Interview De Tom Tykwer

Pages: 7 (4357 mots) Publié le: 19 mai 2015
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 towatch 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 ofchildish 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 likeWinter 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 fondamentalparmi 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 defondamentalement cinématographique du dynamique - comme un laterna magica. Il y a aussi un élément d'enthousiasme d'enfant pour cela le plus simple de toutes les images de cinéma : une personne dans le mouvement. Les DORMEURS D'HIVER étaient un film avec l'haleine épique et le poids. Run Lola Run était un acte de libération. C'était un modèle contraire, pas du point de vue du contenu, maisofficiellement. Les téléspectateurs voyage avec RUN LOLA RUN, sont secoués de sur son trajet de montagnes russes. J'ai voulu le plaisir nu, palpitant, qui en dépit de sa complexité n'a pas ressemblé aux Dormeurs D'hiver de toute façon. Une chasse sauvage avec l'effet.

For all its dynamic, RUN LOLA RUN deals with philosophical questions - where do we come from, where are we going to - and at the same time,it's a portrait of a generation. Is our age living through a crisis of the senses?

If you give coincidence big chances, it shows that ideologies have no strength. Our age is not ruled by ideals. We look at what is going on today, and don't give much thought to what will happen tomorrow. There are no plans, which means that the moment becomes all the more important. The age of the economic miraclewas characterised by reconstruction, by looking ahead. These days, we live in a more situational way.

How did you put the cast together?

Franka Potente was there from the beginning, although no-one could really imagine that because after 'It's a Jungle Out There' she had more of a girl next-door image. Franka can genuinely transport an element of normal middle-class life, which Lola has too -after all, her father is a bank director. But Lola's vibrating energy was already visible in Franka in 'It's a Jungle Out There'. It was a strength I wanted to see unfold. I wanted real characters who were immediately likeable and whose love was believable. With Franka and Moritz Bleibtreu you wish from the very beginning that they are a couple and that they stay a couple. They are made for one...
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