potter movies and all that, that he’s a nice guy but he also has a temperament. He has the ability to be… you know… but even if he’s fiery and he’s really out there and speaks his mind, there’s always a nice side to him. I wanted this Gunner Robert Smith to be a really nice guy that just has a temperament and speaks his mind and dares to confront the enemy and authorities and I felt that from looking at the work that Rupert had done, I felt that he had this – definitely is very charming, boyish and I like [laughs] for me, I don’t know, I’ve always had a fascination for red-haired people, my wife has red hair, my daughter has and there’s something about it that just stands out. I’m not saying that they’re on fire but there’s something about it that’s rare in a positive way. So that combination of temperament and kindness I felt that Rupert had, and also I met him and he’s a nice guy, sweet very sweet. That’s almost always the word that comes out about Rupert, that he’s kind and down-to-earth.

PN: Very much so, yes. And then Alena from Russia said: Were there any funny or strange moments during filming that you would like to share?

PN: I have this… I don’t know if it’s age or whatever it is, but I forget things. With the pressure we have on set, you just have to move forward and you have to constantly… especially out there in the wilderness where the weather is changing all the time and it’s constant time pressure, so I forget. I just forget, I just move on. But of course many strange or funny moments with people out in the snow, the deep snow, the wind, the noise and everything, and they’re not used to it, they’re not used to being there. Rupert and his assistant Sarah, they were just standing there like two penguins or teletubbies or whatever [Næss stands up and makes and impression of a cold penguin]. This image of these people totally strangers to this area, that’s always a funny vision. But I don’t remember any… maybe as we talk, maybe I’ll come up with some, but I’m always worried about that… More the practical…?

PN: Yeah, the practical aspect and make sure that people are okay and that we get the scenes done and I get the material I need because we don’t have any time to wait. They might freeze in the…

PN: Yes, it’s cold all the time. We went in June [to Grotli] and it was so cold… in June up there… and we could only imagine [all laugh].

PN: It was very windy and pretty cold. You must be used to it or somewhat used to it?

PN: I love it! That weather. Half my wardrobe is about being prepared to be out in the wilderness. I seek it, even when I don’t work. Is this the first time you shoot a movie in this kind of [conditions]?

PN: It is actually. That’s very strange, because I am a nature guy, but most of my movies have been taking place in the city or urban stuff. Would you like to try it again?

PN: Yes, definitely. Definitely! You’re a tough guy! [all laugh]. Just looking at the pictures that Zentropa was putting on the blog, I was like: “Oh, my goodness!” And the video with the broom and them counting how much snow there was, and it was all the down the broom… that was a lot of snow!

PN: It was a lot of snow. We would like to go back to the beginning – how did you get the job?

PN: Zentropa in Denmark, they wanted to establish a branch in Norway and then they wanted to get in touch with some directors that they wanted to attach to the company and I was one of them. So I had a meeting with Peter Aalbæk Jensen and Valerie Saunders who’s the head of the company, and I had a few projects and they had this project, “Comrade.” And they told me about the story and I think it was the first draft of the script at that time and I read it and was like “yeah, that’s interesting”, especially since it’s based on a true story. Maybe it’s a little obvious conflict with two enemies that meet but I liked it. And since I’m also one of the scriptwriters with Ole Meldgaard, he wrote the first draft, and then he and I worked on it and then we brought in a third guy called Dave Mango who’s more into hardcore drama. I saw the humor in it and the absurdities, the strangeness when they happen to shoot each other down and meet in the same cabin. Very ironic.

PN: It’s destiny and irony and everything and I also felt that I liked to kind of undress men of their vanity – the officers and everything that the uniforms do. I’ve been in the army myself, or the military, the air force – as a 20 year old boy, you have to do that in Norway. I guess you have to do that in Denmark and Switzerland as well, I don’t know? In Switzerland you have to go, it’s not a choice…. Except if you’re going to school, then you can postpone.

