Textliste englisch | textlist english {title animation with ECG curve} MBC-FILMPRODUKTION {with signature} {title} presents {title} a film {title} by a filmmaker {title} (opening short) {title} Self-Portrait with Chandelier Narrator (MB): {off} This is the emergency ward of the IKK hospital in Berlin-Neukölln. It's almost midnight. {tagline} IKK-hospital, Berlin-Neukölln, 11:52 p.m. Narrator (MB): {off} A patient has just been brought in. An ordinary case. For the physicians a case just like any other. But the police were informed and an army of private detectives and reporters fills the room. Nurse: Stop, don't come any further. - Please no photos, no pictures. - Stop! No. Narrator (MB): {off} A catastrophe has occurred in a Berlin film studio. Of course you will read about it in tomorrow's newspaper. - Radio and TV will report on it. Because - the media itself is involved in this case. Paramedic: ...one two three - lift! {intertitle} E.C.G.EXPOSITUS {intertitle} The Self-Portrait of a Filmmaker in Broadcast and Artistic Media Surgeon: {off} No, this doesn't make sense. Surgeon: Please hold him down again, and increase Dormicum 5ml. {tagline} IKK-hospital, 11:54 p.m. (11:55 p.m.) Narrator (MB): {off} A catastrophe has occurred in a Berlin film studio. - Radio and TV will report on it. Because... the media itself is involved in this case. Nurse: I'm sorry, ladies and gentlemen, you're not allowed to film in here. - Please leave. No, I'm sorry. - Please leave. No photos, no pictures. I'm sorry. You can't! Narrator (MB): {off} Before everything is blown up and distorted by the tabloids and broadcast media, I think you'd rather hear the real state of affairs. - A young man is lying on the operating table in this emergency room. He has a slight bleeding in the brain and grave internal injuries. - Nobody important. Just a minor filmmaker, who made a couple of experimental films and second-class scripts. - The poor dreamer. - He always longed for public attention and when he finally got it he had to pay a high price. Narrator (MB): {off} Let's turn back the wheel of time, to six months ago, the day when it all began. - I was living in a furnished room in the city centre and I wasn't in a good state. I'd just received a rather big film grant for a small script, but I didn't know at all, how to begin the film. I was just sitting around, torturing myself, trying to find an original beginning. Narrator (MB): {off} But it didn't work out for me. The beginnings were not original enough or maybe even too original. MB: Hello? Telephonist: Good afternoon, this is WDR Broadcasting Corporation. Just a moment, I'll connect you. TL: Hello. MB: Yes, Brynntrup here, how are you. TL: Good afternoon, this is Tim Lienhardt. I'm a TV journalist from Cologne and... I know... your films. In recent years I've seen a couple of them at Berlinale, and I'm very impressed and curious to meet you, so I can profile you for our arts program. MB: Really? For TV? TL: For TV, indeed. It's WDR-TV in Cologne. - And it'll be a portrait of you. MB: Sounds good... so what's your plan? TL: First, a question: Are there already any portraits of you? Because...I don't want to do what's been done before. MB: No, never. - Nobody's made any portraits before. Fine. TL: Well, here's the plan: I'll visit you in Berlin with my crew. - I think maybe in your apartment, it doesn't matter. MB: That's fine, yes. Here in my apartment, good. TL: Yes, we settle in, and set up the tripod and camera. - I'll sit next to it and interview you. MB: Yes, good. TL: Can we do it like that? MB: Yes, sure. TL: Ok, I'll call you again. I'm often in Berlin. MB: Ok. When will it happen? TL: As soon as possible. MB: I'll wait for your call. TL: Great. MB: Ok, I'm looking forward to it. TL: Me too. MB: Ok, bye. TL: Yes, cheerio. Narrator (MB): {off} At this very moment I got the idea of how to begin my film. Perhaps it wasn't the most original idea, but certainly good enough for a start. {02}================================================================ Diary, take one, first shot. This film could begin like this or like that: I sit down at my desk In front of me my four diaries: I'm taking NOW... {intertitle} NOW ...NOW the most recent one , and put it down. Then I open it up, and write in it. This is ... my diary. This is my hand. And ... this is the clock, it is now ... This is the clock, it's now about 8:30, or thereabouts. And ... these