{"id":1214,"date":"2016-09-23T14:42:41","date_gmt":"2016-09-23T14:42:41","guid":{"rendered":"http:\/\/avantimedia-fiction.de\/?page_id=1214\/"},"modified":"2019-05-16T23:53:24","modified_gmt":"2019-05-16T23:53:24","slug":"media","status":"publish","type":"page","link":"https:\/\/avantimedia-fiction.de\/en\/media\/","title":{"rendered":"MEDIA"},"content":{"rendered":"

[vc_row el_class=”container”][vc_column][vc_text_separator title=”YOU ONLY LIVE ONCE – DIE TOTEN HOSEN PRESS REVIEWS” title_align=”separator_align_left” color=”white” css_animation=”fadeInRight” el_class=”press headline”][vc_column_text el_class=”hidden_element” el_id=”hidden_element”]”\u2026 The picture was directed by Cordula Kablitz-Post, who has sporadically filmed the band for more than ten years. What difficulties does one confront while shooting a tour film? ‘The band is used to always being surrounded by cameras. The greater challenge was to get the band’s crew used to our constant presence,’ she explains.<\/p>\n

Reciprocal habituation was important to everyone<\/p>\n

After all, there are 150 employees involved in a Toten Hosen concert. ‘But after two or three concerts, the trust was absolutely there on all sides,’ she says.
\nWhat was it like having a camera team around all the time? Campino: ‘We quickly got used to it because the cameras were always there and in our faces. But naturally, sometimes someone got in the way and had to be slapped down,’ he grins. ‘But the next day, at the latest, that was all bygones.’
\nIn any case, Cordula Kablitz-Post, like Campino and the band, is satisfied with the 100-minute work. ‘The fact that we’re screening in 451 cinemas is absolutely nuts. It has Star Wars proportions.'”[\/vc_column_text][vc_custom_heading text=”Source: Express, March 26th 2019″ font_container=”tag:p|font_size:8pt|text_align:left|color:%23ffffff” use_theme_fonts=”yes” css_animation=”fadeInLeft” css=”.vc_custom_1554075383373{margin-top: -8px !important;}” el_class=”hidden_element”][vc_empty_space height=”64px” el_class=”hidden_element”][vc_column_text]\u201c\u2026 They are also the focus of the film You Only Live Once, which Cordula Kablitz-Post shot last year about Die Toten Hosen on tour. With this film, the Berlinale is heading towards its emotional climax. In any case, tickets for Friday\u2019s premiere sold out within seconds.
\nIt may not be the first film about the Tote Hosen, but it shows them at the height of their fame. The director followed the band through various German cities, over to Switzerland and all the way to Argentina, gleaning unlimited access and fathoming the \u2018special relationship,\u2019 in the words of Breiti, which links the Hosen and their entourage. By the end, she had 190 hours of material.<\/p>\n

Initially, the Hosen weren\u2019t exactly keen on the idea<\/p>\n

One year beforehand, Kablitz-Post\u2019s inquiry for a close-up portrait had been rebuffed. The award-winning film and television producer (Durch die Nacht mit\u2026\/Through the Night with\u2026) knew Campino from an earlier portrait she had shot in 2009 as part of the ARD television series Deutschland, deine K\u00fcnstler (Germany, Your Artists). But that didn\u2019t help. Initially, the Hosen weren\u2019t exactly keen on the idea. Only as they experienced how the tour was developing, according to Breiti, did they come to like the idea of letting the curtain fall a little and maybe \u2018not always depicting themselves in the best light.\u2019<\/p>\n

The call reached Kablitz-Post a year ago during the Berlinale. The band\u2019s management said, \u2018we want to do it after all.\u2019 When? \u2018In four weeks.\u2019
\nImpossible. A typical TV budget, which might\u2019ve been raised in this short period, wouldn\u2019t have covered the cost of a cinematic production. Kablitz-Post thought she\u2019d need about 800,000 euros. In the end, it was a bit more. Although it usually takes three months to run something by film funding bodies, she succeeded.
\nThey\u2019d been thinking about \u2018Some Kind of Monster,\u2019 says Breiti about the band\u2019s motives. He\u2019s referring to the legendary documentary about Metallica, the world\u2019s biggest metal band, who were in a seriously destructive phase in 2007 after the departure of their bassist. But nonetheless, the rock stars let a film team in the studio to watch them talk about their dysfunctional relationships in regular therapy sessions, and to witness them at each other\u2019s throats as old grudges resurfaced. \u2018Which certainly didn\u2019t always make them come across positively,\u2019 Breiti concedes, \u2018but actually deepened my personal relationship to them. We hope as much for this film: that people who like our music will better understand what sets up apart.\u2019<\/p>\n

