Hello everyone. And we, we're doing this hybrid. So we're talking into a camera and we're real people. Very happy to see real people here as well. Dictionary, I'm an hour, yes. And seeing some from viewers online as well, a hearty welcome to you all come to the media fest 2022. And this media fs explores the United Nation, both for Sustainable Development. Goal 16, which promotes human rights and the developments of societies or peaceful, fair and fighting. And you can see how that's shown will speak to that goal. I'm very happy to have with me today. And for omega from Berlin, and I will speak a little bit more about his biography in the second. Talk a little bit the context of the film. Before we view the film, The film was a short film, has, I think 24 minutes. And after that, they can have discussions about the film before we proceed. A few thank yous. Higher-order. I would like to thank you. To extend my thank you to the Global Media Affairs Committee. Most important lead to in the festival director, a man device, and two mega harbor, the festival graduate research assistant. Thank you so much for your support and your help in putting this together. And we're very grateful to the departments of Germanic and Slavic Studies at the University of Georgia as an artist in residence at the moment. And they were kind enough to come to us. And lastly, of course, thank you to the School of Modern Languages or supporting this issue TO little bit about data. As I said, he's currently the max powder artist in residence, UVA, and he has, before Ramanujan went hearkens back to it. So we had the chance to meet each other and talk to each other a little bit every once in a while. Get to know each other a little bit. He was born in Berlin and move to Istanbul at age 12. Then he returned to Germany age 18. And then he started making films. When he switched from economics topic, the subject at university, to making short films. And I really like this interesting story about you. You mentioned the average thumbs to the employment of this, right? If I asked you to become Muslim, well, exactly. But I I was very desperate with my situation. I really didn't feel like being in the right place with ectopic on our economy thing. And then I went there because they advise you what to do in your life and the like. They tried to point out the things that might be good and relevant. And the guy asked him, What are your hobbies? Asset? I like movies and he said, Well, have you ever considered making movies that the next thing I know, I was applying for a job in the production of this and that's how I got there makes. But beforehand, of course, there was there was a certain age, movies and all that. Interesting. Yeah, if not every day that the harvest advice you, why don't you become an artist? Yeah. I mean, it's, it's it's, you know, I was really lucky because you don't often get to meet these people who would just say, do what you like to do, do what interests you, you know, wasn't a. So these are your desk and you have better chance later on, blah, blah, you know. And but nobody is saying, you know, what exists. And I was really lucky to have met. But unfortunately, I don't know. Maybe tomorrow you may think. Now though, as we already know now, you studied found in Berlin and you got a master's degree, right? The media school. And what we're about to see this, your your final evaluation. It's that perfect. That's really worth it. Notice that this phone, one, student, Moscow 1000, 15. Yeah. Yeah, it's because it's not be asked because the Asper as a trademark, only, like only the asset is, but it's an Academy Award. So the Academy as the authors, and then they have the category square like often schools from all. So the vent their films and Yup, we want, we want it. It's awesome. And the family maybe four was nominated for it, right? First time round up, almost hit the jackpot. Yes, I am. Yeah, so pretty short. Fidelity is about loyalties within a relationship against the back of the famous get the Gazi protest, unreasonable government. And this Tom received numerous awards apart from Henry, my both my office Prize for example. And so by now really established himself as a family and have a record of movies that you May 1. One of them is once upon a time and y'know, lands which appeared in 2017. And the one that I particularly like I was saying, and I will be getting squished pop votes in 2019. And you also mentioned into television, I didn't want one word for television. The towels. Yeah, which is like a German big German EB day on Sundays. Germans loved to watch Good day evening. Because there are actually quite some research on that. And 1111, he says, is that when law and law and order are being reinstated reinstated, everybody go to work or not. Oh, yeah, I did one of those. But I've been working in Cinema Hearts. Yeah. So about the contexts for the movie is heads during a time of unrest, protests, anti-government protests in Istanbul, in the city, if you are moving tricky. And of course, although they're not explicitly mentioned, the easy part to obsess, mind. Protests that developed in Turkey in 2013. That started in part of that name. And we're