Pressbook 2 Gottfried John Plays the Factory Worker Jochen

Home , Brigitte Mira, Buck Ram, Dietrich Lohmann, Eva Mattes, Gottfried John, Hanna Schygulla

EIGHTHOURS DON‘T MAKE ADAY

pressbook 2 Gottfried John plays the factory worker Jochen. Introduction In the five-part TV series produced by Westdeutscher Rundfunk (WDR) writer-director Rainer Werner Fassbinder explores working life of the time and asks how many hours of the day after working eight are left for social, family and political problems .

EIGHT HOURS DON‘T MAKE A DAY is a series about a working-class family combining socio-political and economic analysis with everyday stories . As an exciting and entertaining television series it addresses such issues as workers‘ participation and solidarity in the workplace, high rents and anti-authoritarian upbringing . Fassbinder creates an alternative to televsion‘s illusions of a perfect world that speaks directly to a class usually unrepresentative . Actors playing main roles in the series include Gottfried John, Hanna Schygulla, Luise Ullrich, Werner Finck, Irm Hermann, Wolfgang Schenck, and Hans Hirschmüller .

The series has now been meticulously restored by the Rainer Werner Fassbinder Founda- tion (RWFF), a project made possible by the support of the Museum of Modern Art, Film und Medienstiftung NRW, FFA, R .W .F Werkschau, ARRI and Verlag der Autoren . On 11 and 12 February the restored version will be premiered at the 67th Berlin International Film Festival in the Volksbühne on Rosa-Luxemburg- Platz .

Table of Contents Cast ...... 4 Team ...... 4 Restored Version ...... 4 Music ...... 5 Contents ...... 6 Notes by Juliane Maria Lorenz ...... 8 Günter Rohrbach on EIGHT HOURS DON’T MAKE A DAY ...... 10 Unorganized thoughts by RWF ...... 12 Quotes...... 14 News releases ...... 16 The RWFF ...... 19

3 CAST DIGITAL RESTORATION

Gottfried John Jochen EIGHT HOURS DON’T MAKE A DAY

Hanna Schygulla Marion EIGHT HOURS DON’T MAKE A DAY was shot between April and Luise Ullrich Grandma August 1972 for Westdeutscher Rundfunk (WDR) in a 1:1 .37 format . Werner Finck Gregor The series was preserved as an original 16 mm reverse positive, Anita Bucher Käthe the colors of which had faded in parts after more than 40 years . Wolfried Lier Wolf Under the artistic direction of Juliane Maria Lorenz, this film ma- Christine Oesterlein Klara terial was digitized and restored by ARRI in a 2K resolution . In the Renate Roland Monika process a scene was retained that was preserved in its entire length Kurt Raab Harald only in the original reverse positive: a short excerpt from the film Andrea Schober Sylvia Liebelei (director: Max Ophüls, 1933) featuring Luise Ullrich as Thorsten Massinger Manni Mizi Schlager – evidently an homage by Fassbinder to the actress . Irm Hermann Irmgard Erlkönig The soundtrack had been preserved on the original 16 mm mixed Wolfgang Zerlett Manfred sound rolls and was replaced in a few places by an earlier transfer Wolfgang Schenck Franz to DA88 where the mixed sound tape was damaged . Clearly audible Herb Andress Rüdiger clicks and static noise resulting from long-term storage were Rudolf Waldemar Brem Rolf reduced, and the dynamics and tonal colors of the original mix were Hans Hirschmüller Jürgen carefully adapted scene by scene to current listening habits . Peter Gauhe Ernst Grigorios Karipidis Giuseppe Karl Scheydt Peter Victor Curland Foreman Kretschmer EPISODE RUNNING TIMES Rainer Hauer Workfloor Supervisor Gross Part 1: 01:42:24 101 minutes with: Margit Carstensen, Ruth Drexel, Helga Feddersen, Part 2: 01:40:10 101 minutes Valeska Gert, Ulli Lommel, Klaus Löwitsch, Eva Mattes, Part 3: 01:32:59 93 minutes Heinz Meier, Brigitte Mira and Lilo Pempeit Part 4: 01:30:29 91 minutes Part 5: 01:29:53 90 minutes Team approx. 478 minutes in total ORIGINAL PRODUCTION 1972

Director Rainer Werner Fassbinder Screenplay Rainer Werner Fassbinder Director of Photography Special Thanks to Dietrich Lohmann Music Jean Gepoint alias Fuzzy Christine Berg, Christina Bentlage, Antonio Exacoustos, Editor Marie Anne Gerhardt Peter Dinges, Gebhard Henke, Laurence Kadish, Markus Kirsch, Set Design Kurt Raab, Manfred Lütz, Gisela Röcken Dieter Kosslick, Petra Müller, Bernd Neumann, Josef Reidinger, Producer WDR Peter Märthesheimer Annette Reschke, Rajendra Roy, Achim Strack, Andreas Streitmüller, Frank Wienands and Günter Rohrbach Production 2017

Producer and Artistic Director Juliane Maria Lorenz Production Management Frank Graf Administration Livia Anita Fiorio Color Grading Traudl Nicholson Film-Restoration Supervisor Matteo Lepore Producer ARRI Thilo Gottschling Audio-Transfer Michael Fürstenberg Sound Restoration Matthias Lempert