Die Toten Hosen, however, are not in a crisis. Nor are they a band with deep-seated conflicts. If there have ever been such things, they\u2019ve been dealt with. They parcelled out their little empire of record company, concert agency and various political campaigns according to their respective abilities. They\u2019re so much in cahoots with one another that strangers find it, on the one hand, very easy to gain access to the innermost circle of this \u2018family,\u2019 and on the other hand very hard because these are five men in their mid-fifties who never quite open up. They don\u2019t have to, they understand each other as it is. This is even true for drummer Vom Ritchie, who, despite being a band member for over 20 years, senses a barrier preventing him from full membership.<\/p>\n

\u2018We were met with great scepticism in the beginning,\u2019 says Kablitz-Post, who chased the sweat-drenched \u2018Opel Gang\u2019 from the stage to the dressing room, capturing Campino\u2019s moody character, bizarre vocal exercises, and wish to be left alone. \u2018There were situations where we annoyed them with the constant presence of the camera,\u2019 says Kablitz-Post. But nothing more than a towel ever flew in her direction, and even then Campino missed.<\/p>\n

So it wasn\u2019t possible to create a German version of \u2018Some Kind of Monster.\u2019 Die Toten Hosen are a clockwork mechanism, and the only problem they have is the time that remains to them.<\/p>\n

\u2018How many years can this go on?
\nHow many years, how much time is left for us?
\nWe\u2019ve been on the road half a lifetime already
\nHasta La Muerte is what we etched into our skin\u2019\u201d[\/vc_column_text][vc_custom_heading text=”Source: dertagesspiegel.de, February 15th 2019″ font_container=”tag:p|font_size:8pt|text_align:left|color:%23ffffff” use_theme_fonts=”yes” css_animation=”fadeInLeft” css=”.vc_custom_1554075444479{margin-top: -8px !important;}”][vc_empty_space height=”64px”][vc_column_text el_class=”presse”]\u201c\u2026 There they are: the women, flags in hand, on the shoulders of the men. Pyros are lighting up, fans surf the crowd or crash into each other like pogoing bowling pins. Everything seems wild, unchained, disordered \u2013 yet it\u2019s not. It\u2019s a huge ceremony in which the fans, who span generations, leave life behind for two or three hours and remember what the band itself calls the \u2018old fever.\u2019 All of this is brilliantly captured in impressive images.\u201d[\/vc_column_text][vc_custom_heading text=”Source: focus.de, March 20th 2019″ font_container=”tag:p|font_size:8pt|text_align:left|color:%23ffffff” use_theme_fonts=”yes” css_animation=”fadeInLeft” css=”.vc_custom_1554075500644{margin-top: -8px !important;}”][vc_empty_space height=”64px”][vc_column_text el_class=”presse”]\u201c\u2026 Band and management gave their consent to this new tour documentary, which was planned from the outset for the cinema and belongs there, especially on account of its opulent sound.\u201d[\/vc_column_text][vc_custom_heading text=”Source: Weser Kurier, March 20th 2019″ font_container=”tag:p|font_size:8pt|text_align:left|color:%23ffffff” use_theme_fonts=”yes” css_animation=”fadeInLeft” css=”.vc_custom_1554075535705{margin-top: -8px !important;}”][vc_empty_space height=”64px”][vc_column_text el_class=”presse”]\u201c\u2026 Then the planned and expected is interrupted: the cameras capture how the tour has to be broken off in the middle of setting up at Berlin\u2019s Waldb\u00fchne because Campino has suffered sudden hearing impairment. Paul Dugdale, director of stage recording, had only captured two concerts by then. Director Cordula Kablitz-Post uses the five-week enforced break to conduct intensive conversations with the musicians, during which the Hosen reflect on their career and the line \u2018because you only live once\u2019 gains greater urgency.\u201d[\/vc_column_text][vc_custom_heading text=”Source: Berliner Zeitung, March 26th 2019″ font_container=”tag:p|font_size:8pt|text_align:left|color:%23ffffff” use_theme_fonts=”yes” css_animation=”fadeInLeft” css=”.vc_custom_1554075571189{margin-top: -8px !important;}”][vc_empty_space height=”64px”][vc_column_text el_class=”presse” el_id=”hidden_element”]\u201c\u2026 That\u2019s why fans like me love the band! And in the documentary \u2018You Only Live Once \u2013 Die Toten Hosen on Tour,\u2019 for which Cordula Kablitz-Post accompanied the group on their 2017\/2018 tour through Germany, Switzerland and Argentina, the Hosen still come across as they\u2019ve presented themselves to their fans over the years from stages large and small and in countless interviews: down-to-earth, ever ready and certainly imperfect. The openness of the Hosen is always attractive and sometimes damn funny.\u201d<\/p>\n