mostly driven by environmental and city planning concerns. But then quickly things grew bigger and also spraying over to other cities. And they develop into anti-government protests. Particularly against Prime Minister L1 and his politics. Where there was a lot of repression against journalists. William speech, right to assembly. And so this is important to keep in mind as the backdrop was thrown. But also, interestingly, the film was made at that time in Istanbul, right? Yeah, like a year later. A year later. When I was a student in school, the Arabic Spring popped up. So dominant trait. And that wasn't the summer. And back then I had, I was in Hamburg, like doing my, my, my, my second film. And I was watching all these images and I was deeply moved and all of a sudden, sudden I was feeling some sort of, you know, I never really cared about about what would we call our human rights because I wasn't aware of, and it's like, you know, like a fish swimming in the water, not realizing the water that's surrounding it though. And all of a sudden it was like all right, Everything we've got right now, all these rights that we take for granted, somebody at some point had to fight for them. And that, that became apparent others. And so I was working in that field, as I said, and it was very successful. And the next year when I did my graduate thesis, the dean asked me, gave me a card, love, because that, that movie was so successful, we say, okay, we have trust in you. What do you want to exit? I want to do something about the political tensions. Uh, I was experienced with my family back there because, you know, you have you have these had these protests and Amazon Facebook back then on anymore. And I was of course like cheering. And it was so like I will, So it was such a big disappointment to see my beloved when some of my family members, then I will, if they had completely different opinion at the back, we started arguing on high in the eyes of everybody else. And I thought, how can this be? How can, how can I mean, I was, I love these people and they love me, I know it. But now we're at a point where we the top feature. But that was something that really bothers me. And I thought, well, we should, we should make a film about this. And then we came up with this, with this yellow. And I can tell you something about process leader, like also like the screenwriting process was easy. But yeah, it was just this urge to do a movie on how politics can separate families. That was, that was the initial, the initial IQ. And next to many contexts here today as well. Yes, it has. Unfortunately, that's what it is. Actually. Relevant. Brand relevance. Thank you. Yeah. Thank you so much for that introduction, that setup. I think we can now dim the lights on lights and the real lights and enjoy the show and sell them in staggered. Let's make two versions. Thanks. Okay. Yeah, and I'm going to start with hello. I'm I'm gonna start with the people online. I'm going to stop recording the Apache with them better. Okay, Wonderful. So very first film every time I watch it. And it's great to have the opportunity to talk about it, right with one who put it all together. So I think with what I wanted to just ask before we open this up to the audience is that it's really striking to me how this film is an exercise. And then station essential validation. And 24 minutes we witness a story that is really very profound in its different ramifications. How question of loyalty basically toys relation and loving relationship. And I wanted to ask how, how did you approach that? This is a student film. At the same time, you'll manage to tell this story on the minutes that I would assume that that you spend lot of time in the editing room cutting stuff where it was planned from the beginning, very short and precise. Now, you know the editing process wasn't that, didn't take that long. Press my editors. We re Thompson Germany and he had an onset though, he was already editing while pursuing. And then note that didn't take much of the time. The hardest part of this was to write the screenplay. Though. The, the author wrote it. Here. Lipids, lipids are very talented guy from Austria. I think we had like 80 drafts. And I was, I was, so he'd on not making a movie where me, as Western citizens from, from Germany. I mentioned Turkey and making a movie about democracy and saying, now we're going to tell you how this works. Though. This was, this was something that was like really I didn't want that. I want to have a story with everybody in their own way at has is understand. That took a long time. We didn't really have like half a year, right? This story. And to develop it. And they came up with, with this, with this idea. Never worked on it. And when we were pitching this story, people, they were like, Okay, you got it, you got it. And this is in short short film. Like and he said, yes, we are. I, I, I knew it. I knew that it can be done because I come from like I have commercials. Commercials, you tell a story or a seconds. So basically every, every story can be told. Like every Ardi was very like who knows a lot of film-making. He always said, every feature film can be made in a