4 musIC

FILM MUSIC EPISODE 2: LA MER M‘A DONNE JUST WALKING IN THE RAIN „Jean Gepoint“ is the pseudonym of the Music & Lyrics: Joel Covrigard, Joseph Mustacchi Music & Lyrics: Johnny Bragg – Danish composer FUZZY PER UN PUGNO DI DOLLARI © EMI Music Publishing France SA Robert Stanley Riley, Sr . Music: Ennio Morricone Courtesy of EMI Music Publishing Germany GmbH © Golden West Melodies Inc . (BMI) Administered by Publishing & Master: Universal Music Publishing Performed by Georges Moustaki Bluewater Music Services Corp . Ricordi Srl UNIVERSAL MUSIC INTERNATIONAL A DIVISION Performed by The Prisonaires EPISODE 1: Courtesy of Musik-Edition Discoton GmbH OF UNIVERSAL MUSIC GMBH Courtesy of Sun Entertainment Corporation DER ZAUBERWALD Music: Harold M . Kirchstein HEIMWEH © Orlando Musikverlag EPISODE 3: Music: Terry Gilkyson * Richard Dehr * Frank Miller PROBLEMS Music & Lyrics: Felice Bryant, Boudleaux Bryant Used by kind permission of Orlando Musikverlag Lyrics by Terry Gilkyson * Richard Dehr * Frank LE METEQUE © Sony/Atv Acuff Rose Music Gartenmaier KG Music & Lyrics: Georges Moustaki Miller * Ernst Bader (dt .) * Dieter Rasch (dt .) © by CONNELY MUSIKVERLAG DR . HANS SIKORSKI Courtesy of Sony/ATV Music Publishing © EDITIONS CONTINENTAL, WARNER CHAPPELL (Germany) GmbH MUSIC FRANCE SA GMBH & CO . KG, Hamburg EIN GLäSCHEN WEIN UND DU Performed by Freddy Performed by The Everly Brothers Courtesy of NEUE WELT MUSIKVERLAG 1958 Warner Bros Records Inc courtesy of Warner Music: Werner Müller Lyrics: Ernst Verch Polydor/ Island A Dividion of Universal Music GmbH © Budde Music GMBH & CO . KG Music Group Germany Holding GmbH Performed by: Georges Moustaki A Warner Music Group Universal Music International BLAUE NACHT AM HAFEN RUE DES FOSSES SAINT JACQUES A Division of Universal Music GmbH Original: Jealous Heart Music: Georges Moustaki Music & Lyrics: Jenny Carson Courtesy of Paille Musique, Paris VAYA CON DIOS © Sony/Atv Acuff Rose Music . Courtesy of Sony/ATV Music & Lyrics: Inez James, Larry Russell, Performed by Georges Moustaki HANGMAN HANG Music Publishing (Germany) GmbH Buddy Pepper UNIVERSAL MUSIC INTERNATIONAL MY SHELL ON A TREE Performed by Lale Andersen © Beachaven Music Corp/Jarest Music Co . A DIVISION OF UNIVERSAL MUSIC GMBH Written by Gary Wright POLYDOR/ISLAND A DIVISION OF UNIVERSAL (SV: Wixen Music Publishing Inc ./Ruminating Music) © Published by Blue Mountain Music Ltd . MUSIC GMBH Courtesy of BMG Rights Management GmbH und Administered by Kobalt Music Publishing Limited Melodie der Welt GmbH & Co KG/Global JOAN OF ARC Performed by Spooky Tooth Music & Lyrics: Leonard Cohen Musikverlag GmbH & Co KG UNIVERSAL MUSIC INTERNATIONAL A DIVISION OF SMOKE GETS IN YOUR EYES Sony/ATV Songs LLC . Courtesy of Sony/ATV Music Performed by Les Paul, Mary Ford UNIVERSAL MUSIC GMBH Music: Jerome Kern Publishing (Germany) GmbH Lyrics by Otto Harbach UNIVERSAL MUSIC INTERNATIONAL A DIVISION Performed by Leonard Cohen © by Universal PolyGram Int . Publishing, Inc . OF UNIVERSAL MUSIC GMBH Originally released 1970 All rights reserved SAVE THE LAST DANCE FOR ME Courtesy of Universal/MCA Music Publishing GmbH by Sony Music Entertainment By Mort Shuman and Doc Pomus Performed by The Platters With kind permission of Sony Music Entertainment © UNICHAPPELL MUSIC INC . UNIVERSAL MUSIC INTERNATIONAL A DIVISION EPISODE 5: Germany GmbH Courtesy of WARNER/CHAPPELL MUSIC OF UNIVERSAL MUSIC GMBH GMBH & CO .KG GERMANY SMOKE GETS IN YOUR EYES performed by The Drifters Music: Jerome Kern MATRIMONY 1960 Atlantic Recording Corp . CAPRI FISCHER Music & Lyrics: Raymond O’Sullivan Lyrics by Otto Harbach Courtesy of WARNER MUSIC Group Germany Holding Lyrics by R . M . Siegel / Music: G . Winkler © EMI Songs Ltd . © by Universal PolyGram Int . Publishing, Inc . GmbH . A Warner Music Group Company © 1943 by Musik-Edition Europaton/ With kind permission of EMI Songs Courtesy of Universal/MCA Music Publishing GmbH Peter Schaeffers Performed by The Platters Musikverlag GmbH Performed by Rudi Schuricke Performed by Gilbert O‘Sullivan UNIVERSAL MUSIC INTERNATIONAL A DIVISION POLYDOR/ISLAND A DIVISION OF OF UNIVERSAL MUSIC GMBH 1971 Grand Upright Music Limited, EPISODE 4: UNIVERSAL MUSIC GMBH under exclusive licence to Union Square Music Limited, a BMG Company WEAR MY RING AROUND TWILIGHT TIMES Courtesy of BMG Rights Management GmbH YOUR NECK DREAM LOVER Music & Lyrics: Al Nevins, Buck Ram, Music & Lyrics: Bert Carroll, Russell Moody, Music & Lyrics: Bobby Darin Artie Dunn, Morty Nevins ME AND BOBBY McGEE Marilyn Shack © Hill and Range Southwind Music / © PORGIE MUSIC CORP ., WARNER/CHAPPELL MUSIC © Elvis Presley Music Screen Gems EMI Music Inc . Music & Lyrics: Fred Foster, Kris Kristofferson INTERNATIONAL LTD . With kind permission of Budde Music Robert Mellin Musikverlag GmbH & Co . KG © Combine Music Corp . Courtesy of NEUE WELT MUSIKVERLAG Performed by Elvis Presley performed by Bobby Darin With kind permission of EMI Songs GMBH & CO . KG 1983 BMG Music . Courtesy of Sony Music 1958 ATCO Records A Division of Atlantic Musikverlag GmbH Entertainment Germany GmbH Recording Corp . Performed by: Janis Joplin Courtesy of WARNER MUSIC Group Germany ONLY YOU Originally released 1971 All rights reserved by Holding GmbH . A Warner Music Group Company Music: Buck Ram, Ande Rand Columbia Records . A division of Sony Music LUCILLE © Wildwood Music Inc . Entertainment . Courtesy of Sony Music Music & Lyrics: Albert Collins, Richard Penniman Robert Mellin Musikverlag GmbH & Co . KG Entertainment Germany GmbH © Sony/ATV Songs LLC LONELY BOY Performed by Paul Anka Music & Lyrics: Paul Anka Sony/ATV Music Publishing (Germany) GmbH Originally released 1962 . All rights reserved by AFTER THE GOLD RUSH performed by Little Richard © Chrysalis Standards Inc . RCA Records . A division of Sony Music Originally Released 1967 SONY BMG MUSIC Courtesy of BMG Rights Management GmbH Music & Lyrics: Neil Young Entertainment . Courtesy of Sony Music ENTERTAINMENT . Courtesy of Sony Music Performed by Paul Anka © Broken Arrow Music Corp . Entertainment Germany GmbH Entertainment Germany GmbH Originally released 1962 . All rights reserved by Courtesy of Melodie der Welt RCA Records, a division of Sony Music GmbH & Co . KG, Frankfurt Entertainment . Courtesy of Sony Music CANDY SAYS Performed by Neil Young LADY JANE Entertainment Germany GmbH Music & Lyrics: Lou Reed 1970 Reprise Records Music & Lyrics: Mick Jagger, Keith Richards © Oakfi eld Avenue Music Ltd . With kind permission WARNER MUSIC Group © Abkco Music Inc ./Westminster Music Ltd . With kind permission of EMI Music Germany Holding GmbH . Courtesy of Abkco Music Publishing / EMI Music Publishing Germany GmbH A Warner Music Group Company Publishing Germany GmbH Performed by Velvet Underground Performed by The Rolling Stones UNIVERSAL MUSIC INTERNATIONAL A DIVISION OF Published by ABKCO Music Inc . UNIVERSAL MUSIC GMBH Courtesy of ABKCO Music & Records, Inc .