PN: When you get a uniform even though you want to go out and shoot and kill, it does something to you. Finds a way to look tough and cool and everything. I wanted to see what would happen when these five men, officers and enemies with a world war going on, and what happens with these men when they realize that “we’re the same.” I wanted to explore that and also the fact that they’re pilots, they can fly, they can be up in the air, but this is the first time in life experience for all of them, it’s the first time they crash, the first time they’re out in the snow, the first time they lose all their food and don’t have a shelter, it’s the first time they meet the enemy. So everything – and they’re out of food, they’re out of wood for the fire and they have to find out how to survive and rely on each other. And the biggest problem is to rely on themselves, because especially the German Horst Schopis, who takes the Brits as prisoners of war, suddenly he’s in deep shit, because then he’s responsible like you saw in the clip yesterday. “According to the Geneva convention we have a right for three meals a day…” And also because in real life it was only the Germans who had handguns, the Brits didn’t have any, so at the moment he pulls his gun and say “you’re prisoners of war of the third Reich” then he has lost in a sense because they’d been arguing about things but then he doesn’t have any arguments, his intellectual capacity or his authority is not strong enough so he has to pull a gun. So that weakens him and then the Brits can start with their arrogance and their psychological warfare so he’s constantly, the British officer, is constantly doubting the German officer’s authority and it makes him doubt his own authority. So… I don’t remember the question now [all laugh]. The question was: How did you get the job? [more laughter]

PN: … more why I took, why I decided… That’s what you said yesterday, that you were very excited about the movie. But would you say that would be unexpected for us fans and just general film viewers, to see the humor in a film like this?

PN: I think it’s quite unexpected and very human actually. A chamber drama I think you call it… but it’s constantly affected by the surroundings, by the nature and the fact that they don’t know where they are. They don’t know if they’ll ever get out of there alive or who’ll get out of there and they’re in no-man’s land. Is the wilderness a sixth main character essentially? It has such a huge part that it is a main character along with the actors?

PN: I think the cabin is a character in itself and nature is a character. For me, the cabin is like an old lady – “this maybe isn’t much, but it’s all I got. And if you’ll take care of me, I’ll take care of you.” Is that part of the reason why you changed the title as well?

PN: Yes, “Into the White” is this unknown landscape, just blank. Literally white… People reacted very well to the first poster, it’s very dramatic and you know something bad is going to happen. It was something you wanted to do, to go to Grotli?

PN: I was not sure where I wanted to shoot it because we were looking at other places up in the mountains. There was something that made a real impact on the actors. The rest of the wreck is still there [at the actual place of the crash]. It’s on the border to the National Park. I brought the actors out there and I told them that five feet under here, under the snow, the actual plane is. You can find the plane, or part of it. But you did do some filming at the actual spot or no?

PN: No, because of the national park. I wanted to do it, but also I wanted it to be high up in the mountains, with no trees or anything, because I know as soon as you see trees and hills you know there’s a valley going down somewhere and you can follow it. So I wanted it to be on top so it’s only white. And there’s no sense of civilization or…?

PN: Nothing, nothing. But did you end up removing any particular scene that you would have liked to have in the film? A scene you were attached to?

PN: No, I don’t think I’ve taken out… almost the whole entire script is, a few minor scenes that are not… But you don’t feel like you had to compromise?

PN: No, no… I had to… then again, I don’t remember really, because it was such a high pace. What would you say is your favorite scene, if you have one?

PN: [thinks a long time] I think it’s actually a very good script [laughter]. I think every scene deserves its place in the movie. How was the atmosphere on the set?

PN: I would say it was very good. It was stressful, but it was very good. Would you ever consider hiring Rupert again in another kind of role?

PN: Sure. I mean, he’s a great actor and he’s a cool guy. What kind of role could you imagine him in?

PN: I don’t know, it depends on what kind of project I want to make and then the idea of the actors comes later. But at one point in life it would be nice to find the actors first and then say “here we have the actors, let’s build some characters around them, let’s write a play or a film.” But now I have many bigger projects in store, also theatre. I start rehearsing a play at a theatre in Oslo on the 9th of January, and then some other big projects. It’s [Into the White] inspired by a real story, how much did that influence your work? Both on set and before filming.

PN: I think it was a great inspiration to have met Horst Schopis, the real guy. It was a great inspiration to meet him and hear him just tell what happened. But it’s very… what our story is inspired by is true events, we’re inspired by the fact that they shot each other down and met in the same cabin and later in life they met. Everything that we have invented, we have created it based on books written and there are many articles, the hotel owner at Grotli had stories too. We’ve met people and talked to people, and I got a report from the ski patrol. So we are very much inspired by this report, by the fact that these guys were young, untrained soldiers who were traumatized, more likely than not, after having shot someone. So these were not professional killers or murderers, so it was just young people in the resistance movement trying to do something for their country. And I was very much inspired by the fact that he told me, I asked him “when you landed the plane on the snow, weren’t you happy that you were alive?” “No, I was just disappointed, I had failed. I was no longer a man of honor, I was a failure.” And he said they had to take one step at a time, to find and bury the real gunner that was shot in the fight in the air, and then find shelter and then find a way back home. And then he was taken as prisoner of war, and he spent seven years in Canada, came back in 1947 and they had lost. That really influenced him, he’s been serving the rest of his life to regain his dignity. So the mission came before the man, in a sense?

