Week 8

The screening and reading this week opened a well of ideas for my part in the film. We screened “Lola Rennt,” by Tom Tykwer, which is famous for its fast pace, its main character Lola, and its use of backdrop. The use of backdrop is of particular interest to me. Tykwer stated that since Berlin is always striving to become, there could be many different ways in which someone can experience and view the city. This flexibility allowed him to create his own idea of Berlin and convey that through its setting. The most striking technique he used is the toying with place and time. As noticeable to people aware of Berlin geography, the montages of Lola running are a bit odd. Her routes to her destinations can be a bit indirect and puzzling and she will jump from one spot of the city to another within a split frame. The starting point itself, her home, is more on the eastern side of Berlin in the Kreuzberg/Friedrichshain area, in which she arrives at the Bolle supermarket in Charlottenburg within 20 minutes. All while stopping at her dad’s bank to ask for money, or in the third attempt stopping to win money at a casino. It isn’t possible. Tykwer’s intent, however, was to demonstrate a unified Berlin, where it is difficult to distinguish between east and west on film. This is similar to an aspect that I intend to convey, so the technique is one to note.
Sitka provides further analysis to the backdrop Tykwer decided upon for “Lola Rennt.” To major aspects of the buildings she runs by alludes to Berlin as a “synthetic backdrop” and to Lola as a member of “Generation Berlin.” He defines the synthetic backdrop as one that is being constructed, or that is not fully complete. Lola runs by many buildings with scaffolding and many cranes doing construction work. Once again, a common theme, this symbolizes the city of Berlin as a city still in the process of becoming. Construction may be an interesting detail to attempt to capture in certain scenes throughout our film. The “Generation Berlin” applies to a younger generation that is more disconnected to Berlin’s dreadful past, yet still aware. Unlike the “’68 Generation,” their disagreements with previous generations pertain more to generational differences rather than actions they performed in their past. This is symbolized when Lola runs by buildings of modern architecture, nonreminiscent of architecture from previous eras. Also, it is present when she runs into her father’s bank, one that is seemingly old, and has a common parent-child argument over money. It may be of use to choose some settings within the city that portrays the Berlin character’s generation.
Many ideas are swimming around in my head as to how I can use backdrop to symbolize aspects of the characters, of their relationship, and of their place in Berlin, though I am working on picking out the ideas that will be effective and developing a solid understanding of how they should be captured on film. I have put some thought into our bookend scenes that will be included in the documentary. These scenes are arguably the most important scenes of the movie.
The meeting scene takes place in Tiergarten. The Victory Column is used as a frame of reference. Is the Victory Column too powerful of an image to begin the film? What are the implications of using a park that was historically used as hunting grounds for Berlin’s upper class as the setting for when the American boy meets the German girl? The setting of a park, however, may be interesting in that it is a place where people go for relaxation and a means of getting away from the chaos of the city. Meeting in such a setting may be fitting since it would effectively separate them from crowds. It may be in our interest to scout out alternative park settings that are easily identifiable and not overpowering. Schlossgarten?
The parting scene takes place at Brandenburg Gate. At first we had chosen this with the thought that this used to be a gate to the city. Walking west through it would have been an exit from the city; therefore he would walk away from her to the west as she stood at the gate. This may be a bit overpowering of a location considering the gate’s diverse history. It may be a bit cliché as well, right in line with a kissing scene in Venice’s St. Mark’s Square. On top of all that, it seems a rather unlikely place to say good-bye nowadays. Alternatives could include the American stepping onto an S/U bahn and being taken away, or a bus. The bus could leave from a spot with Brandenburg Gate in the background if the leaving the city aspect of the gate is still desired. The scene is a bit more difficult though and will require more thought and experimentation.
We have began filming locations around the city for scenes throughout the movie and I hope to have a more narrowed down focus of how to create my own idea of Berlin soon.