are the little pictures. After 2 pictures comes the {text in image} title {intertitle} TABU V Good. {text in image} POISONOUS {text in image} THOU SHALT NOT KILL Ouch! 2:40 The anaesthesiologist was just here and explained to me... {text in image} MY FIFTH DIARY ...take the pill with your last sip... It is now: {intertitle} NOW: 1989 ...transfusion, shot in the bum, total anaesthesia in ER. I gotta breathe heavily, have to yawn. I'm afraid of the operation, of what I'm experiencing. I only hope I'll survive... {text in image} LA MORT ...A God, belief in a God could help me now. Lord Almighty!... {text in image} THE SKULL ...It's not as ironic as it sounds. {intertitle} COLLECTION OF INSTRUCTIONAL MATERIALS {intertitle} MUSEUM OF HEALTH CARE {intertitle} KZ MEMORIAL SACHSENHAUSEN {intertitle} SHOOTING OF »CAIN AND ABEL« {text in image} HAND Tidied my love life a bit ... whatever that means. The alphabet: 24 letters per second. The End. Once again statistics in personal relationships: compiled in the hope of a cyclical return and the concrete expectation of a new guy. I'll also compile sex-statistics. {text in image} TATTOO It is now: {title} ENGINEERING MEMORY BRIDGES An optical Disillusion Immanuel Kant, Critique of Pure Reason,... {text in image} AT LEAST EAT UP YOUR MEAT ...On the impossibility of a cosmological proof of the existence of God: One cannot help but think, however unbearable the thought, that the being that we imagine to be the highest of all possible beings... On the one hand I'm at odds with God,... I'm trying to wean an interpretation out of the Cain and Abel story. Originally I went on the assumption of doubt: Is God truly good? It's this question I'm thinking about. ...I know that our knowledge is limited... G o d   i s   a   p l a c e b o,   o n l y   f a i t h   h e l p s. {text in image} »CAIN AND ABEL« {tagline} THE SACRIFICE {intertitle} THE OLD TESTAMENT (A MORAL) {03a}================================================================ {intertitle} some time later MB: A TV crew is coming to my place today, to do the first-ever report on me for German TV. I must say I'm quite nervous and excited and have a little headache. But this is clear: If they film me, then I'll film them. {intertitle} If TV shoots me, then I'll shoot TV! MB: Hi! Two cameras rolling, right? TVT: Should I look into the camera? MB: Wow, what a big camera! MB: Go on in. We can do it in there. TL: Everything will be recorded right from the beginning. MB: Ok, good. It's a bit narrow in here, but... {intertitle} The TV crew visits the filmmaker in his flat. MB: We can do it, right? TVT: Yep, we can get it done! MB: Ok, super! Narrator (TL): {off} The filmmaker was living in a furnished room, torturing himself, trying to find an original beginning. Narrator (TL): {off} The poor dreamer. He always longed for public attention and when he finally got it... he had to pay a high price. TL: We are ready. MB: Really? TL: We're ready when you are. MB: Okay. MB: Is it okay to sit like this? TVT: Yes, fine. MB: Is it rolling? TL: Is it rolling? TVT: Yes, it's already rolling. TL: Good, so we can begin. MB: ok. TL: Michael, let's begin with a quick bio. Born, education, just so we know... Who is this Michael Brynntrup? Just the basics. MB: Beginning -oh my god- always these beginnings. Where to begin? TL: {off} With your birth. MB: With my birth. - Born in 1959 - going on 37 years ago... and... MB: ...and then it just happened that I became a filmmaker, finally. {03b}================================================================ TV Narrator (TL): Whether in costume drama or short video, Michael Brynntrup has always, in his more than 50 films, dealt with the power of images, with capturing and preserving them. He's shot with international stars such as Udo Kier. {original film sound} "Sorry - Hello!" TV Narrator (TL): How much can reality be represented? What limits are set by morality and media? Questions which Michael Brynntrup confronts in all his films. Experimental mirror images of a narcissistic artist, who performs as himself, so that others may recognise themselves in him. MB: Although my films often appear private, it's obviously a public medium. And they're presented in public, where there's a reaction, which I partly want to provoke, or at least I want to inspire a debate. {original film sound} "The Curriculum Vitae - My name is Michael Brynntrup and I was born on the 7th