A digital restoration of the production by WDR – Westdeutscher Rundfunk 1972/1973 © WDR by the Rainer Werner Fassbinder Foundation © RWFF 2017 The original fi lm scripts were published by Verlag der Autoren, Frankfurt a .M . 1991 and are currently available in print

Funded with the kind support of

5 After an eight-hour workday, how much time is left that’s not full of problems with job, politics or family? Jochen (Gottfried John) is not the only one wondering. CONTENTS EIGHT HOURS DON’T MAKE A DAY was filmed In the first episode Jochen’s happy-go-lucky In EIGHT HOURS DON’T MAKE A DAY instead from April to August 1972 . Beginning in grandmother (Luise Ullrich) is celebrating of separating the characters’ private October 1972 on a Sunday evening at 8:15 her 60th birthday and there are a number and professional lives the two are woven p .m . the series was broadcast with intervals of conflicts in the family circle . When the together . Various family festivities are shown of several weeks . The series was a gigantic bubbly starts to run out Jochen leaves to (birthday, wedding) and conflicts in rela success with the audience, while reviews buy more at a vending machine in Cologne‘s tionships and at work . It’s all about bonuses were more controversial . The five episodes main railroad station . Here he first meets at work, changing jobs, worker participa- have the individual titles “Jochen and Marion (Hanna Schygulla) . Spontaneously tion in management decisions, company Marion”, “Grandma and Gregor”, “Franz he takes her to his grandmother‘s birth- interests, prejudice against immigrant and Ernst”, “Harald and Monika” and “Irm- day party and falls in love with her . Marion workers, high rent, not enough child care, gard and Rolf” . Three more episodes were works in the advertising department of the women’s double work burden, business planned but not produced . local newspaper, the Cologne Stadt-Anzei- fraud . There are 15 people around Jochen ger, and is a smart, modern young woman . and Marion they are close to and have The series takes place in Cologne . Gottfried In the fourth episode Jochen and Marion get important parts: Käthe (Anita Bücher) is John plays the protagonist, the tool-maker married . Jochen‘s mother, Jochen‘s father (Wolfried Jochen Kröger, who works in a large factory . Lier), who enjoys his drinks, Klara (Christine

Hanna Schygulla Irm Hermann Wolfgang Schenck Hans Hirschmüller

6 Grigorios Karipidis Herb Andress El Hedi Ben Salem Rudolf Waldemar Brem It’s Grandma’s birthday (Luise Ullrich, center, in the background,) and the whole family is celebrating – with a constant and generous flow of drinks and late in the evening Jochen brings a new guest.

Oesterlein Jochen‘s spinterish aunt, who Rüdiger (Herb Andress) are Jochen’s other concrete wishes and ideas I developed the usually sees things negatively, Monika colleagues from work . film scripts and then I showed them to a (Renate Roland), Jochen’s sister, who every group of workers we were in contact with. one likes, Harald (Kurt Raab), Monika’s “It’s about solidarity between workers and They made suggestions what should be authoritarian husband, who she divorces . how they stick together. Because the boss left out and what should be added. It Sylvia (Andrea Schober), Monika’s and treats the workers as isolated persons, it’s was a very long work process and due to Harald’s daughter, has problems with her hard for them to show solidarity. We tried the input of the workers the manuscripts father; Gregor, the widower who gets to to say, together we are strong. And we do- had to be rewritten two or three times.” know Grandma in the first episode and cumented that with different examples. We (Rainer Werner Fassbinder in “Fassbinder on Fassbinder”) becomes her partner; Irmgard Erlkönig (Irm show it is possible for workers to defend Hermann) is Marion’s conventional col- themselves and the best way to do it is in league from work, Manni (Thorsten the group. We took almost an entire year Massinger) is Marion’s younger brother, for our research, talked to union members Manfred (Wolfgang Zerlett), Jochen’s best and workers and looked at factories. It was friend, Franz (Wolfgang Schenck), Jochen’s important to us for the series to reflect the co-worker who later becomes the foreman, wishes of the workers and we always as- Giuseppe (Grigorios Karipidis), Peter (Karl ked the workers, how do you want your Scheydt), Rolf (Rudolf Waldemar Brem) and situation to be shown? Based on these

