During the live broadcast of the 100-year Bauhaus opening festival, you as the director were responsible for selecting the images. What special challenges did this project have?
As always, the first challenge was the budget. How many cameras are available? Is there budget for special equipment such as remote-controlled camera systems? Then we move to previewing the venue. Here we need to clarify a number of things: What is the stage setup of the presenters like? Where and how can the cameras be installed? Which lenses are used? Arrangements are then made with the artists, for example, about music. In this case: Is there a score for preparation? This time there was only a fragmentary score, because some parts of the music were improvised. What is the lighting concept like? And, in the end, there is always the central question: How do I achieve a visually expressive live cut?
Why did you want to work with ARRI cameras specifically?
After I learned more about the lighting design, I knew that it would be spartan—which can be very effective, and so it was (lighting design: Oskar Dammel.) And when Bauhaus later requested that the concert recording be shown in the cinema—previously only a live stream on Arte was planned—it was clear: We had to record this with powerful, low-noise cameras.