WHAT WAS THE FIRST IMAGE OR FEELING THAT INSPIRED THIS STORY ABOUT SURVIVING IN BERLIN WITH NOTHING LEFT?

Cut out ordinary ideas and focus on original ones that push beyond the status quo. Limitations should not be seen as obstacles, but as creative fuel that force more interesting and unexpected solutions. There is always more than one way to execute an idea, and the most constrained path often leads to the most powerful result.

I immediately loved the fact that this is a real story. It reminded me of my days as a student when I was interning in Berlin and had no money in my pockets. What makes this situation in Berlin different to many other spots in the world is, that you kind of defy the fact that doors are closed for you when you don’t have the economic possibilities. You still try to party and live the best life you could possibly live.

THE SONG COMPARES HUMAN SURVIVAL TO THE LIFE OF AN INSECT. WHY DID THIS METAPHOR FEEL RIGHT FOR EXPRESSING URBAN ISOLATION AND POVERTY?

When I read Dissy’s lyrics for the first time, I liked this metaphor a lot. Especially the attitude that an insect is never embarrassed. It’s not embarrassed to eat from the ground and to consume what the civilization is leaving behind for it.

MANY PEOPLE EXPERIENCE LONELINESS IN BIG CITIES DESPITE BEING SURROUNDED BY CROWDS. WAS THIS ONE OF THE CENTRAL THEMES YOU WANTED AUDIENCES TO REFLECT ON?

I believe the character in this video appears pretty isolated because it’s rarely interacting with others. But I believe the insect is rather isolated from the opportunities around him. It cannot be part of the nightlife that the others are leading.

WERE THERE ANY FILMMAKERS, PHOTOGRAPHERS, OR ARTISTS WHO INFLUENCED THE VISUAL LANGUAGE OF THIS PROJECT?

Absolutely, we had a small but very committed crew with highly experienced people.

 The assistant director who is also an actress had a huge influence on many of the scenes we wrote. 

The hair and make-up artist brought in a very distinct look and the costume designers created an unique jacket.

Together with the DoP, I have executed several films before, and we click nicely personally and creatively. He brought in amazing ideas for many shots and also for the storyline. Also, the assistant camera did a great job and pitched valuable ideas during the shoot.

We had a pretty unique situation that the artist and performer of the song is a filmmaker himself, and he took over the editing. Dissy is not only an incredible singer and actor. He has an amazing taste for storytelling, timing, rhythm and the impact of all elements to a film.

They say, you shoot the film again in the editing room, and it really became true for this video project. What also helped here, was some superb composition from our motion designer on some shots.

Even though we have never worked before in this constellation, fantastic input came together from all different sites.

WHAT WAS THE BIGGEST CREATIVE OR PRODUCTION CHALLENGE WHILE SHOOTING THIS ROAMING JOURNEY THROUGH BERLIN?

It were the usual challenges when you do low budget production. No permits, no time, no money. But then on the other side, some doors opened. Sometimes quite literally. The bar where our character was kicked out of was actually already closed. But we asked the owner if we could still shoot for a couple of minutes and I really like the scene that took place there.

When we shot the scene of the insect in the open pipe we went to a playground at night. I was pretty confident that we won’t be disturbed by anyone there at 3 o’clock in the morning. However, we came across some kids who were smoking pot. It was a pretty absurd moment because they certainly did not expect to see a four-armed insect sticking in a pipe. I believe, they were really thrilled how the marijuana kicked in for them.

AS BOTH WRITER AND DIRECTOR, HOW DO YOU SEPARATE THE ANALYTICAL SIDE OF STORYTELLING FROM THE EMOTIONAL SIDE DURING PRODUCTION?

I am not sure if I separate those two elements from each other that much. I rather accept that one won’t happen without the other. I believe for me it would be rather hard to write a story with all those subtle elements and leave the execution to someone else.

HOW DO YOU KNOW WHEN AN EXPERIMENTAL ARTISTIC IDEA IS EMOTIONALLY ACCESSIBLE ENOUGH FOR AUDIENCES TO CONNECT WITH IT?

I believe, and outstanding idea has always to be clear. Not simple. But clear. Many times these two things are confused and we see rather ordinary concepts that are a bit too much on the nose. Or artistic ideas that viewers cannot relate to.

I believe we had a pretty unique idea that was accessible, but also surprising and unseen.

I have shared this idea with some other filmmaker friends and they reacted quite positively. I guess that’s also an important element that you don’t keep the ideas all for yourself, but you exchanged with people you can trust on their judgment and listen to their input. 

WHAT ADVICE WOULD YOU GIVE TO EMERGING FILMMAKERS WHO WANT TO CREATE VISUALLY BOLD WORK EVEN WITH VERY LIMITED RESOURCES?

Cut the ordinary work. I have spent too much energy on doing ordinary stuff. This is not helping you. That’s not helping the audience. It’s just repeating the status quo. And when it comes to replicating what’s already out there I believe we can leave that to AI.

If you’re doing your own weird ideas, there are always 10 reasons why things won’t work. But these restrictions can be a fuel for your creativity. Because you have to find ways of still making them work and sometimes they are more exciting than the expected ways that you would do with a lot of budget. There’s really always more than one way to execute an idea and limitations can push you for the more exciting ones.