So the rhythm is different with children.”ĪKT: The actress who plays Heimpi the housekeeper in Grunewald, who mainly takes care of the children] - you have some good scenes of almost competition, where it shows how the children are a bit torn, because they love her so much.ĬJ: Yeah, I guess I didn’t feel the competition in that sense, but I think she was a woman who was not just a mother. Who knows when!ĪKT: You can’t say anything more about it?Ĭarla Juri on working with the children: “They’re only allowed to be on set for a certain time. You’ve worked with Peter Greenaway on a film about Brancusi! Which is yet to come out, at some point?ĬJ: Yeah, at some point, yeah. Not just on set, also in normal life.ĪKT: That makes sense. To have them before, wear them before you start shooting, just kind of wear them out in private as well, experiment with it. And then having the time to spend time in those clothes.
I think it’s a combination between the setting and the clothes for me. The white and that kind of Japanese pyjama look. For me, hats! They do quite a lot if there is any.ĬJ: Exactly. Wearing its clothes has a similar effect on you. It’s like walking into the apartment of your character. Ana Stelline (Carla Juri) with ‘K’ (Ryan Gosling) in Blade Runner 2049: “The white and that kind of Japanese pyjama look.”ĬJ: Yeah, they do. You have some great pants and dresses to wear too, in Pink Rabbit. It was part of the reason why I wanted to do it, because I wanted to see how it is to work with children, who are just spontaneous.ĪKT: When I spoke with Isabelle Huppert, she told me that it always is the shoes that help her get into a role, more than the rest of the costumes. They don’t want to do it again over and over, so you know, they are quite demanding. The director has the big job and needs a lot of patience, because they get bored quite easily. I kind of like that.Īnd because they are just as they are, not acting school tricks or any of that. But for Pink Rabbit it just took much longer which was nice.
Six Minutes, they were all around their twenties, so it’s fine. So the rhythm is different with children.
They’re only allowed to be on set for a certain time. How is it acting with children?ĬJ: No, you have longer hours because they can’t work that long. It took us forever to make a decision which rabbit to take.įrom Iceland, Carla Juri joined me on Zoom for the second instalment of our in-depth conversation.Ĭaroline Link on Anna (Riva Krymalowski) with her pink rabbit: “It took us forever to make a decision which rabbit to take.”ĪKT: In both Six Minutes to Midnight and Pink Rabbit you are dealing with children. I’m not even sure if Judith Kerr remembers it right, that her rabbit was pink, because we couldn’t find many toys from that time that were really pink. But we couldn’t find a toy from the Thirties that wasn’t completely - how do you say zerrupft? Wrecked! And so a rabbit that was maybe a little bit too big and the pink was not 100% perfect for the time. And it is the toy that Judith Kerr had was much older in a way that it looked different. And we painted it pink, as maybe you saw. Because Steiff, a rabbit like this didn’t exist in 1933. The actual rabbit toy in the film looks perfect (is it a Steiff?) - did you discuss the looks of it with Judith Kerr?Ĭaroline Link: Ha! This is maybe a little bit a mistake. Dorothea (Carla Juri) with her children Anna (Riva Krymalowski) and Max (Marinus Hohmann)įollowing welcoming remarks by Dirk Schulz, Deputy Consul General at the Consulate General of Germany Los Angeles, NYU Deutsches Haus Director Juliane Camfield moderated a conversation with Caroline Link, Oscar winner for Nowhere In Africa.Īnne-Katrin Titze: Greetings Juliane and Caroline! I just spoke to Carla Juri in Iceland.
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