PN: Yes, and also what I’d read and seen about this British guy who speaks in this kind of [speaks posh English:] “Well, there was some planes and we shook hands…” who’s typical British, kind of upper-class cliché. So I’m inspired by the real characters and what I read about them and meeting Horst. The rest is just fiction, what happens is five men, two enemies who meet in a cabin and have to survive together. But did Horst Schopis have any ideas or demands?

PN: No, he didn’t even read the script. He was just looking forward to seeing the movie. I guess he would have been very surprised. But all of the characters come out of this movie with dignity and we don’t point at anyone and say “you’re the bad guy.” The only one, the guy David Kross plays, he’s a kind of a hardcore Nazi who reads from Mein Kampf and all that, but then he’s got nothing because he sees that the enemies have become friends so his ideology just doesn’t apply anymore. Everything is taken away from him and he doesn’t have anything left so I feel sorry for him as well. So I think we take very well care of all the characters. Is the time span the same in the movie as it was in real life?

PN: No, in our movie it’s five days, in real life it was only one night. And I don’t think they even spend the night… I never really understood that – whether if they spent one night in the cabin together or not. Because the Brits they walked down – because the cabin was 500 meters away from Grotli Høyfjellshotel… so the men had met there at the cabin, and they didn’t take them as prisoners of war or anything, they didn’t even touch their guns. The Brits they went down to the hotel and they entered the hotel and there was no one there. So they found chocolate, biscuits and brought back to the Germans and then I think the Brits went back to the hotel again and slept in a room. And then the next morning when the Brits were about to take off, the Germans came and then the Germans were a little bit more hostile and anxious so they said “No, you’re not going anywhere on your own. You take one of the Germans with you.” And then the ski patrol came and shot… So it was just the day after. It’s a good setup for a story, but if we made a movie out of what actually happened it would be very boring. A short film…

PN: A fairly short film, yes. I’m not saying it would be boring but it’s much more interesting to have these people trapped in these surroundings. Now, it’s a Norwegian production, but were there any advantages or disadvantages having such a mixed international cast?

PN: I think it’s mainly advantages. It’s a little bit odd to say it’s a Norwegian movie or a British movie or a German movie, because it’s an international movie. But it’s made in Norway by a Norwegian director, co-writer so we tried to make a Norwegian movie but I think that’s mainly when we’re in Norway that it’s a Norwegian movie. But will it have a Scandinavian feeling to it? Because sometimes you can sense like “this is an American movie…”

PN: Yeah, I think it has a European and Scandinavian feel to it. I’ve never seen a Scandinavian movie like this, but I think with the humor there and the nature and all these things, I think you’ll… The dark humor is very Scandinavian it seems.

PN: Yes! But what are your expectations? Worldwide…?

PN: First of all, I think it’s a good movie, so I… The fans are going crazy. Every time we talk about distribution, they’re like: “is the movie coming to the US?” The Americans are very keen, they’re talking a lot about it.

PN: I think it could be a big success in England – of course I think it’s a very rare occasion with the Germans and the Brits going together like that, in Germany it could be a big film, and for Americans and… I think it’s more a human drama than a normal war movie. It could be two Christians and two Muslims, it could be two Jews and Palestinians, it could be any conflict where people who are in conflict, it could be two neighbors that had been arguing over the height of the fence or whatever. So it’s all about this universal story about what happens when prejudices are being put to a test – “what I’ve been told, what I’ve heard, it doesn’t apply anymore.” You’re not the bad guy just because you’re German. You don’t have to drink beer all the time just because you’re Danish [laughs]. [laughing] Is that the stereotype??

PN: Yes. In Norway we think you’re drunk and happy and having a good time… I promise we’re not drunk right now [all laugh]

PN: And I know, I’ve been to Denmark a lot, the Danes are really proper, sophisticated people but that’s the myth that they drink all the time. Did you have any pranks or private jokes on the set?

PN: There was a lot of giggling. Rupert is known to giggle a lot…

PN: They soon learned how to make him giggle and they started to do it on purpose and I must admit, I didn’t think that was very funny because of the time pressure but suddenly I heard [impersonates a stifled giggle] and it was Rupert. I always appreciate people laughing, just not when I know I would have to get this scene. But I know how it is when you start to giggle, you know that you shouldn’t do it and you giggle. What about his accent? Did he have a coach or did he learn it himself?