of February, 1959. Death of identical twin brother at birth. My parents live in the Catholic town of Münster, Westphalia." TL: You certainly have a privileged position being able to focus on your own self and to revolve around yourself. MB: Privileged? TL: {off} Or don't you feel it's privileged? Or favoured? MB: {sound cut} Well, yes, because it simply has economic reasons. MB: {sound cut} Oh no, it's not privileged to be able to deal with oneself, everyone can do it. I mean, it's a given that not only tastes, but also spirits which are different. Some are drawn to exploring the self, others not at all. - So, one has to accept the simple fact: people are biologically different. Like this or like that. And that which was given to me as a natural condition, that I primarily think a lot, is not, I feel, a privilege. That I could cultivate this, that I could study at university etc, naturally that's a kind of privilege. TL: {off} So, have you ever thought you might be ill? Have you ever had thoughts about insanity? MB: Well, I've also thought it over a lot, if-if-if all of this is crazy, but as long as I can consider that, and as long as I can think, as long as I can ask myself the question: 'is that crazy?'... {textcrawl} The following 2 hour interview was recorded before the broadcast, and was for this film only slightly shortened. MB: ...Really, craziness would be if I ran raving through the streets, that would be some kind of crazy, right? But I'm also caught up in it, and sheltered too. It's possible to channel my ramblings, even to integrate them into society.... {textcrawl} Right now, you see minutes 54 and 55. MB: ...I also refer to society. So does my work. It's like ping-pong. It's not just in my ivory tower, where I make things, but rather... {repetition from before} MB: Although my films often appear private, it's obviously a public medium. And they're presented in public, where there's a reaction, which I partly want to provoke, or at least I want to inspire a debate. {repetition from before} TV Narrator (TL): How much can reality be represented? What limits are set by morality and media? Questions which Michael Brynntrup confronts in all his films. MB: That's always an issue for me: even as an experimental filmmaker, one must decide between a socially relevant film, meaning does one really want to change society. Or does one just make film poems? - Do you hear that music? - It's very interesting, it's that Gustav, or whatever he's called, he comes by once a month. ================================================================ AIDE MÉMOIRE - Gay Document For Remembering   (text english) ================================================================ {04a}================================================================ {text in image} MIC ON - ON AIR Host (KE): Radio Brandenburg, the Film Journal. With me is a man who has created a substantial body of work, which nevertheless can be quickly surveyed, because they're mostly short films. Simply put, he's one of the most important German short-filmmakers. Welcome, Michael Brynntrup... {intertitle} ATTENTION: live Host (KE): {off} A selection of these films can now be seen... {Sound fades out} Host (KE): Our guest on Film Journal is Michael Brynntrup. His new film Aide Memoire will play at Berlinale... {text in image} ON AIR Host (KE): This new film tells the story of a relationship between you and a photographer, Jürgen Baldiga. Since then, he's died of Aids. First, I'd like to know exactly: how did this film come about? Jürgen obviously knew, what was coming, and he got involved with making this film, to speak again about himself. MB: Well, the film actually started with certain themes, revolving around death, mortality, Aids, photography, film, which we discussed in pubs anyway... Then I had my new videocamera! A Hi8 camera! And I was just visiting him with it, and then I made it more purposeful, a kind of interview, around these themes. But actually we were just having coffee... JB: What really bugs me... Well, look, if I give an interview, especially in the media, since so few positive guys do it. And I can only speak for myself. And then: first thing, they cut it all exactly the way they want it. Usually it just becomes a tabloid sensation: and here we have yet another sick or dying man, etc... TV Narrator: An Aids victim photographed ten days before his death. TV Host (FM): Aids is still an illness