Brigitte Mira Rainer Hauer Victor Curland Margit Carstensen

Helga Feddersen Peter Gauhe Peter Märthesheimer Klaus Löwitsch 7 Team discussion during filming in Cologne 1972: Rainer Werner Fassbinder (second from the left) with cameraman Dietrich Lohmann (right) and others. Notes by Juliane Maria Lorenz President of the Rainer Werner Fassbinder Foundation (RWFF)

“We wanted to encourage people” said stage plays . This was when Peter Märthes- duction set-up with all the frills as long as Rainer Werner Fassbinder in 1972 . Because heimer contacted him to suggest he should he said what he wanted in the first produc- his characters are different from “what write the scripts for a family series and take tion meeting . Then he came with me and his people usually expect workers to be” . In on the directing . Who would turn such a Director of Photography, Dietrich Lohmann, any case Fassbinder didn’t wanted to show chance down? Not Fassbinder anyway . Peter into this windowless, air conditioned, neon- workers the way their daily lives are, gray Märthesheimer is very entertaining when lit conference room where around twenty and dismal . That would have confirmed the he describes the first meeting in my book well-dressed gentlemen awaited him . All status quo . Instead viewers should identify Chaos as Usual – Conversations about head of departments, lighting, set, pro- with his characters and find out the possi- Rainer Werner Fassbinder: He had just seen duction design, etc . all of them experts in bilities they have when they act in solidarity the feature film KATZELMACHER and thought their fields and all of them obviously skep- with a group . Fassbinder’s workers are in- it showed Fassbinder had something going tical and expecting to be in for a long, con- tended to be active personalities who take for him and so he got his telephone number, fused afternoon with one of these artists . themselves seriously, have fun after eight set up a meeting and drove over . In his gentle I began my speech introducing him and hours at work and are actively involved in and charming way Fassbinder communica- the project and Mr . Fassbinder interrupted family life and in relationships with friends . ted that he was willing come on board for me, saying he wanted to start as soon as This perspective was completely new for the series, but he asked for something in possible, if it was all right with the gentle- the WDR - Westdeutscher Rundfunk (West exchange . Mr . Märthesheimer was to ensure men…” He then began with the details of German Broadcasting) . And brave . Which the WDR would contribute the missing funds the first day of shooting, where he planned is what the young commissioning producers for NIKLASHAUSER FART, a film he was plan- a complicated tracking shot, and for that he at Westdeutscher Rundfunk and the head ning . In the end Fassbinder got the confir- needed a dolly and camera tracks and a lot of department Günter Rohrbach set out to mation from him on the same day . of extra lighting . “How long do the camera prove . tracks need to be, Dietrich?” he asked, and The WDR took over responsibility for the Dietrich Lohmann described exactly what In the Spring of 1970 Rainer Werner Fass- entire production of EIGHT HOURS DON’T was necessary . And that’s the way it went . binder was 26 and living in Munich . His out- MAKE A DAY - instead of Fassbinder as The gentlemen were amazed . “A bird of put was already eight movies, thirteen stage usual . Peter Märthesheimer describes it paradise came into their conference room, plays and three radio plays as well as having vividly: “(…) I made sure Mr . Fassbinder but he knew what he was doing” . After the directed his own plays and other authors’ understood he could have a complete pro- first weeks of shooting he had their complete 8 The factory workers are dissatisfied. On the way home Jochen talks openly to Foreman Kretzschmer (Victor Curland) about the situation. respect: He followed the schedule on every ALEXANDERPLATZ (1979/1980) - which was day of shooting, sometimes even saved restored and presented at the Berlinale time . There was a total of 105 shooting days (Berlin Film Festival) in 2007 - followed by and the production budget of 1,375 million WORLD ON A WIRE at the Berlinale in 2010 German Marks . and accompanied by high-quality DVD and Blu-Ray editions as well as analogue 35mm Shooting on EIGHT HOURS DON’T MAKE A film prints . DAY took place from April to August 1972 . The first episode was broadcast on Sunday High-quality restorations are only part of our October 29th in prime time at 8:15 p .m ., the work . The most complex and cost-intensive next four also on Sundays at the same time aspects contributing to success are finan- - at large intervals, which was very unusual cing, and rights clearance - which is especi- then as now: December 27, 1971, January ally wide-ranging for television productions 21, 1973, February 18, March 18, 1973 . The - so-called “television-external rights clea- audience was enthusiastic, families got rance” . Which can generate high costs for together for these TV events, switched on copyright ownership, such as music rights the television in West Germany and East that have to be cleared for all exploitation Germany, wherever broadcasting frequen- outside television (DVD, VOD, theatrical Fassbinder’s television series EIGHT cies reached the territory of the GDR . Vie- rights, a .o .) . This is a vast field to cover, as HOURS DON’T MAKE A DAY, first broad wer ratings were all around 60 percent, for Theodore Fontane would say . But it is pos- cast in 1972/1973, made television the first episode alone twenty-five million sible - with persistence and patience we are history . This attempt to recast a popu- people, without counting the East Germans . able to convince funding institutions, com- lar genre was an immediate success . Many West German critics were irate but mittees and sponsors how worthwhile it is to For the first time a family series was set there were also some who praised the series . make our more recent German film heritage in a working-class milieu, combining accessible to the ever-expanding communi- socio-political and economic analysis What made me and others at RWFF want to ty of cinephiles . with everyday stories that were exciting restore a film that had not been seen for so and entertaining . Today Fassbinder’s long? The question is easy to answer: Our “colonization” of a trivial genre still mission is to take care of Fassbinder’s entire seems audacious, setting a standard artistic oeuvre and to make it available and that has never again been achieved . distribute it . In the past years we succee- Dust jacket text Fassbinders Filme ACHT STUNDEN ded with Fassbinder’s movies and television SIND KEIN TAG, Verlag der Autoren, 1991 productions, a .o . his opus magnus BERLIN 9 Giuseppe (Grigorios Karipidis, front) reads the letter of a friend in Italy telling him, he and his friends should decide their work schedules themselves. That gives Jochen an idea. „Reactions were turbulent, controversial, boiling over in rejection and agreement.“ Günter Rohrbach, former head of WDR television movies, on EIGHT HOURS DON’T MAKE A DAY