PN: He learned it by himself. Well, he had a coach in England, so he had learnt it when he came. We didn’t bring the coach to set. What was it like to have someone like Rupert in the film, when he brings so much exposure and attention because of the Harry Potter films?

PN: I mean; I like that. I like that the things I make get some kind of [attention]. Well, we saw that in Sweden, he was almost stalked.

PN: Yes, and of course – that doesn’t bother me [all laugh]. But then he has his assistant and she can say “we have to go now” and all that, because he doesn’t want to be rude. He’s not rude, he likes to talk to people. But of course if he didn’t get some help, he would just be stuck with people who want to talk to him. And I can understand that they want to talk to him, because he’s a nice guy. But for me it was no problems at all, on the contrary – it gave a lot of attention to the project. He gets it, and I don’t, so it’s okay [all laugh]. Did you get any delays on the schedule because of the weather and stuff.

PN: Up in the mountains, we did all the time with the constantly changing weather. And it was three weeks in Grotli?

PN: Three weeks. 15 days of shooting. And that’s only one-third of the movie, I think, almost. A little bit more… 32-33-35 pages of the script out of 199, but a lot of delays because of the weather. So you had planned on staying there for less time than…

PN: No, we planned for three weeks. We had to get … one day, because the weather was so bad and the camera didn’t work because of the humidity inside the camera. So that was an extra day – so 31 days of shooting but still it’s only 30. But no, the weather – you just have to use it, because we wanted all kinds of weather… in-between the cloudy and real bad weather. But then when you put up a wind machine to create a storm or something, you have to have the wind machine coming from the same direction as the wind, because [otherwise] you can’t use the wind machine… and the wind was changing all the time and moving this huge wind machine, big motor with a big propeller in the snow – it’s not very practical to do it in real nature, but… …it has a better effect.

PN: It has a better effect and especially for the Norwegian crew, they love it. And you can also see that it’s not special effects. It is real – and it looks amazing.

PN: Some of it is the snow machine and stuff like that, when they go closer, but altogether it looks good. I think that’s it.

PN: Are you happy? Of course, thank you. And I think we look forward to it even more now after seeing some of it [at the presentation].

PN: That’s good. Because with just the pictures, it’s hard to imagine what the film is really about and the feeling of it.

PN: Well, if you’ve got a better impression of it now, that’s good. We do!

PN: And you can do a lot of work for us! [with a smile] Well, we are!

PN: Yeah! It looks so fun.

PN: I think it’s gonna be a… in a positive sense… a rare kind of movie, but I think a very entertaining and it’s not necessarily an art house movie. I think it’s for a large audience. I have a daughter who is 16 – she loves it, she thinks it’s great. I think that it’s a universal story. For different ages as well as countries.

PN: … and there are no women in the movie. There are two nurses in a Norwegian military camp. You might get some comments about discrimination…

PN: But I think that it’s definitely a movie about men for women. I think women like to see these men… they are strong men, but also vulnerable. They are just human beings. And they will discuss more petty matters as who should do the dishes. It’s also interesting to see a war movie that’s just not about people shooting each other. It’s more interesting.

PN: There are two shots in the movie. You might hear the ratatatata, but you never see the planes – you only see the shadows on the snow. Like the poster?

PN: Yes, you will see the shadows. It’s pure nature, untouched by civilization – you see the shadows, and then they just crash land and you see the plane – and the rest is that they shoot an animal at one point and one of the guys get shot. And I said yesterday, it’s very rare that the Norwegians are not the heroes. When we drive around Norway, there are a lot of memorials everywhere from the Second World War for the soldiers who fought bravely. And we’re like “did they play a big part in the war?”

PN: Quite a few did play an important part, the saboteurs. But most of them didn’t do anything. But they like to say they did?

PN: Yeah, we’re just a small country with only 3-4 million people – and we beat the hell out of the Germans. Yeah [laughing]

PN: So nice to meet you! Thank you – good luck with the movie.

December 2, 2012 | posted by admin | with No Comments | in

Media: Into the White Premiere in Oslo

published March 2012
written by

Interview with Rupert Grint:

Video of the Press Conference with Rupert Grint, Lachlan Nieboer, Florian Lukas, David Kross, Stig Henrik Hoff and Petter Naess:

Audio of the Press Conference with Rupert Grint, Lachlan Nieboer, Florian Lukas, David Kross, Stig Henrik Hoff and Petter Naess:

On the Red Carpet for Into the White Part 1:

On the Red Carpet for Into the White Part 2:

On the Red Carpet for Into the White Part 3:

Rupert Grint on the Red Carpet for Into the White:

Cast and Crew introduce Into the White to the World Premiere audience:

December 1, 2012 | posted by admin | with No Comments | in

Media: Into the White Preview at Colosseum Cinema Oslo

published March 2012
written by

Rupert Grint arriving at Colosseum Cinema:

Rupert signing 1:

Rupert signing 2:

Rupert signing 3:

Rupert signing 4:

Q&A at Colosseum Cinema with Rupert Grint and Stig Henrik Hoff:

December 1, 2012 | posted by admin | with No Comments | in

Interview with Florian Lukas (German)

published 4 November 2011
written by Kathy and Karo

Lies das Interview auf Englisch

Als wir hörten, dass Florian Lukas, der eine Rolle neben Rupert in Into The White spielt, die Weltpremiere seines deutsch-chinesischen Films iPhone You in Berlin besuchen würde, zögerten unsere Mitarbeiter Karo und Kathy keine Sekunde. Sie nahmen die Chance wahr, mit Florian zu sprechen, über sein Treffen mit Horst Schopis, Fremdsprachen und eine mysteriöse Kapuze. Hier ist ihr Bericht:

Nun, das war eine Premiere, wie man sie nicht jeden Tag erlebt. Sie begann unter einer U-Bahn-Station, mit der berühmten Berliner Currywurst und Bier und endete in einem eindrucksvollen Kino, dass einst eine Brauerei war. Kurz bevor Florian auf den Roten Teppich treten sollte, nahm er sich ein paar Minuten Zeit für uns und sprach über warme Unterwäsche, Arbeitszeiten in Norwegen und Skikünste am und neben dem Set.

Kleine Seitennotiz: Während wir mit Florian sprachen, wurden wir von einem geschäftigen Kinomitarbeiter, der mit einem Motorroller vorbeikam, gebeten, ihm die Tür aufzuhalten. Florian reagierte ohne Starallüren prompt und öffnete die Tür mit einem “Na klar!”. Der arme Mitarbeiter wurde ganz rot, als er erkannte, wen er gerade angesprochen hatte. Gut zu wissen, dass es noch Schauspieler gibt, die so auf dem Boden geblieben sind, dass sie anderen die Türen öffnen. 🙂 War’s sehr kalt?
FL: Ja, es war sehr kalt in Norwegen, aber wir hatten da so Fliegeranzüge an, in sofern war das genau richtig angezogen. Habt ihr auch, eine norwegische Reporterin hatte vorgeschlagen, Wollunterwäsche zu tragen. War das nötig, oder ging’s auch anders?
FL: Ja, also wir haben zum Teil Fleece – Fleece ist natürlich echt super – drunter getragen. Also, wenn man die Uniformen nicht gesehen hat. Es gab so ein, zwei Szenen, in denen wir draußen die Fliegeranzüge nicht anhatten. Das sieht bei Sonnenschein total warm und gemütlich aus, aber… …war’s nicht.
FL: Da muss man dann durch. Ja. Und wie lange habt ihr am Tag gedreht, ungefähr? Wenn ihr in Norwegen draußen wart?
FL: Naja, in Norwegen sind die sehr strikt, anders als in Deutschland, mit ihren Arbeitszeiten. Wir waren dann immer so zehn Stunden draußen, so in etwa, und in Schweden ist das das gleiche. In Deutschland achtet kein Mensch auf die Arbeitszeiten; da fängst Du bei 12 Stunden mal an. Ja, wir haben in einem sehr schönen Hotel gewohnt, ich weiß nicht ob ihr Photos gesehen habt; und am Wochenende waren wir Skifahren. Das war schon eine schöne Zeit. Seit ihr da auch privat skigefahren?
FL: Ja. Am Wochenende dann. Denn dahinter war praktischerweise ein Skilift. Und der Regisseur hat mir immer seine Skier geliehen und dann konnte ich fahren, ja. Aber dann müssen wir ja mal fragen, ob Rupert denn nun Skifahren kann.
FL: *lacht* War er ja noch nie.
FL: Jaaaa… ich hab ihn auf Skiern gesehen, ja. Am Set?
FL: Privat. Und im Film fährt er auch Ski. Ihr alle, ihr fünf?
FL: Nee, nur Rupert und Stig Henrik, der norwegische Schauspieler, der einen deutschen Soldaten spielt. Die beiden?
FL: Ja Und wie war das mit dem internationalen Cast? Ihr fünf kommt ja nun wirklich aus unterschiedlichen…

In diesem Moment wurden wir unterbrochen, da er auf den Roten Teppich musste. Jedoch verließ uns Florian mit dem Vorschlag, ihn nach dem Film noch einmal zu suchen.