\u201cCordula Kablitz-Post, a companion to the band for over ten years, continually contrasts concert footage with images of the sometimes grey daily tour routine of rehearsing, driving and sitting around. In doing so, she shoots down the romanticized image of rock star life and indeed shows the Hosen as a regular band that still reliably strikes bum notes even after 35 years, many a radio hit, and incessant practice. The guys simply don\u2019t sound like a break-it-till-you-make-it punk group, nor like a well-greased professional band.\u201d[\/vc_column_text][vc_custom_heading text=”Source: filmstarts.de” font_container=”tag:p|font_size:8pt|text_align:left|color:%23ffffff” use_theme_fonts=”yes” css_animation=”fadeInLeft” css=”.vc_custom_1554075608013{margin-top: -8px !important;}” el_id=”hidden_element”][vc_empty_space height=”64px”][vc_empty_space height=”64px”][\/vc_column][\/vc_row][vc_row el_class=”container”][vc_column][vc_text_separator title=”LOU ANDREAS-SALOM\u00c9 press reviews” title_align=”separator_align_left” color=”white” css_animation=”fadeInRight” el_class=”press headline”][vc_column_text el_class=”hidden_element”]\u201eMit dem formal wie inhaltlich herausragenden Portrait der titelgebenden Philosophin gibt die Spezialistin f\u00fcr TV-Biografien Cordula Kablitz-Post ihr Leinwand-Deb\u00fct. Sie bleibt nah bei ihrer Hauptfigur, beginnt 1933, springt in R\u00fcckblenden durch die Dekaden und l\u00e4sst die Protagonistin von vier Schauspielerinnen verk\u00f6rpern, die alle stark aufspielen. Kameramann Matthias Schellenberg l\u00e4sst Lou Andreas-Salom\u00e9 bei Ortswechseln durch dreidimensionale Postkartenlandschaften spazieren. Judit Varga liefert den minimalistischen Score zum spannenden und fordernden Biopic.\u201c[\/vc_column_text][vc_custom_heading text=”Quelle: Blickpunkt Film, 20.06.2016″ font_container=”tag:p|font_size:8pt|text_align:left|color:%23ffffff” use_theme_fonts=”yes” css_animation=”fadeInLeft” css=”.vc_custom_1553548773530{margin-top: -8px !important;}” el_class=”hidden_element”][vc_empty_space height=”64px” el_class=”hidden_element”][vc_column_text]\u201cDirector Cordula Kablitz-Post\u2019s \u2018Lou Andreas-Salom\u00e9,\u2019 about the philosopher, writer and psychoanalyst of the same name might have an uninspired film title but is absolutely worth seeing on both for its form as well as its content. In about two hours, the filmmaker, who has made a name for herself through her television biographies about Nina Hagen, Mickey Rourke, and Christoph Schlingensief, presents insights into the life of an extremely intelligent, emancipated and self assertive woman who was far ahead of her time. At the center of the biopic about Lou Andreas-Salom\u00e9, who was born in St. Petersburg in 1861 and died in Gottingen in 1861, are the moving relationships with her celebrated contemporaries Friedrich Nietzsche \u2013 whom she admired, Rainer Maria Rilke \u2013 whom she loved, and Sigmund Freud \u2013 who appreciated her sharp intellect. Kablitz-Post, however, is not focused on historical celebrities here, and remains very close to her main character, beginning the narrative in the fateful year 1933 and jumping back in time through the decades around the turn of the century.<\/p>\n

