Who is the best girl ever

Klaus Lemke, film director, fights for girls

Born: October 13, 1940 in Landsberg. Job: Film director. Films (small selection): 48 Hours to Acapulco (1967), Rocker (1971), Paul (1974) Idole (1975), Amore (1977), 3 Minute Heroes (2005), Finale (2006). Working principle: Finances his films himself (50,000 euros per film) and sells them to public broadcasters. Lemke-Gage: Everyone gets 50 euros a day - whether star or extra. This is what others say: "Lemke make films that are more authentic, more exciting and more youthful than most of what the youngsters are producing." (star) To the taz conversation Lemke met with taz editor Peter Unfried in Munich at Marienplatz, then went to Schwabing. Lemke was in a very good mood because the bank had just lent him money.

INTERVIEW PETER UNFRIED
- PHOTO: TIMMO SCHREIBER

Klaus Lemke is the most unusual filmmaker in Germany. And since 1968. He lived with RAF founder Andreas Baader in a commune. He worked with Brigitte Bardot. He discovered Iris Berben, Ira von Fürstenberg, Cleo Kretschmer, Dolly Dollar and, most recently, Saralisa Volm. If he also talks about 1968 in this conversation, it is only because he was expressly asked to do so.

taz: Our readers always want to know whether the revolution might still come, Mr. Lemke.

Klaus Lemke: Tell your readers either their wife is the revolution or there isn't one. This is the only revolution left.

The previous wife or a new wife?

The whole problem in life is that you don't meet the woman just once for life. Then it starts.

Is this revolution?

So, I make films. Especially girls' films. Because I have the really safe feeling that the girls in particular want to break out of this rigid female self-presentation. It is the girls' own fault that they fall into the trap, but they have a feeling that it is unsatisfactory. And to get out of this trap, you don't need an understanding of women, but an evil one.

Why?

That is the message of my films, and that is what I have to say. There is only one way for a girl to really participate in life. They have to be fair game for their partner in bed and purgatory in life. Not the other way around. That is the confusing thing. It's not going to be nice.

How does that get along with job, children, career?

You are not allowed to ask any further questions. Otherwise you will also destroy the original sting that lies in this formulation.

What is the difference between girls and women?

Wherever a girl's eyes go, her heart will soon follow. Three out of two women are somehow scary, somehow sexy, and somehow poisoned with reuer. And very prone to abuse. Please no letters to the editor now.

Angela Merkel was called a girl by Kohl. She is definitely not her husband's front man.

This Angela Merkel has the genius to turn her weaknesses into strengths.

So the opposite of a normal woman?

Exactly the opposite. But that's also because someone once told her how to talk to people. The way she always talks to her husband. Since then, people have enjoyed listening to her. Since then, one has the feeling that she is competent in areas in which she cannot be competent at all. If the tone of voice is right, then you also believe that the person is right.

What is the difference between your current leading actress Saralisa Volm and Iris Berben, Ira Fürstenberg, Sylvie Winter, whom you discovered in the 60s?

Just like girls today, girls in the past have always slipped from one catastrophe to the next. That is the fate of life. But today people are trying to make the catastrophe even bigger. To burden yourself with even more guilt. To finally get out of there. Wanting to do something right takes you to hell.

Where is the deliverance?

Exemption is Amy Winehouse, who does not come to "Wetten, dass ...?" This is revolution. A girl who has been drilled to become a pop star for years suddenly starts using drugs. And there it works.

Isn't that just another production?

Drugs are greedy. They'll eat your smile first, then your health, and then you'll be happy when you die. But at least that's something you can rely on. You can't talk that away in a postmodern way, that's for sure. The self-destruction that is otherwise practiced in very small portions in life will be done here in two years. That's modern. This is a crash. My next movie is called Crash In Miami.

Why Miami of all places?

Because Miami is heaven's hell, very simple. Saralisa Volm is a German model who walks over there and gets into a rich sex scene. Suddenly she really experiences this excess of coke and of kinky sex and of wealth, of everything Gala distributed in small portions. And that leaves them completely traumatized. Nevertheless, she finds herself there because she ...

she lives right

You can't say that at all, but ...

is she less alienated?

Sure, but that is a language that is no longer true at all. All these clever formulations are always a kick against your own life. The smarter you are, the bigger the kicks you teach yourself.

You have never been a friend of the intellectuals.

To be able to understand something, you have to become a very small part of it. In the fine structure you have to genetically accept something and become like something. The intellectuals are people who stand on the edge of the dance floor pretending they can fuck anyone. But they can't. Because they can't even dance. Let alone fuck.

Do your girls even exist or is it like with Hölderlin and Novalis?

So, when I walk through Berlin, I ask myself from time to time whether there are any girls at all or whether that was a fantasy of the last millennium. With most of the girls you get the feeling that they are the boys' straw men. Most girls feel that way too.

How do you talk to a girl who is 25?

I don't care what a 25-year-old thinks. I do not care about that at all. She's just as stupid as me.

Is that the trick? That the other is just as stupid as you are?