which hardly allows any hope... {tagline} SFB3 - Broadcast on 04.Aug.1992 TV Host (FM): For the photographer Jürgen Baldiga, himself HIV positive, the dominant theme of his work. An exhibition by him will now... TV Narrator: The 32 year old photographer, himself HIV positive for 8 years, considers himself a chronicler of human garbage. TV Narrator: An Aids victim photographed ten days before his death. {text in image} ON AIR MB: Well, what fascinated me about Jürgen Baldiga, was that he handled his illness so boldly. Not only did he accept his fate, he also took control of it. He did both, you could say. He made the most of it, as much as possible. He didn't repress death - on the contrary, he appropriated it, even playfully. He turned it into a photographic subject. He got into Aids issues, support and prevention. He really lived consciously with death. And you can, see? That basically intrigued me about him. TL: {off} Did you want to learn something? MB: Well, maybe also learn something. In any case, that simply spoke to me very strongly, because... - sorry, now I'm... {04b}================================================================ Cameraman: {off} Rolling! MB: {off} Action! {superimposition} TTV {Logo} TTV-Reporter: We're back, live from IKK hospital in Berlin. TTV, live on location! TTV-Reporter: The operation has been going on now for over an hour. This is -we assume- because the injuries might be rather serious. No statements are being given by the PR spokespersons of the hospital. {superimposition} TTV on the spot TTV-Reporter: Right now we'll try to get a direct comment from one of the head surgeons. MB: mhm TL: {off} Do you know shame? MB: Ja, mhm. - I have to make a short comment, -well- here is where the film has its narrative gap. -eh- excuse me for a few moments. I'll be right back,... as soon as the film continues. MB: Am I making it short enough? TL: Let's return to shame... MB: Shame. TL: I'm quite sure that the viewers -because of the filmclips we show them- think: that's quite shameless! For example a clip from The Statics: you filmed yourself sleeping, with rising and falling erections, right? MB: Yes, it's obvious that the TV picks these sensational clips. But one has to realize that these images appear in the context of a 20 minute film. And I really prefer to show these films in their entirety. Excerpts lie, don't they? TV Narrator: Lover in Bathing Trunks: the Filmmaker Michael Brynntrup. TV Announcer: For many viewers of TV and cinema, independent film is indigestible... {tagline} SAT.1 Regional Report / Baden-Württemberg TV Announcer: ...or even trash. - But these little pearls of screen-culture are quite appealing and attract an enthusiastic audience. {tagline} Report / Claus Hanischdörfer TV Narrator (CH): This is the first time that in this new cinema the pearls of independent film flicker on screen. TV Narrator (CH): The program again offers a view beyond the conventions of cinema. TV Narrator (CH): For the average couch potato, it's often indigestable. TTV-Reporter: {off} ...the operation has been going on for about one hour here at IKK hospital. Can you share the latest news with the public? - How is our patient doing? {tagline} Excerpt from / "E.C.G. EXPOSITUS" Surgeon: Well, of course... we are still assessing the situation. But I'm sure in about one or two hours, we'll know more. TTV-Reporter: At least another one or two more hours... TV Narrator (CH): Besides the films there are several lectures and media art exhibitions. At the Künstlerhaus you can see work by Michael Brynntrup: painter, filmmaker and photographer. {tagline} Michael Brynntrup / Media Artist MB: Each media has it's specific possibilities and peculiarities, and therefore I like... to work with many media, because... each is specific and unique. TV Narrator (CH): "New Media" will be included for the first time at the upcoming Stuttgart Filmwinter Festival CH: First question: your project 'Heart.Instant/iation', what is it about? MB: Yes, um, where to begin? I've told you before: I'm long-winded. CH: Fine. MB: In a few words: I made a Polaroid of myself and scribbled on it, then I photocopied, enlarged it... and then I noticed that many generations -one after another- came up. And then I decided to develop it as an artpiece. And then I began to produce different generations in different media. - So that's how it originated. MB: So that's how it originated. TV