Instead of using effects and make-up, she has four actresses embody the protagonist. Helen Pieske (as a child), Liv Lisa Fries (as a rebellious teenager) , Katharina Lorenz (with the well-earned majority of screen time) and Nicole Heesters (as the 72-year-old Lou) meet the challenge excellently. Thus evolves not only the image of a woman who defies all conventions, but also that of a whole epoch which leads from St. Petersburg through Rome and Vienna through to Berlin. Credit for a significant part of the formal brilliance of the film is deserved by Director of Photography Matthias Schellenberg (\u2018The Years of Plenty are Over\u2019), who always has Andreas-Salom\u00e9 always walking through a three-dimensional postcard landscape at the change of a location, and Judit Varga, whose minimalistic music are partly reminiscent of Michael Nyman\u2019s formidable compositions For Peter Greenaway. Rarely was a biopic about an artist personality so exciting, instructive, so entertaining and demanding at the same time.\u201d[\/vc_column_text][vc_custom_heading text=”Source: Point of view: Film” font_container=”tag:p|font_size:8pt|text_align:left|color:%23ffffff” use_theme_fonts=”yes” css_animation=”fadeInLeft” css=”.vc_custom_1553547966862{margin-top: -8px !important;}”][vc_empty_space height=”64px”][vc_column_text el_class=”presse”]\u201cThe director Cordula Kablitz-Post now pays tribute to the writer, lyricist and philosopher, which captivates with a strong ensemble and narrative ease.\u201d[\/vc_column_text][vc_custom_heading text=”Source: PROGRAMMINO.DE, 15.06.2016″ font_container=”tag:p|font_size:8pt|text_align:left|color:%23ffffff” use_theme_fonts=”yes” css_animation=”fadeInLeft” css=”.vc_custom_1553548002067{margin-top: -8px !important;}”][vc_empty_space height=”64px”][vc_column_text el_class=”presse”]\u201cAn impressive portrait of an extraordinary woman who shaped German cultural history in an unexpected way.\u201d<\/p>\n

\u201cGreat biopic\u201d[\/vc_column_text][vc_custom_heading text=”Source: SPIEGEL ONLINE” font_container=”tag:p|font_size:8pt|text_align:left|color:%23ffffff” use_theme_fonts=”yes” css_animation=”fadeInLeft” css=”.vc_custom_1553548029085{margin-top: -8px !important;}”][vc_empty_space height=”64px”][vc_column_text el_class=”presse”]\u201cCordula Kablitz-Post had until now been known through documentaries about Christoph Schlingensief and Pierre Brice. Here she has set a cinematic monument to this woman about whom far too little is known today. In \u2018Lou Andreas-Salom\u00e9\u2019, the protagonist is portrayed by four actresses in different phases of her life. Katharina Lorenz has the most important role, the others are Nicole Heesters, Liv Lisa Fries and Helena Pieske. The strong cast also includes Alexander Scheer and Peter Simonischek. The director lets her walk around the city through three-dimensional postcards, an unusual dramatic idea in a film which is convincing in its visual imagery.\u201d[\/vc_column_text][vc_custom_heading text=”Source: Hamburger Abendblatt (supplement “Live“), 30.06.2016″ font_container=”tag:p|font_size:8pt|text_align:left|color:%23ffffff” use_theme_fonts=”yes” css_animation=”fadeInLeft” css=”.vc_custom_1553548082784{margin-top: -8px !important;}”][vc_empty_space height=”64px”][vc_column_text el_class=”presse”]\u201cCleverly Made Biopic\u201d<\/p>\n