Etwa zwei Stunden später, nach dem Film und einer Frage/Antwort-Runde, trafen wir Florian erneut, der nicht nur für ein kurzes Gespräch bereit war, sondern sich eine ganze Stunde Zeit für uns nahm! Wie habt ihr das am Set von “I Phone you” mit der Verständigung gemacht?
FL: Über Dan. Also über die Regisseurin, und eine Übersetzerin. Also immer…
FL: Deutsch, Englisch, Chinesisch, alles durcheinander. Aber wie Julia schon sagte, die Moderatorin [der Frage/Antwort-Runde], die reden dann untereinander ganz viel Chinesisch und man… Man steht daneben…
FL: …man steht daneben und dann hört sich das aber trotzdem gerne an, weil das, weil das schön klingt. Sie hat ja auch eine tolle Stimmfarbe.
FL: Ja. Und dann, aber Yiyan [Hauptdarstellerin in “I Phone You”] redet noch weniger Englisch als man denkt. Also, ich hatte das Gefühl, sie hat trotzdem nur die Hälfte verstanden von allem… Aber sie nicken immer so nett. Also das ging irgendwie. Und wenn halt mit Händen und Füßen. Und hat sie ein bisschen deutsch gelernt? Oder gar nicht?
FL: Gar nicht. Sie haben versucht, mir ein paar Sachen beizubringen, aber ich weiß gar nichts mehr. Es ist nichts hängengeblieben. Nichts! Ich weiß noch nicht mal mehr, welche Wörter. Wie ist das mit Norwegisch? Ist das einfacher?
FL: Ja! “Tyssen tag” heißt “Vielen Dank”. “Szysseschieler” oder so heißt “Schauspieler”. Sie haben viel auf Norwegisch miteinander gesprochen, und nicht Englisch, obwohl die super Englisch können; und so hat man das dann einfach mitgelernt. Und es gibt so ne Nachspeise die heißt “Ekke tusses”. Es gab doch Essen?
FL: Das Essen war super. Ich hab noch nie so viel Fisch gegessen da, wie in Norwegen. Und da ging das dann hauptsächlich mit Englisch?
FL: Nur Englisch, ja. Obwohl die meisten auch Deutsch in der Schule haben, und viele verstehen Deutsch. Es waren auch viele Schweden und Dänen im Team, und was ich auch nicht wusste, dass sie sich ja alle untereinander verstehen können, wenn sie ihre eigene Sprache sprechen. Also das war mir neu, und das ist toll. Ja, wir haben eine Dänin, die eure ganzen schwedischen und norwegischen Artikel übersetzt. Die meinte dann schon, das sie es nicht unbedingt verstehen kann, wenn man es spricht, aber die Texte…
FL: Ja, verstehen können sie das alle, aber nicht sprechen. Das war immer ganz witzig am Tisch. Da sitzen drei Nationen und jeder spricht seine eigene Sprache, aber alle verstehen sich. Wie war das eigentlich mit Horst Schopis, den zu treffen?
FL: Das war super. Er hatte ein iPhone…
*alle lachen*
FL: Das war faszinierend, ja, mit 98. Und vor allem: Er konnte es bedienen. Das können auch nicht alle jungen Männer.
FL: Er hat mir sehr viel erzählt, auch sehr viel über Tagespolitik. Ich mein, wir hatten nicht so wirklich viel Zeit, und ich dachte, “Das ist nett, Horst,” – er hat mir auch das Du angeboten, “aber lass uns mal zurückgehen, jetzt nicht über Angela Merkel sprechen, oder Afghanistan”. Er hatte nen sehr guten Überblick. Das ist echt toll so jemanden zu treffen. Er meinte, “Du kannst mich alles fragen, alles. Ob ich ein Nazi war, alles.” Und wenn Du als Schauspieler so jemanden triffst, erst recht jemanden, den Du spielst, dann fragt man halt voll unvoreingenommen, und ohne Urteil. Also, man konfrontiert dann jemanden nicht mit irgendwelchen Einsichten, die man nur im Nachhinein erwerben konnte, und das war ganz gut, um sich da reinzudenken. “Ich bin jetzt echt 1940” und der ganze Scheiß, der danach passiert ist, den vergisst man einfach dann. Man ist dann nur ein Soldat. Das war ganz schön, ihn zu treffen. Und wie viel Zeit hattet ihr, Euch mit ihm zu treffen, und Euch zu unterhalten?
FL: Also ich hatte nen ganzen Abend mit ihm, und nochmal n paar Stunden so am nächsten Tag, ja Hast Du auch das Buch von ihm gelesen?