After all, that's a lot better than liking girls for something that they aren't. So they are stupid in any case. Like us. Helpless idiots. Like us. Girls are all hell. But that's the best thing ever, that you have to go through it.

Why do you have to go through there?

What else should you go through? With more and more new salary increases or from the taz to the mirror change or from here to Hollywood?

At some point you get the idea that you should also deal with other things.

If these people didn't exist, nobody would pay license fees and I couldn't make films anymore.

That's an evasive answer.

Is not it. It has always been like that. "Undercover Ibiza" is about a 67-year-old Colonel a. D. I play that. He pretends to save his son from the Ibiza drug swamp. In reality, he just wants to fuck his girlfriends. And it works.

A colonel a. D. seducing his son's girlfriend? Some will find this morally questionable and, above all, embarrassing.

People are embarrassed all day. People are so scared that they embarrass themselves. There is no salvation except evil.

What does that mean?

You have to do exactly what you want to do. It's all about this. Nobody should be the role model for someone else, everyone should discover what they value most in themselves. Everything else is bio-imperialism.

Stringent arguments.

I think things are positive again because that's how I feel. I give people a different taste for their life. My last film "Finale" ...

who plays during the 2006 World Cup.

It was sold as a sex film. But it's about people getting a new feel for their life and that can only come about through seduction. It took so long to finally understand that words and pictures only have the power that you give them. Now comes the next thing with which people are taken by surprise, that is the climate catastrophe. People cannot get along with their wives or their children, but they want to save the world. And now their asses are packed.

Why are they packed by the ass?

All human beings live in search of something that is bigger than themselves, but still comes from them. Something is invented every ten years. One time this is the Internet and the next time it is the climate catastrophe. It is true that one always has in the back of one's mind that everything is a market, but one believes that the Internet is not a market and that the climate catastrophe cannot be a market under any circumstances. The climate catastrophe is the market par excellence.

One hope in life is to learn and to be able to do something with what has been learned and experienced.

I beg you. Nobody has ever learned anything. Not even Jesus Christ. There is no development. It's always the same day that you experience. A person is not a plant that unfolds in old age and can somehow grasp more reality or self-image. The catastrophe is getting bigger and bigger. Anyone who doesn't get that has gotten nothing.

That sounds very negative.

I think everyone should have rich parents and every girl should have big breasts. But it's not like that.

Let's see age positively: the children have left the house, the parents have died, the career is ticked off. Now you have your mind free and the time to do good things. What do you do?

There is nothing more you can do about it. Addicted to alcohol, watch porn, take drugs. Be a football fan. Hooligan. And sex hooligan. There's nothing more. Even Goethe did not learn anything in old age.

What about volunteering?

Nope, nope, everyone should do their own thing. But just a blow on the mouth helps in life. I tell that over and over again in my films. It has been the same for me in my whole life. I haven't learned a thing from books. There must be a few on the mouth. If it doesn't bleed, it's paper.

One does not attain spiritual maturity?

You become like dishes that go together. That is maturity. And that is the very last. That's why you have to throw the dishes on the wall when the opportunity arises. That's why women are a bit ahead of us. In reality, all these women who pretend to be in a tamed world are living from one catastrophe to the next and are ashamed of them too. It's the most modern feeling there is.

Why are they always ashamed of themselves?

Because they keep reading that other women can do it so well. But that's all a lie. Everything that is written about actors is also a lie. It's a tough job, a mean job. It's cruel to have to listen to directors all your life. There's nothing more embarrassing than making movies. The whole effort is completely useless.

For years you have been shooting beyond conventional structures with a minimal team and never with professional actors. Why?

German actors are the visible result of the current education in harmlessness in all arts. Style doesn't come in the mail. Take “Finale”. The film doesn't seem to tell anything, but suddenly Saralisa is telling a story even though she doesn't speak at all. Everything live - that is not played. She is so. This is what it is about: being unintentional so that the audience can put their feelings into their faces. Film is - that you feel something long before you see it or get an explanation. Check out Russell Crowe in American Gangster. Playing something is fifty years too late.

You don't appreciate German films.

The German film doesn't even exist. It is made by the generation “prettier loose”. He has to get out of this prison. For Americans, government funding is a relic from fascist times. Jack Valenti has occasionally protested against it. But you haven't heard about it for a long time. They have long since understood that state film funding is the thing with which Europeans can voluntarily dwarf themselves and thus never become competition for Hollywood.

You have long been against film funding.

Every single Hollywood film, no matter how old-fashioned, is more subversive than 90 percent of all German films of a given year combined. Because German films appeal to feelings that neither the audience nor the makers themselves have - but which are suspected by the funding agencies that distribute money. The perceived compulsions of the institutions are first and foremost cramps in the minds of the applicants. Have you seen "American Gangster"?

No.

That's why film is such a great thing. In fact, I only go to the cinema to slowly pour two hours into "American Gangster" and then think and talk like them for another half an hour. That's why cinema will never go down. That you don't think about wage tax for a second. The film spreads its arms around its viewer. That is enchantment, that is what matters.