At the beginning was a weekend conference was very big, had enough slots to give their king of . We wanted to tie Fassbinder closer of the WDR television film department . To be program effective placement . Nowadays it to WDR, but nothing of his that we had seen more precise it was a weekend stroll through is different, broadcasters cooperate with led us to expect a realistic film about wor- the green areas of Cologne, because at the each other from the very beginning of plan- kers . In the end I let myself be persuaded, time our department basically consisted of ning and production stages . because Märthesheimer’s enthusiasm and three people: Peter Märthesheimer, Günther Fassbinder’s drive were so convincing . Witte and me . It must have been in the In spite of our handicaps we decided on Fall of 1969 or Spring 1970 . Our topic was, our weekend stroll that we would start two Looking at the results a realistic series what to do about the increasing competitive series: one a thriller and the other a family probably would have gained us a more posi- pressure from ZDF (second public TV chan- series . The latter was to be different than all tive reaction from the public and the press . nel in West-Germany, founded in 1963) . other series of this genre by being enacted It was different with EIGHT HOURS DON’T At first ZDF had been looked down on by in the working class instead of the middle MAKE A DAY . Reactions were turbulent, con- the ARD (first public TV channel in West- class . troversial, boiling over with both rejection Germany, founded in 1952), but they had and approval . a decisive advantage, that their program A few days later Günther Witte got back to us came from one source . The ARD on the with an idea that was decisive for ARD pro- EIGHT HOURS DON’T MAKE A DAY was not other hand was made up of nine autono- gramming since then: the thriller TATORT . It just a new series with slightly different mous regional broadcasters that planned allowed a new series to be installed without characters . EIGHT HOURS DON’T MAKE A and produced their films independently and changing the principle of the ARD . Märthes- DAY was an event, far beyond the limits of then had a hard time coordinating to bring heimer had also come up with something, television, a drum roll . No one was left cold everything into one program . That made and suggested giving the worker series to by this piece of television, people discussed the production of series difficult, because Rainer Werner Fassbinder . That was just and fought about it in the media for weeks . no single broadcaster, not even WDR which about the opposite to what I had been thin- Workers were interviewed, unions positioned 10 Grandma and Gregor (Werner Finck, left) have moved into a new apartment together. Jochen and Marion (Hanna Schygulla, right) are a big help with the renovations.

themselves . But it was also the dominant actors that play workers . He is not preten- as beautiful as Hanna Schygulla . Most topic in all in the finest art columns . The ding to give us something else . He doesn’t grandmas are not as brash and carefree best authors wrote on it, Karl Korn in the want realism so we can identify with how as Luise Ullrich . But the cowboys in the real FAZ, Wolf Donner and Hellmuth Karasek hard and dismal it is . He keeps us at a dis- Wild West were not as heroic as John Wayne in “Die Zeit”, Wolfgang Röhl in “Konkret”, tance . He wants us to be free for the insight, either . That is one of the reasons we have Günter Wallraff in “Spiegel”, Günter Zehm that the world can be changed, that we, the films, so we experience the world as larger in “Die Welt” . audience, and the people acting in the film, and more beautiful than reality . Fassbinder can take our lives in our own hands . knew that, although most of his films try to What was the reason for all this uproar? prove the opposite . For one thing it was of course because of In this respect EIGHT HOURS DON’T MAKE Fassbinder’s image, the young genius with A DAY is a document of its time . The series EIGHT HOURS DON’T MAKE A DAY may not be the provocative, anti-authoritarian style, is carried by the optimism of a movement a typical Fassbinder film, although in every whose melancholy films fascinated some that led our society out of the moldy, scene, every image the master’s handwri- people and disturbed others . At the time he reactionary mood of the post-war period, ting can be seen . But the series is, perhaps was not yet the established artist he became pushed doors open, raised windows, gave us more than any other film, a testimony to an years later . But he had already made a access to new freedoms . The series did not exciting point in time, to its time . It would splash . And then this series, that was so limit itself to the problems of the workers’ be a great misfortune if the films were not completely different from the usual televi- world, it also talks about women’s emanci- saved for posterity . sion, but also different from the Fassbinder pation, all kinds of emancipation, for men we knew . All of a sudden someone who had too, about new education, new concepts of preferred a small stage up to now, off-thea- living together, including and especially for ter, stepped out in front of the big audience older people . The utopias of the time become and, the miracle was, he was having fun . He visible, and its illusions . Although some of it didn’t just motivate the masses to watch, may seem naïve to us today, we also under he gave them courage to live . That was what stand how much we take as a matter of it was, what shocked some critics, it was course that was fought hard for in those the surprise, that he wasn’t showing the years . drudgery of work, suffering and toil, dirt and sweat . Fassbinder’s workers were self- “Proletarians in make-up” was one of the confident people taking life at face-value . slogans that tried to discredit the series . They didn’t look like people that were not wor- It’s true, very few workers are as cool as kers think workers look like . His workers are Gottfried John and their girls are not often 11 Happy in love: Jochen and Marion enjoy being together. Marion encourages her boyfriend to be self-confident and follow new ideas in his job. Some Unorganized Thoughts on Jochen and Marion and… BY Rainer Werner Fassbinder