FL: Ja. Ja, der Teil von der Geschichte ist ja relativ kurz. Er erzählt viel über die Kriegsgefangenschaft, und da hat er Glück gehabt in Kanada. Die hatten ja da ein verhältnismäßig… Das klang teilweise fast schon ‘nett’…
FL: Mit den ganzen Fluchtversuchen, ja. Bestimmt besser als in Russland, schon. Aber trotzdem, ‘nett’ ist das bestimmt nicht… wenn du denkst, das kann noch ein halbes Jahr dauern, und dann ist das noch ein Jahr … Aber ich mein, wann triffst Du noch mal jemanden, der so alt ist, und der so viel erlebt hat. Das ist schon echt selten. Viele wollen oder wollten ja auch nicht reden. Und haben die vier anderen Schauspieler auch was von ihm erfahren können? Wie das damals so war in Grotli?
FL: Das ist ja sehr gut dokumentiert durch sein Buch, und der Hotelbesitzer, der Arel, der das betreibt, der macht das jetzt in der 5. Generation. Er hat uns an die Schauplätze geführt. Diese Geschichte ist so stark auch mit diesem Hotel verbunden; er war so stolz, dass wir da waren, weil diese Geschichte auch ein Teil seiner Familiengeschichte ist. Er kannte sich wahnsinnig gut aus. Er hat uns auch noch sehr, sehr viel erzählt, weil er auch alle Details kennt. Ist das dann der Enkel?
FL: Das weiß ich gar nicht. Na, er ist so Mitte 50, also, ich denke, das müsste der Enkel sein, von dem Besitzer von damals in 1940. Das ist ja auch schon eine ganze Weile her…
FL: Ja, ne Weile schon. Ja, 70 Jahre. Und ihr 5 so untereinander? Ihr habt ja auch ganz unterschiedliche Lebensabschnitte.
FL: Ja, Stig Henrik ist toll, der norwegische Schauspieler, der ist schon Großvater. Der ist 45. Was?! Das hab ich auch noch nicht gewußt.
FL: Ja! Und das ist… wisst ihr, das war der größte Knallkopf von allen. Also, das war nett. Und David ist ja erst 20, richtig?
FL: Er ist 20, oder 21. Er ist ein sehr konzentrierter Profi, ganz toll. Das hat total Spaß gemacht, auch weil wir so unterschiedlich sind. Und das kommt auch im Film dann so gut an. Also, hoffentlich, jedenfalls. Also, dass das nicht langweilig wird, wenn da 5 Typen in so dicken Anzügen rumstehen. Aber die Bilder sind toll, echt, also das hab ich echt noch nie gesehen, die sind super… Seit ihr auch, also ihr 5, auch ganz anders als die Charaktere, die ihr spielt; oder ist jemand irgendwie so, wie der Charakter, den er spielt?
FL: Das ist schwer zu sagen. Ich bin kein preußischer Offizier. Also, weiß ich nicht. Also die größte Diskrepanz war mit Sicherheit Stig Henrik, der also, der wirklich ein ganz verspielter Typ ist und einen ganz ernsten, unheimlich stummen deutschen Soldaten spielen musste. Ansonsten… das kann ich echt nicht sagen. Schwer zu sagen. Wie hat er das denn gemacht, hatte er vorher Deutschunterricht, oder ging das alles am Set?
FL: Also er hat vorher Deutschunterricht gehabt, wie eben viele Norweger, und er versteht viel Deutsch. Und dann habe ich eben auch noch versucht, ihm zu helfen. Vor den Szenen direkt, oder wir haben uns abends hingesetzt und sind die ganzen Sachen durchgegangen. Er hatte einen Coach, aber der hat ihm so nen komischen Militärklamottenjargon beigebracht, so preußisch. Und nicht Hochdeutsch. Und das war etwas albern. Und schon erst recht, wenn’s n Norwerger versucht… Und der Film ist dann aber auf deutsch und englisch…
FL: Der ist Deutsch, Englisch, wobei die Deutschen sprechen besser English als damals, 1940. Also, im Buch beschreibt er ja, dass die Deutschen gar kein Englisch konnten, oder wenig, aber daraus kann man ja keinen Film machen. Also ich hoffe, das Englisch ist okay, und nicht so schrecklich. Ich hab mir viele alte Filme angeguckt, und da haben die Deutschen immer so einen harten Akzent, und alle lachen drüber. Das haben wir so auch nicht gemacht. Das kannste ja heute keinem mehr zumuten. Hat Rupert mit Euch Deutsch gesprochen, denn er hat das ja eigentlich mal gelernt?