Announcer: Well, that's something different. ================================================================ HEART.INSTANT/IATION II (Autogenous Manipulations)   (text english) ================================================================ {05}================================================================ MB: So, I'm not at all excited or nervous today. Even though TV is coming to my home yet again. - Isn't that crazy? - Okay. - Actually it should ring any minute now. - Okay. - This time it's Channel 4... from London! - So I'll just wait a minute, right. And then I'll film them. MB: Hi! First of all, I film you! TVT: This is nice. Hello, I'm Ann. MB: You are Ann. TVT: That is Doug. TVT: How ya doin'. Iain. MB: Me, Michael. So, I have you all! MB: ...bloody. TVT: Things filmmakers hate. That's why people stay behind cameras... is they don't like being filmed in turn. Poo, poo. MB: This is the 71st generation of a Polaroid I did before... TVT: 71st!? MB: First I did a Polaroid, then I did a photocopy of it. A collage, and then... and then filmed it by Super8, or filmed by video, and made a video print, and the video print scanned into the computer, and then... a computer print. MB: ...at the end it's a definition. Let's say. That's it. TVT: Can I ask you just to look at the camera again, please? - Great, thank you. MB: The next generation will be actually with digital video. Yeah, I wanna do a portrait in front of this, and then I wanna go with this digital video into the computer directly and make another generation. TVT: ...and then print that. MB: Yep. TVT: Hmm... yeah. MB: So it's going on and on, a neverending story. TVT: Hmm... yeah. MB: So, generation and generation and generation, yeah. TL: {off} But it's nevertheless very personal, narcissistic, what you do. The continual shooting of yourself, revolving around yourself, looking at yourself- really, that's an extreme narcissism. MB: Leonardo Da Vinci expressed it very well: In the end, a painter always paints only himself. He said that 500 years ago. I find this very astute. And it also shows, basically where the differences are. So the living images which I make, I see them more in the context of visual art, like with Da Vinci, than the way it is with the latest TV coverage or with big glossy movies, like in the cinema. So yes, in this respect, I always paint only myself. So... MB: So that's art, yes. Art! MB: What I really love is the idiosyncrasies of a medium. ach medium has its specific characteristics, and a particular power. Whether it's a Polaroid, which is a bit pale and milky, or a photocopy, which is usually crisp and contrasty. Every medium has its own specific possibilities and characteristics, and that's why I like to work in so many media, because each thing has something special and particular. MB: So I love experimenting with different techniques and possibilities, and always try to tease out what is appropriate to this medium. And also give to the medium what it demands. MB: For example, what I've now made is a film, but totally self-contained, I still call it a "film", but it's not a film in the classical sense, it was completely created on the computer basically as an animation work. Flash is brilliantly suited to this task. With Flash you can express yourself within the limitations of the Net. There isn't much bandwidth, you can only send small data-packets, and with Flash that's totally feasible. MB: This project is aptly named "No Film". It comes in two versions. One is pure Flash, to be viewed via Internet, so anyone can watch it at home. The other form is on 35mm, totally traditional and meant for big-screen cinema. For me today, "No Film" is the meeting point between wide-screen cinema and narrow-band internet. MaBe: {off} Thank you! That was well put. - Okay. MB: Somehow I'm not quite in the speaking mood, I'd say. MaBe: {off} Well, it's okay... MB: I just blabber in circles. MaBe: {off} Anyway: how does it look on the net? Your "No Film", can you call it up? MB: Sure. I can show you, offline and online. {Sound fades out} ================================================================ KEIN FILM | NO FILM   (text english) ================================================================ {Theme song from arte-tv} And next: TV Narrator: In his "Loverfilm", Michael Brynntrup lists his lovers from the 70s through the 80s. A personal history, and at the same time a history of the German