Marion, Grandma, Gregor and the others are Jochen and Marion, they love each other - it And a lot of solidarity . We all know the mo- different from workers as we expect them can be wonderful to be in love, because the- ments where we’re “in the same boat” with to be or as they are sold to us in television re are chances, when love makes you think a couple of others and suddenly we feel and elsewhere, because they are not such of something . It must be wonderful, to think everybody is in it together and something wrecks . of characters, who think of something and can happen that’s good for everyone and no have chances and - I know it is wonderful! one is alone . It’s also about that . We would like to say, in other things that is exactly what is not shown - being a wreck, And Grandma and Gregor are two peop- Or about fighting . Fighting can be a good reality or whatever else is part of a milieu, le who are doing something with their old thing, I say, when the right is on your side, and that is exactly what so many do not like age … I wish for my Grandma that I had and you’re in the majority - and it can be or on the other hand find attractive . thought of Grandma and Gregor twenty ye- exciting, fighting . But there is a spark of utopia with Jochen ars ago or someone else and my Grandma and Marion and Grandma and a few others . would have seen it and wouldn’t vote for the And boozing can be good, when it’s not used This spark, that is missing in some things German Conservative Party today and would to be aggressive . and is not a utopia in other things, but ins- be busy with something other than dying . tead is thoughtlessness or lies . And aggressive can be good, because after- wards it’s more quiet and peaceful and ag- gression can be funny when it is compared to other things . Then it’s all right to laugh .

12 Rainer Werner Fassbinder did everything he could to win Luise Ullrich for the part of Grandma - and it worked!

There are so many people, I think, other than And my Grandma - I mean, I didn’t say that Jochen, Marion and Grandma - there are Mo- out of coincidence, that about my Grandma . nika, Harald, Gregor, Wolf and Käthe, Manni And that is it . and Sylvia, Franz and Peter and Jürgen and December 1972 Rolf and Manfred and Irmgard and Rüdiger Written for the brochure of WDR, Department of Television and … and they are all different, they are and Film, July - December 1972, 5 . Page 88-89 . naïve and narrow-minded, tender-hearted and nasty and conventional and silly and clever, I hold them all in my heart . There’s that at least . And I don’t have to be asha- med of what they’re doing . Not at all, because … I think they would be fine, if they were the way they are . Or at least a little fine .

“… because I made my films and stage plays for an intellectual audience and because I can be pessimistic to intellectuals and the films can end without hope, because an intellectual always has the possibility to use his mind . With such a large audience as the television series has it would be reactionary, almost a crime, if the world was shown as so hopeless, because those people have to be given courage and told: In spite of it all you have possibilities, you have strength, that you have to use, because your oppressors depend on you . What is an employer without workers? Nothing . This stance was the reason that I made something positive the first time, something hope- ful . When you have an audience of twenty-five million totally average people you can’t allow yourself anything else .” From “Fassbinder on Fassbinder”; Excerpt from a conversation between RWF and the Danish documentary film director Christian Braad Thomsen, 1973 in Berlin .

13 Quotes

Gottfried John Irm Hermann as Irmgard Hanna Schygulla as Marion as Jochen († 2014) “… and when the revolution began in ’68 “We talked about love through the lack of it set us free from conventional ideas and love or tolerance through intolerance etc . chains . And of course EIGHT HOURS DON’T That was just the way we expressed our MAKE A DAY was a contribution to that .” selves, because of what had gone before . That we didn’t believe in . As a generation “He was ambitious enough and he was we were skeptical about all the values we fast, in his ideas that he developed with had learned, and we asked ourselves, how Peter Märthesheimer . It was obvious that it was possible that all these values didn’t he was going to make it . We were on stage prevent what had happened .” in Bremen at the time . Yes, and then he “… even beforehand it got off on the wrong wrote EIGHT HOURS… That was not easy . “She (Marion) already knew, in a lighthear- foot . I had long hair and I heard from other He was completely stressed out . I didn’t see ted way, what direction to go in - and mo- people, the workers in EIGHT HOURS DON’T him like that very often . Because there was tivated him (Jochen) too . He was the one MAKE A DAY all had short hair, Fassbinder time pressure, there was a deadline . There who had to dare . But she encouraged him said . So I say, not with me… You can tell were deadlines that had to be met and then to think it would be worth it and it would Fassbinder, the worker Jochen, I’m playing, he would get together with Märthesheimer . work out ”. he wears his hair long . I remember how sur- Anyway it was hard because he had to deli- prised I was that a group making a project ver what they wanted . It wasn’t his own film, “I saw Luise Ullrich in LIEBELEI . Fantastic, on having the courage to stand up for your with his own ideas, he’d been hired to do she was just fantastic . But Finck, he was beliefs, on resistance against meaningless it . And that was difficult for him . And that at home in the absurd . Because he was so rules, was following the orders of their Meis- really put even more demands on him .“ strange . That was a good idea, the two of ter - which is how they were already calling them .” him . Hanna Schygulla was the only one who “It was a challenge for him . I think he didn’t join in this group behavior . Anyway really enjoyed it . At the time he also wan- the Meister accepted my long hair . But we ted to have me there with him . If I wasn’t didn’t really get along so well back then, acting, then I was an assistant or script didn’t talk much . Just sort of looked at each girl . I stood next to Fassbinder behind the other…” camera and we watched dozens of actors in front of the camera - in different genres - it “…and then I said to him, they’re all say- was a special kind of acting school for me . ing you’re a genius . What do you think that Fassbinder and I, after a while we looked at is? And he says, genius is easy when it’s each other and we knew who was good and easy for you to do something that’s hard for who wasn’t .” other people . I thought that was a good sen tence…”

“…I think the basic idea had to do with real anarchy in a positive sense, that everybody can be emancipated by using common sense . Free from authority, being self-determined and able to change society . Everyone, people in the audience, the theater director and the actor . And that was packed into a “normal” family series . In a certain sense a practical utopia - and that was the provocation . I remember the bad reviews . They said the series was unrealistic . Workers were asked and quoted: “What a lot of bunk, we don’t do that kind of thing, we are decent workers” . I remember a photo of me in a TV magazine with the headline: “Ugly is the new beautiful!”” Irm Hermann (left) and Hanna Schygulla (right) 14 Wolfgang Schenck as Franz “Today the work world reflects exactly what Rainer wrote back then . In an even harsher form .”

