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Doris Dörrie Regis Dialogue with Klaus Phillips, 2000

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Doris Dörrie Regis Dialogue with Klaus Phillips, 2000 Doris Dörrie Regis Dialogue with Klaus Phillips, 2000 Klaus Phillips: We're at the Walker Arts Center for a Regis Dialogue with German filmmaker and writer Doris Dörrie. Her films include Men, Am I Beautiful?, Nobody Loves Me, and Enlightenment Guaranteed, which we'll discuss with her this ​ ​ ​ ​ ​ ​ ​ ​ evening. Klaus Phillips: I'm Klaus Phillips, Chair of the German and Russian Department at Hollins University in Roanoke, Virginia. I'll be your guide through this Regis Dialogue. Doris Dörrie: Thank you. Klaus Phillips: Well Doris, let's start at the beginning. Tell us a little something about what it was like growing up one of four girls in Hannover. Doris Dörrie: Well for my sisters it was a nightmare, for myself it wasn't. What was it like? My parents, both of them are doctors, we grew up in a hospital, in their own little hospital. Very early on I started using my sisters as actresses and I would get really mad at them because they were not able to memorize lines and they would not do what I wanted them to do. Klaus Phillips: Do you remember what movies you saw when you were little? Let's say 10-12, something like that. Doris Dörrie: Very, very few. We didn't have a TV set. The entire family sat down after dinner to read and once every six months or so my father would take me to the movies. I saw all of the Winnetou films. Those were adaptations of novels by a German writer who wrote, I don't know, 125 novels about American Indians, but he had never once been in the United States. Those movies, after his novels, they were my first movie experiences. Klaus Phillips: You're not making your daughter Carla read all of Karl May are you? Doris Dörrie: Oh no, she would never. She reads Harry Potter, not Karl May. Klaus Phillips: Of course. You attended the [German] Gymnasien, correct, and studied Latin and Greek. Do you remember the first ​ ​ Latin sentence you learned? July 15, 2000 1 Doris Dörrie: [Latin], like everybody. ​ ​ Klaus Phillips: Oh, things are different in Hannover from the way they are in Bavaria then. I remember [Latin], and I almost became ​ ​ a writer because of that because I thought I have to grow up and then do something to show where these people were at, the farmer plows, the girl loves, yeah. Okay. Klaus Phillips: You went to Stockton, California in 1973 to study at the University of the Pacific, what did you study there? Doris Dörrie: Drama. Klaus Phillips: Then you went to New York and took courses at the New School for Social Research. Doris Dörrie: Yeah. That I did because I wanted to get into NYU film school but I just didn't have the money and was trying to find a job and make enough money to pay for a living and I could never save enough money to pay for a tuition fee. My mother kept sending the application forms for the film school in Munich, which is for free, and every month these application forms would arrive and I would just throw them out month after month, after month. Doris Dörrie: Then about, well after about a year, I was ripe. I just realized that I could never make enough money to get into NYU film school and support myself in New York, so I filled out those forms and got accepted at the Munich Film School and went back, much to my chagrin. I really didn't want to go back at all. Klaus Phillips: Before you returned to Munich and to the HFF, did you have any clear sense of what was happening in the so-called new German cinema? Doris Dörrie: Fassbinder, had made a big impression on me in school. But it was mostly the French nouvelle vague films that I grew up with. Klaus Phillips: I think also American films, right- Doris Dörrie: They came later- July 15, 2000 2 Klaus Phillips: The so-called- Doris Dörrie: That came in- Klaus Phillips: That came in Munich. Doris Dörrie: ... the states when I came to California. Klaus Phillips: Now you're teaching at the HFF at this point, so I gather it was a thoroughly good experience your three years there? Doris Dörrie: Yeah. I didn't really go to school ever. We were completely left alone. We could do whatever we wanted to do. It was in the early 70s which was much more free flowing than it is now. What really horrifies me though is that the professors back then were old people and I realize they were 35 maybe. They were much younger than that. They're still there. Klaus Phillips: One of the very first films you made was called Ob's stürmt oder schneit, is that a line from the [German] I think? ​ ​ ​ ​ Doris Dörrie: No, it's just a Bavarian saying. Klaus Phillips: Uh-huh, okay. Doris Dörrie: Whether rain or shine. Klaus Phillips: [German]. One and a half hour documentary about a very interesting woman, can you tell us something about what ​ ​ it's about? Doris Dörrie: It was during the time where movie theaters in the country had to close down because of TV. It was called the big dying of the movie theaters. We had found a movie theater in Weisenheim, 60 miles outside of Munich, which had 550 seats. It was run by a 75 year old lady who had to let her entire staff go because she couldn't pay for them anymore because nobody would come see the films. She would do everything herself. She would heat up the theater July 15, 2000 3 with coal and she would sell ice cream, would run back to the projection booth to get the film going, go back to the entrance to sell tickets. She was a one woman show and she kept saying, "My movie theater is like the Titanic, it won't sink," which didn't make too much sense. Klaus Phillips: That's a great line. Did she run the theater long enough to be able to show some of your films later on? Doris Dörrie: Yes, she became quite famous partially because of this documentary because nobody in the art world had realized that there were people out there, movie theater owners, who really did love the cinema and were willing to put up with a very desperate situation, still kept the movie theater going. Then she got support from the Bavarian government and she became this icon of a movie theater owner. Klaus Phillips: Is there anything which in retrospect you would have done differently during the years at the HFF because you made movies like crazy already during that time? Doris Dörrie: I keep telling my students that they should not hurry up as much as I did. I was so eager to get out of school and I don't really know why. I was always in a hurry, have been in a hurry all my life, I don't know why. I missed out on the chance to really play around without any commercial pressure. For some reason I've put this commercial pressure on myself very early on. Klaus Phillips: You made a series of documentaries, television features, one children's film, I believe, films with titles such as Hättest ​ was Gescheites gelernt, or what was the children's film called? I forget- ​ Doris Dörrie: [German]. ​ ​ Klaus Phillips: [German], of course. Was working for television, doing an assignment for television at the time in the early 70s totally ​ ​ different as an experience from what you're experiencing now? Doris Dörrie: No, not really maybe because I'm so extremely stubborn, I have always done whatever I wanted and even back then at the documentary I did for TV they somehow let me do whatever I wanted to do. I made several films about juvenile delinquents in the suburb of Munich and they just let me go, they gave me a camera and crew, and let me do whatever I wanted to do. I don't know, maybe they were scared of me, I don't know what it was. But I was pretty much free to do whatever I wanted to do. Klaus Phillips: July 15, 2000 4 Well your narrative feature film debut came in 1983 with a film that was screened here last Saturday Straight Through ​ the Heart starring Beate Jensen and Josef Bierbichler, and we'll look at a clip from that film at this point. ​ Klaus Phillips: I just realized again looking at the film a few days ago that scene that we just saw when they're first in bed together, in terms of technique, reminds me so much of a similar sequence of The Marriage of Maria Braun, was that a ​ ​ conscious relationship or did it just happen that way? Doris Dörrie: I wasn't aware of anything when I shot the film. It was my first feature. I was scared and didn't know what I was doing. I was just trying to get through it somehow and I could not think of any other films while I was doing it. Klaus Phillips: Well what we have in this film, of course, is the narrative of two unlikely lovers, a middle-aged dentist and a mad cat blue-haired girl who writes letters to herself, is rooted in one of the short stories that you wrote, one from your first collection, Love, Pain, and the Whole Damn Thing.
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