Where did you get the idea for RUN LOLA RUN?

I always come at things from a visual standpoint. There's an image in my head that I want to bring to life, to build a story around it and make a film out of it. With RUN LOLA RUN, it was a woman running, the side-on medium shot of a woman running. I think the idea of making a dynamic film is a basic desire among filmmakers. That's why we like to watch action films, because film can transport speed. Film has to do with dynamics, with explosiveness. A running human brings everything together: explosive dynamics and emotions, because in this movement, the human is highly expressive - whether it is desperation, joy or whatever. There is something fundamentally cinematic about the dynamic - like a laterna magica. There is also an element of childish enthusiasm for this most simple of all cinema images: a person in motion. WINTER SLEEPERS was a film with epic breath and heaviness. Run Lola Run was an act of liberation. It was a contrary model, not in terms of the content, but formally. Viewers travel with RUN LOLA RUN, are shaken about on its roller coaster ride. I wanted naked, pulsating pleasure, which despite its complexity was not like Winter Sleepers in any way. A wild chase with effect.

Je viens toujours aux choses d'un point de vue visuel. Il y a une image dans ma tête que je veux apporter à la vie, construire une histoire autour de cela et en faire un film. Avec RUN LOLA RUN, c'était une femme courant, le côté - sur le coup moyen d'une femme courant. Je crois que l'idée de faire un film dynamique est un désir fondamental parmi les cinéastes. C'est pour cela que nous aimons regarder des films d'action, parce que le film peut transporter la vitesse. Le film concerne la dynamique, avec l'explosif. Un humain courant réunit tout : la dynamique explosive et les émotions, parce que dans ce mouvement, l'humain est extrêmement expressif - si c'est le désespoir, la joie n'importe quoi d'autre. Il y a quelque chose de