“And he always said: Together we are strong . That was a fundamental principle for him . To say: If they stick together, when workers stick together, they can stand up against a boss . Because the boss needs the workers . But the workers don’t need a boss .”

“… that is the great thing, that with Fass- Hans Hirschmüller (left) and Wolfgang Schneck (right) binder these dialogues, that were written, were not in the language of workers . It Peter Märthesheimer, Martin Wiebel, was a different form . It was placed a little Commissioning Producer at WDR Commissioning Producer of the show higher, so that the audience didn’t see their († 2004) Glashaus: TV Intern daily lives, but something that made them “Well, some characters were my invention, “EIGHT HOURS DON’T MAKE A DAY was the curious .” he added the Grandma and Grandpa . But most exciting, unusual, controversial show a character is nothing without its own par- being shown in ARD television at the time . ticular aspects . It was just thought up . A The fact it was so controversial made it Hans Hirschmüller concept is just something theoretical at first widely acknowledged and significant . There as Jürgen and even a character is just a kind of func- were powers for it and powers against . And “I really thought we would change things a tion, something very cold and unphysical . Of we dedicated an entire Glashaus: TV Intern little . It would change, the time, the people, course all the characters in the series only show to it, with a title we didn’t come up the workers, would change . Things could be came alive because he gave them their par- with ourselves, but got from the magazine set in motion .” ticular idiosyncrasies . That was his great ‘Konkret’: The Proletarians in Make-Up .” art, to create human figures .” “In the series it was about shifts in pow- “Every series in those days played in er . That means, raise consciousness for the “…He wanted Luise Ullrich for the part middle-class, bourgeois family circles . workers and take a look at how they could of Grandma, but Luise Ullrich didn’t really A worker series was something - it was start fulfilling their interests, I think that want to . She probably thought the whole almost unimaginable . It was his idea (Peter was at the center of the whole story . It was project was strange and especially this wild Märthesheimers) . And he made Fassbinder very political, today I would almost say re- young man in his leather jacket . The first enthusiastic about it .” volutionary, when you hear how he wrote contacts all went over the agency and I had his texts… a kind of guideline not just for already given up, but not Fassbinder . consciousness, but for revolution . To really stand up to those people, against the So we made an appointment for a visit to company bosses .” her house in Munich-Grünwald, but before we got to her mansion, we had to stop at “It isn’t a coincidence that Fassbinder was the flower shop in Grünwald and ask what the one to do a series on workers for the first the favorite flowers of Miss Ullrich were? time ”. And then we arrived at the villa . Fassbinder had squeezed himself into a dark suit - he looked like a choir boy in it - and he gave Miss Ullrich the bouquet . Miss Ullrich said, ‘But they’re my favorite flowers!’ And Fass- binder actually made some kind of bow and said: ‘Someone who knows your films, dear lady, also knows your favorite flowers’ . Then The quotes from Gottfried John and Peter Märthes- it turned out that he not only knew all the heimer were taken from the volume of interviews Das ganz normale Chaos - Gespräche über Rainer Werner films Luise Ullrich had ever been in, but all Fassbinder (Henschel Verlag 2. Edition, 2012); the the camera shots in them . He was very well quotes from conversations with Hanna Schygulla, Irm prepared .” Hermann, Hans Hirschmüller and Martin Wiebel were taken from EIGHT HOURS DON’T MAKE A DAY - THE SERIES AND FAMILY OCCASION, the film documentary by Juliane Maria Lorenz, 2017; published in the DVD/Blu-Ray edition EIGHT HOURS DON’T MAKE A DAY, published by Arthaus 15 Among news releases workers From the treasure chests of boulevard magazines Eight Hours Don’t Make a Day The Women in Fassbinder’s Family Series Heidrun Bleeck, Süddeutsche Zeitung, March 17, 1973 by Rainer Werner Fassbinder. Daisies and Finches‘ Song Helmut Karasek, DIE ZEIT, November 3, 1972 Eight Hours Don’t Make a Day Günter Zehm, DIE WELT Oktober 31, 1972

“Idyll of a TV leftie” (Die Zeit)

“The beginning of a proletarian wave?” (Konkret)

Up for discussion Making the case for Fassbinder and his family series Redaktion, Frankfurter Rundschau, February 16, 1973 “Goodbye to the sugar-coated proletariat” (Frankfurter Rundschau) 16 From the treasure chests of boulevard magazines The Women in Fassbinder’s Family Series Heidrun Bleeck, Süddeutsche Zeitung, March 17, 1973 EightDaisies Hours Don’t and Make a Finches‘Day Song Günter Zehm, DIE WELT Oktober 31, 1972 “Denunciation of a class” (Süddeutsche Zeitung)

Wonderfully popular After cinema films, TV productions, radio plays and stage plays the young filmmaker Rainer Werner Fassbinder debuts as author and director of a family series. DER SPIEGEL, Nr. 44/1972

17 18 The Rainer Werner Fassbinder Foundation (RWFF)