gay movement. MB: Sure, I think about myself and wonder: Is this still normal? Is this normal? But then I also ask: Well, who's to say, what's normal, right? Maybe it is normal. Maybe it's not normal, and why should I be normal?! - So. TL: {off} Are you capable of love? MB: Well, when certain things don't work out, and then you wallow in self-doubt, then naturally... like with a loss, or a frustration, naturally you get this very heavy self-doubt, and then ask yourself: am I even capable of love? - For example. {title} Do you know what love is? MB: ...then I was somehow free, and I felt good, - that's intimacy. TL: {off} That's definitely a great good... MB: For sure! For me, it's the supreme good, I think. TL: {off} Intimacy. MB: If a human being achieves it with someone, or maybe with several someones, to live such a moment, or even more: to live in a state of intimacy, that's the ultimate happiness that can occur in life. TL: {off} Why is that? MB: Well, for me... hm. Why is that? Because I... Good question! That's an unsettling question! I mean, it goes into my yearnings. Yes, it goes into my yearnings. TL: {off} Towards what? MB: Towards this intimacy. Towards this realised and almost maddening intimacy. ================================================================ LOVERFILM - An Uncontrolled Dispersion Of Information   (text english) ================================================================ {06a}================================================================ MB: Oh, um... TV is coming to my place today, to do the first-ever report on me for German TV. I must say I'm quite nervous and excited, but this is clear: If they film me, then I'll film them too. {title} The filmmaker films TV. MB: Yeah, Hi8 is so out-dated. MaBe: Is that a Hi8? MB: Yes, a Hi8. So antiquated, since I got to know DV. - And so poor! - And I was so happy with this camera, when I got it new. - Really! MaBe: Mmm-hm. {title} TV films the filmmaker. TV Narrator: A camera is a camera is a camera. Digital video, TV camera and Super8 camera. - The Berliner Michael Brynntrup is an experimental filmmaker. His first films were all Super8. {intertitle} Diary Pages on Film {intertitle} The End TV Host (RB): Imagine this: You've had marvellous fun at Carnival, even followed a flirtation home, spent a wonderful night together, and at the end the person snapped a photo or pulled out a camcorder. You think nothing of it. - A few months later, you see yourself again. Onscreen, at a film festival, as the lover of an experimental filmmaker. - The man doing this: Michael Brynntrup. He comes from Münster, now lives in Berlin, and his latest experiment is called, logically, "Loverfilm". - It's worth a Teddy award at Berlinale, if the jury has watched and not ignored it. {original film sound} MB: Dear Audience. You are about to see your first film... of the rest of your life. - Have fun. {intertitle} THE ACTIONS AND CHARACTERS IN THIS FILM ARE FICTITIOUS. {intertitle} ANY SIMILARITY (WITH ANYONE LIVING OR DEAD IS PURELY COINCIDENTAL) {original film sound} MB: and not intentional. {original film sound} MB: Even I look quite different. {intertitle} THANK YOU {original film sound} MB: I'm called Michael Brynntrup and I was born on the 7th February 1959. {intertitle} GOOD EVENING {original film sound} MB: Good evening. {intertitle} RESTS AND TESTS FROM PROTOTYPE RESEARCH MB: Like I said, I'm only an example. The film only sort of indirectly talks about me. TL: {off} You are the medium. MB: Yes, I'm the medium. TV Narrator (TL): It's about data analysis and sex, about personal privacy and constantly switching lovers. The 38-year-old filmmaker Michael Brynntrup has counted his affairs. He doesn't betray the final total. But he shows photos and moving images of loves to be remembered, - from his diary and from the video library. MB: It's obvious to me, that TV picks out precisely the most sensational images. {original film sound} The viewer is also responsible for images made public. Be aware that when you watch the following film, you will infringe upon the privacy of those persons who have been photographed. MB: You must realise, that these images are embedded in the context of a 20 minute film. I really prefer that these films be shown in full. Excerpts lie. MB: {off} Excerpts lie. {repetition from before} TV Narrator (TL): How much can reality be represented? What limits are set by morality and media? Questions which Michael Brynntrup confronts in all his films. Experimental mirror images of a narcissistic artist who performs as himself so that others may recognise themselves in him. {repetition from before} MB: Although my films often appear private it's obviously a public medium. And they're presented in public where there's a reaction, which I partly want to provoke or at least I want to inspire a debate. {textcrawl} You see this 55th minute of the interview for the third time already. It's probably because this text is especially important. {original film sound} MB: The Curriculum Vitae TL: {off} Your personal history is a favoured central theme.