Romance?

It's not romance. This is voodoo, cowboy.

I would never have thought that the word “cowboy” could be pronounced without it sounding pretentious and fake.

Yes, you can. The crucial thing in life is that you get the greatest ease out of what is hardest for you. This is voodoo. If you find it really difficult to deal with girls, then you have to find ease.

Doesn't that stay played?

No! Only what you are afraid of can set you free. You deserve your misfortune if you want something and do everything to ensure that you don't get it. You don't get mature in life, and it makes no difference whether you are the taz or the pictureNewspaper reads.

I just read that middle-aged people go to rock bands like Led Zeppelin, which they didn't listen to at the time because they were too young to feel the nostalgia for times that you haven't experienced yourself. That probably also applies to the employment with 1968.

That was the only good sentence from the whole interview. Say that again.

I can not.

But you're right. There was no such thing. That was virtual. This is what I call the Gruner + Jahr retro prison. 1968 doesn't even exist. This is an invention of star.

And at the moment ...

... do another lap yourself. It's written well, but it has nothing to do with any reality except that star-Reality.

Its core was: sexual liberation and nude photos. Uschi Obermaier.

Nobody took that seriously, Obermaier and that prankster there who was always mistaken for a girl. But unfortunately the others had nothing else on their minds either. We all had nothing else on our minds except cars and girls.

What about the Vietnam War protest, Soviet republic, feminism and displacement?

Much of it was simply a fake, a replacement war, because we couldn't get on with our fathers and felt guilty about the Nazi past. We had to get rid of that again. We did it with films and the others with bombs. That is why the Baaders chose Vietnam. They didn't even know where it was. They didn't understand a word of what Adorno was saying. Zero. They lived in a completely different alcohol world. They waged the war there, which they did not dare to wage against their parents, just as we did not dare to fight back then. We advanced American film. Andreas Baader and the whole team actually wanted to see the film too. But Baader had such an impossible accent.

On April 2, 1968, the later RAF leaders Baader and Ensslin as well as Proll and Söhnlein set fire to a department store in Frankfurt to protest against the US war in Vietnam. In 1969 you made the film about it: "Brandstifter".

The film corresponds exactly to what I felt at the time: It's all nonsense what they are talking about. That's the way this film is too. Nonsense people who wanted to save the world but couldn't get on with their own girlfriend because they didn't even have one. I was with these people all day. I couldn't shoot anything other than that.

You couldn't take them seriously from close up?

If you were close, you couldn't take us seriously either, we had the idea that we would make it to Hollywood with a short film. My first film is called "48 hours to Acapulco". I didn't even know where Acapulco was.

Acapulco was simply a place of longing?

Clear. We were megalomaniac cranks, and so were they. In reality, Baader only wanted cars. And girls. Of course, after the department store arson foundations, these bourgeois petty bourgeois sons became real bandits. The gimmick was over. Then something new began. I never saw them again after that, except for Horst Söhnlein and Baader occasionally when he wanted money from me.

who wanted to claim a copyright for "arsonists"?

Yes, but he also wanted the money. Of course I had spent that long ago.The only good thing about that time was that there was a freer use of drugs. That everyone was on LSD all day. And that they are still alive. And just as many perished there as always perish on drugs. At that time, however, there was a different relationship to it. I don't even want that to be there again. That's the only thing left. The worst thing about our generation is the 68ers. The very worst thing ever done.

What about the sexual liberation of society?

I was in the shark commune at the time. Nobody ever banged anyone. That was not possible at all.

And in municipality 1?

You should have been there once. You wouldn’t have gotten one up in ten years. Visually it was hell. Sex can only happen unintentionally. Otherwise it's no sex, otherwise it's romance.

Which girls were trendy if not Obermaier?

The girls involved were Sylvie Winter and Claudia Littmann, the daughter of the police chief in Frankfurt. The Littmann was very prominent and the winters ...

... your temporary muse and leading actress ...

... was the most beautiful girl of the time, when she was first naked on the star-Cover.

And the boys were tense and couldn't do it?

The girls have always been very excited about their sex life with Cohn-Bendit. That was pretty much the only one. I've never heard anything like that from Dutschke.

Is that the historical achievement of Daniel Cohn-Bendit?

At least it lifts him far above the scene from back then. Most of the guys had nothing but the revolution. The whole RAF started with Fassbinder, the cute little gay man who wasn't gay at all when he made money, put the money into Stingray Corvettes. He then drove these stingrays against the wall. That was very gay back then. Before ass fucking came.

Today children no longer hate their parents, is that progress?

The children no longer take their parents seriously. You have to have someone to be against. Fortunately, we still had that. We had our parents who were happy in the Adenauer era. Incredibly narrow-minded prison they lived in. Somehow getting out to get into the next one, into the even thicker prison, that is the lifetime achievement of the 68ers. You shouldn't give interviews like me.

Why not?

A good interview has to be like a movie theater: Something in the reader has to spread its arms. You shouldn't distribute your love like slaps in the face.