What is so fascinating about Rainer Werner as Fassbinder: Alexanderplatz with Klaus Rainer Werner Fassbinder Foundation Fassbinder? The French say he was a great Biesenbach and Kunst-Werke Berlin (KW) Giesebrechtstrasse 7 cineast and a rigorous philosopher . The in 2007 and MoMA/PS1 (2007/2008) . More D-10629 Berlin Americans say Fassbinder was a great Ger- recently we cooperated with the Deutsches Germany man . Above all Fassbinder was charismatic, Filminstitut, Frankfurt am Main (DIF), on the Phone +49 -30-887249-0 full of strength and energy; in the very exhibition Fassbinder NOW, which was pre- info@fassbinderfoundation .de short time span of 16 years he produced 44 sented in the Gropiusbau in Berlin on Fass- www .fassbinderfoundation de. movies and television films . At the basis of binder’s 70th birthday in 2015 . As an expan- his entire artistic production was a profound ded exhibition it will continue on tour, a o. . sense of humanity while he was capable of to Mexico City . Not to be forgotten are our World sales creating a portrait of German society . He numerous cooperations with current theater R.W.F. Werkschau polarized at the same time what meant not and film projects such as the documentary Giesebrechtstrasse 7 everyone loved him for it - but those who did film FASSBINDER (2015) - a fascinating D-10629 Berlin loved him all the more . portrait of the artist by Annekatrin Hendel, Germany or Falk Richter’s impressive stage play Je Phone +49 -30-887249-0 The history of the Rainer Werner Fassbin- suis Fassbinder, which created a furore in info@fassbinderfoundation .de der Foundation, a non-profit estate admi- France in 2016 . www .fassbinderfoundation .de nistration GmbH (RWFF), founded in 1986, is unusual and sad because it began with There are also other areas that RWFF has the sudden death of Fassbinder on June entered in the last few years . With the digi- Press and Public Relations 10, 1982 . Liselotte Eder, Fassbinder’s talization and restoration of our Fassbinder Grabner|Beeck|Kommunikaton mother, realized early on that her son’s films since the early 2000s new paths of Christiane Beeck legacy should be brought together and some distribution and exploitation have opened Danckelmannstrasse 9b rights had to be cleared . In 1992 Juliane up . RWFF has made a name for itself in film 14059 Berlin Maria Lorenz, Fassbinder’s editor and life restoration, pioneering the highest stan- Tel .: +49-30-3030630 companion became sole managing director dards . cb@gb-kommunikation com. and shareholder and is now the Foun Fassbinder’s legacy, his films, stage plays www .gb-kommunikation .com dation’s president . and literary work are established elements in the international cultural landscape . This With the commitment of its excellent team fills us with pride and gratitude towards our the RWFF has been able to realize a num- partners, our audience, which is now in the ber of important projects in the past three third generation and young once again, and decades . High points were the first integra- the other numerous fans, filmmakers, thea- ted Fassbinder retrospective and exhibition ter people, who continue telling Fassbinder in the Berlin Television Tower at Alexan- film stories and take him as a motor for their derplatz in 1992, followed by a premiere own film and theater work . Fassbinder lives in the Museum of Modern Art in New York on . . with an ensuing tour across North America (1997/1998) . Further retrospectives took place a o. . at the British Film Institute (1999) and Centre Pompidou (2005) . Pioneering restorations were realized: BERLIN ALEXAN- DERPLATZ: REMASTERED (2007), WORLD ON A WIRE (2010) and now EIGHT HOURS DON’T MAKE A DAY . Today we are involved in world- wide cooperations, a .o . with the Goethe-In- stitutes . We also work on exhibitions, such

19 RAINER WERNER FASSBINDER FOUNDATION PRESENTS “EIGHT HOURS DON’T MAKE A DAY” GOTTFRIED JOHN HANNA SCHYGULLA LUISE ULLRICH WERNER FINCK ANITA BUCHER WOLFRIED LIER CHRISTINE OESTERLEIN RENATE ROLAND KURT RAAB ANDREA SCHOBER THORSTEN MASSINGER IRM HERRMANN WOLFGANG ZERLETT WOLFGANG SCHENCK HERB ANDRESS RUDOLF WALDEMAR BREM HANS HIRSCHMÜLLER PETER GAUHE GRIGORIOS KARIPIDIS KARL SCHEYDT VICTOR CURLAND RAINER HAUER SET DESIGN KURT RAAB MANFRED LÜTZ GISELA RÖCKEN MUSIC JEAN GEPOINT ALIAS FUZZY EDITOR MARIE ANNE GERHARD DIRECTOR OF PHOTOGRAPHY DIETRICH LOHMANN WRITTEN AND DIRECTED BY RAINER WERNER FASSBINDER A DIGITAL RESTORATION OF THE 1972/1973 PRODUCTION BY WESTDEUTSCHER RUNDFUNK PRODUCTION RAINER WERNER FASSBINDER FOUNDATION PRODUCER AND ARTISTIC DIRECTOR JULIANE MARIA LORENZ PRODUCTION MANAGEMENT FRANK GRAF ADMINISTRATION LIVIA ANITA FIORIO COLOR GRADING TRAUDL NICHOLSON FILM-RESTORATION SUPERVISOR MATTEO LEPORE PRODUCER ARRI THILO GOTTSCHLING AUDIO-TRANSFER MICHAEL FÜRSTENBERG SOUND RESTORATION MATTHIAS LEMPERT © 1972 WDR / © 2017 RAINER WERNER FASSBINDER FOUNDATION OF THE RESTORED VERSION WWW.FASSBINDERFOUNDATION.DE A NEW AND METICULOUS RESTORATION BY THE RAINER WERNER FASSBINDER FOUNDATION (RWFF) WITH THE SUPPORT OF THE MUSEUM OF MODERN ART, FILM-UND MEDIENSTIFTUNG NRW, FFA, R.W.F. WERKSCHAU, ARRI AND VERLAG DER AUTOREN. Original color stills are taken from the 2K-restoration of Eight Hours Don’t Make A Day © RWFF; b/w stills: Peter Gauhe Collection / Deutsches Filminstitut, Frankfurt am Main © DIF / Peter Gauhe “Fassbinder“, “Rainer Werner Fassbinder“ and “RWF“ (Word and Picture Trademark) are registered by Rainer Werner Fassbinder Foundation . Coverartwork: Studio Canal Layout: Christiane Feneberg