FL: Rupert hat gar kein Deutsch gesprochen. Hat er Euch gesagt, dass er eigentlich…
FL: Nein… Das hat er wohl verschwiegen…
FL: Der kann deutsch verstehen??? Er hat das in der Schule gelernt, er spricht es auch ein bisschen.
FL: Nee, wusste ich nicht… Das ist mal was für die Premiere…
FL: Da werd ich ihn mal drauf ansprechen… Nee, wusste ich nicht. Aber der Liverpool-Akzent ist echt krass. Ja?!
FL: Das macht echt Spaß, da zuzuhören. Ist das sehr auffällig von seinem “normalen” Akzent?
FL: Sehr auffällig! Also wenn du die Texte… ich meine, wir kennen ja die Texte, aber teilweise war das echt schwer zu verstehen, was er gesagt hat. Wir haben das dann irgendwie dann auch beim Dreh genutzt, und dann mal nachgefragt: “Was hat der gerade gesagt?!” Selbst die Engländer tun sich schwer, so nen harten Akzent zu verstehen. Und Lachlan? Wie spricht sich der Name eigentlich aus.
FL: Ja, das hab ich ihn auch gefragt. Loch-lan, neh, Loch-lann. Lach-lenn? Loch-lahn. Lochlan. Lochlan Nieboer. Lochlan Nieboer. Und wie ist das? Spricht der ein ‘normales’ Englisch?
FL: Ja, der spielt ja so einen Upper-Class Officer, und der spricht dann, ja, wie man sich das so vorstellt. Vornehm. Hat Calle/Zentropa Euch eigentlich erzählt, was im Hintergrund über den Film abging, über Twitter, auf Seiten der Fans? Ich mein, der Film fängt gerade an zu drehen, und alle Fans gucken drauf und warten auf die neuesten Nachrichten.
FL: Auf dem Blog, oder was? Also, ich hab das nicht verfolgt am Anfang. Die haben nie Fotos von Euch gezeigt.
FL: Nee, haben sie nicht. Am ersten Tag, da sind wir im Schnee herumgefahren, und Rupert hatte so ne lustige Wintermütze auf. Kennt ihr diese Mütze? War das, als ihr die Tour gemacht habt?
FL: Genau. Er trug diese lustige Wollmütze, mit diesem lustigen Wollschnurrbart. Und Rupert ist total nett. Echt wahnsinnig nett. Ja, da war diese Pressekonferenz, wo sich dann alle gewundert haben, dass er eine Kapuze auf den Bildern trägt.
FL: Welche Kapuze? Naja, Rupert hatte immer eine Kapuze auf. Seine Haare waren immer verdeckt, und da fragten sich alle muss er das, oder er schämt sich?
FL: Ich hab überhaupt keine Ahnung. Das kann ich Dir nicht sagen. Ich denk da auch gar nicht drüber nach. Aber was meinst Du, was die Leute darüber nachdenken!
FL: Ich hab überhaupt keine Ahnung. Der läuft auch so einfach mit Kapuze durch die Gegend. Weiß ich nicht. Naja, keine Ahnung, ich glaub der war einfach müde oder so. Das war halt ne lange Nacht… Ja, das sieht man auf den Fotos.
FL: Ja, ich hab mich auch nicht erkannt…
FL: Was macht ihr denn so? Lehrerin. Ärztin.
FL: Du bist Ärztin? Und ihr seid Ja. Wieso.
FL: Naja, ich hab mich immer gefragt, wer das ist. Und ihr seid zwei von… wie vielen auf der Seite? Aktive Mitarbeiter, weil die anderen so viel im Privatleben zu tun haben, sind wir fünf. Fünf “Comrades”…

Und damit sagten wir ‘Auf Wiedersehen’, aber nicht, bevor Florian sich erneut fotografieren ließ, und damit erneut bewies, dass er ein echt netter Typ ist. Nicht jeder Schauspieler würde ganz spontan länger als eine Stunde mit Fans quatschen und ein spontanes Interview geben.
Mit der Hoffnung, dass wir uns 2012 bei den Premieren für “Into The White” wiederzusehen, verließen wir das Kino, mit der Titelmusik zu “I Phone You” im Ohr…

Tausend Dank an Florian Lukas für den tollen Abend, und für weitere Informationen zu “I Phone You”, besucht die offizielle (deutsche) Internetseite oder imdb!

July 17, 2012 | posted by admin | with Comments Off on Interview with Florian Lukas (German) | in