- Your self. MB: Sure. I actually see filmmaking more as a part of visual art. In contrast to grand cinema, which is based on illusions, with me it's more about an artistic authenticity. MB: {off} And that's why these artfilms are always about the filmmaker himself, about the artist behind the camera. {original film sound} I thank you for your consideration and wish you pleasant viewing. {repetition from before} TV Narrator (TL): Whether in costume drama or short video, Michael Brynntrup has always, in his more than 50 films, dealt with the power of images, with capturing and preserving them. {original film sound} Sorry... Hello! {title} The Photographer Jürgen Baldiga {Excerpt from Aide Mémoire} TV Narrator (TL): With Michael Brynntrup, it's always about limits and taboos. Here is no question too dumb. {original film sound} MB: Oh, what I wanted to ask you: tell me about your first orgasm. MB: With these films, I don't want to be provocative at all. I simply want to reproduce reality, which is for me self-evident. {original film sound} MB: June 85 - Since Alf moved out I can't complain about a boring sex life. It would be stupid to list all of them, but useful too, just to get an overview. MB: When I discover in myself something I'd rather avoid discussing, then I try to find a way to approach this limitation. MB {off}: Excerpts lie! TV Host (RB): Excerpts lie, in TV just as in real life. TV Host (RB): {off} Once again, that's all for now. - Thanks for watching! {sound fades out} {title} You have just seen the first TV report about the filmmaker. TL: {off} You're the medium. The medium for what? MB: The medium, through which the viewer, no longer as part of an audience, but as an individual viewer, somehow connects with abstract universal themes. Not with my particular reality, but with a general truth. - At least, that's what I aim for. {06b}================================================================ {title} (Once again, from the top) {title} Self-Portrait with Chandelier TTV-Reporter: {off} Go! Get his face! I want it all, everything! - Facts, pictures! Zoom in! Extreme close-up! - Don't spoil the shot! Get really close! Nurse: Careful! - Stop, don't come any further. - Please no photos, no pictures. - Sorry! - Stop! My apologies... {tagline} (IKK hospital, Berlin, five minutes to midnight.) Paramedic: ...one two three - lift! Surgeon: {off} Can you hear me? - Call the anaesthesiologist! - How's his blood-pressure? Paramedic: {off} 80 over 40, falling fast! Surgeon: We'll need CT afterwards. Call the neurosurgeons. - Check his blood-pressure again. - Blood-pressure? Paramedic: 60 over 40, still falling. Nurse: {off} Intubation? Surgeon: Wouldn't make any sense. We'll make an incision. - Have the Suprarenin ready. Prepare a dose immediately. Prepare the needle, stat! And Ventanyl for the narcosis. Nurse: Okay. Surgeon: {off} Tell me... have the neurosurgeons called? - Nurse: {off} No they havn't. Nurse: {off} Dormicum, 5 in 10 ml.... Nurse: Soon you'll fall asleep. Think of a pretty picture... maybe a painting... or a flower bouquet or a pretty landscape. Or just think of a marvellous film. You'll see, it's no big drama. - Ok, start counting to ten, very slowly... {intertitle} E.C.G. EXPOSITUS {intertitle} The Self-Portrait of a Filmmaker in Broadcast and Artistic Media {intertitle} You have seen a film by, with, and - about the filmmaker. {intertitle} For general information on film and TV, please refer to the following programs. {intertitle} End of Film {intertitle} www.endedesfilms.de {translation: Wayne Yung} Abbreviations: CH = Claus Hanischdörfer FM = Friedrich Moll JB = Jürgen Baldiga MaBe = Manfred Behrens MB = Michael Brynntrup KE = Knut Elstermann RB = Rolf Bringmann TL = Tim Lienhard TVT = TV-Team