\u201cAll the better that director Cordula Kablitz-Post\u2019s biopic sets a worthy memorial for her. The background story is cleve, with dramaturgy that has intrinsic value; the cinematic effects (postcard world!) are skillful, the acting strong.\u201d[\/vc_column_text][vc_custom_heading text=”Source: Hamburg pur, 06\/2016″ font_container=”tag:p|font_size:8pt|text_align:left|color:%23ffffff” use_theme_fonts=”yes” css_animation=”fadeInLeft” css=”.vc_custom_1553548248237{margin-top: -8px !important;}”][vc_empty_space height=”64px”][vc_column_text el_class=”presse”]\u201cThe documentary filmmaker Cordula Kablitz-Post, turns to the philosopher and psychoanalyst Lou Andreas-Salom\u00e9 in her feature film debut. Supported by the sovereign acting of Katharina Lorenz, who embodies Lou as a 21-50-year-old, the director also vividly draws the image of a strong woman who was far ahead of her time in terms of female self-determination and fulfillment. Fascinating: The Old postcards. Recreated background world by the superior production designer Nicolai Ritter.\u201d[\/vc_column_text][vc_custom_heading text=”Source: Dresdner Latest news, 30 June 2016″ font_container=”tag:p|font_size:8pt|text_align:left|color:%23ffffff” use_theme_fonts=”yes” css_animation=”fadeInLeft” css=”.vc_custom_1553548472476{margin-top: -8px !important;}”][vc_empty_space height=”64px”][vc_column_text el_class=”presse”]\u201cCordula Kablitz-Post, the specialist for TV biographies, has her screen debut with a portrait which is interesting in form as well as content of the person for whom the film is named.\u201d[\/vc_column_text][vc_custom_heading text=”Source: Berliner Zeitung, 30 June 2016″ font_container=”tag:p|font_size:8pt|text_align:left|color:%23ffffff” use_theme_fonts=”yes” css_animation=”fadeInLeft” css=”.vc_custom_1553548505454{margin-top: -8px !important;}”][vc_empty_space height=”64px”][vc_column_text el_class=”presse”]\u201cA woman makes her way. The life of Lou Andreas-Salom\u00e9, one of the first emancipated women in Central Europe, captured with cinematic excellence by director Cordula Kablitz-Post. The amusing and intense film can be seen for example at the Mannheimer Odeon or the Heidelberg camera.\u201d[\/vc_column_text][vc_custom_heading text=”Source: Mannheimer Morgen, 30.06.2016″ font_container=”tag:p|font_size:8pt|text_align:left|color:%23ffffff” use_theme_fonts=”yes” css_animation=”fadeInLeft” css=”.vc_custom_1553548535855{margin-top: -8px !important;}”][vc_empty_space height=”64px”][vc_column_text el_class=”presse”]”An impressive docudrama about a very extraordinary woman.”[\/vc_column_text][vc_custom_heading text=”Source: ELLE, 07\/2016″ font_container=”tag:p|font_size:8pt|text_align:left|color:%23ffffff” use_theme_fonts=”yes” css_animation=”fadeInLeft” css=”.vc_custom_1553548569900{margin-top: -8px !important;}”][vc_empty_space height=”64px”][vc_column_text el_class=”presse”]”A great portrait!”[\/vc_column_text][vc_custom_heading text=”Source: MY WAY, 07\/2016″ font_container=”tag:p|font_size:8pt|text_align:left|color:%23ffffff” use_theme_fonts=”yes” css_animation=”fadeInLeft” css=”.vc_custom_1553548602174{margin-top: -8px !important;}”][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row el_class=”container”][vc_column][vc_text_separator title=”YOU ONLY LIVE ONCE – DIE TOTEN HOSEN PRESS REVIEWS” title_align=”separator_align_left” color=”white” css_animation=”fadeInRight” el_class=”press headline”][vc_column_text el_class=”hidden_element” el_id=”hidden_element”]”\u2026 The picture was directed by Cordula Kablitz-Post, who has sporadically filmed the band for more than ten years. What difficulties does one confront while shooting a tour film? ‘The band is used to always being surrounded … Continued<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"class_list":["post-1214","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/avantimedia-fiction.de\/en\/wp-json\/wp\/v2\/pages\/1214","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/avantimedia-fiction.de\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/avantimedia-fiction.de\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/avantimedia-fiction.de\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/avantimedia-fiction.de\/en\/wp-json\/wp\/v2\/comments?post=1214"}],"version-history":[{"count":15,"href":"https:\/\/avantimedia-fiction.de\/en\/wp-json\/wp\/v2\/pages\/1214\/revisions"}],"predecessor-version":[{"id":3168,"href":"https:\/\/avantimedia-fiction.de\/en\/wp-json\/wp\/v2\/pages\/1214\/revisions\/3168"}],"wp:attachment":[{"href":"https:\/\/avantimedia-fiction.de\/en\/wp-json\/wp\/v2\/media?parent=1214"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}