shop you don't have as his approach. And I think there is some to do that. But yeah, I mean, most of the part was just finding the right story of finding the right tone, not be English. We move towards that legal right. Not to be like that's coming on our I like Hussein, they'd come, right. Those are, my main levers are high, but I always think you fight wars as Euripides. And that was, that was my, that was like, Yeah, I'm glad this turned out the way it because data that wasn't, that wasn't I give. Now, we want to open this up also to the audience and online for in new who has questions. If you have them and if you now thing on line or a new position making only type them into the chat. I can read them. Are there any questions right now? Yeah. There's a question about the flow of people online, about the female needs. What went into designing that, that particular female figure? So from the very beginning we get, I wanted to tell a story of a woman. Because Istanbul, Turkey generally it's a very male dominated society, so it is already enough. And dumping person has overcome entropy. If you are a woman, though, it's hard. Everything you do. Or if you just, if you would just imagine the story with paints, generous, like this guy being, this being a guy. It would be something else. Though. There were some seeds and that in the screenplay, for instance, the scene where they are in the kitchen, and it tells them about what happened earlier that day. That was that that C was in the in their bedroom and he was putting on some lotion. And as I said to my author, like he wasn't dead reading and she was putting on some some some lotion or basis in the assets. My order well, you know what? I think I have seen this several times. Like a wound putting on lotion. Why don't we just show a man hiding of the chin and, and, and, and Turkish mankind even though that was like with any and still to this day, I always question like the gender roles. Are they like doing it that cliche or spice things up somehow? Though? Yeah. That was it. I I I very often have women men and my bills. Yeah. Breathe. I want to ask your question. Yeah. Hi. This was really interesting how it's really nice to watch the movie. I've been looking forward to this. Thought it was very, very powerful and I assume you've already gotten lots of compliments, but if you don't mind, I would like to repeat some of them. I love Thai played with play, but how you got the viewer insert the story by the way, you use music and the way of the images, the pass kind of changing images in various scenes. One at Harbor, I guess where you saw the food, which was great. So kind of get a feel for that pride and then also the X-rays. And I love the drumming, the kind of music in the background. But I thought the message was extremely strong. And I just that question, when the protest or ask the husband, you know, and what society do you want your child to grow up? I thought that was very powerful. And so then finally, I guess my question is, why did you choose the title of fidelity rather than trust or a betrayal? So I thought that was kind of I feel like, you know, how could the husband not trust the wife and go behind her back? So I thought it was very complicated message that's conveyed to us as the viewer. So I wanted to say thank you so much and I'm curious to hear your answers. Yeah. Yeah. Thank you for the compliments. Well, the title was actually a big issue because we we we name first, first. The movie was named after shots, okay. Because, you know, you have these all these. Then we found out there's a, there's apparently there's a big us gay **** production like a series called aftershocks. Though with this, what we, we, we thought, okay, we should, we should find something else. And to me it was always important to find something Turkish too. I wanted it to be Turkish because this already is so, so local. So I came up with Zadok. Zadok at this you translated not only means fidelity, it also means trust, it means the emotional bond that you have with something or somebody. And I thought that was very fitting because everybody has an emotional bond to something in this, in this story. Whether it's the family or your ideals or the state that you believe in or even a police men, though. Yeah, that was that was just that was just the translation of Sadat's, which is not which is not fully covering the word. Thank you. Pick the one question about the production, about the cinematography and the editing. And Amanda, that, that it's really striking to have that level of accomplishment on that level of professionalism. And what went into the Mubarak in that regard. Though, Media School is a massive program. And in Germany, where you can only apply if you've already done some somethings, film industry or if you've already done your bachelor's. And everybody working and applying that they only have six students in each department. They have four departments. Editing at all, writing, cinematography, producing, and directing. And they only, they only have six units every two years. So it's a very small but very sign education. And they have certain findings. But for this project, I knew they would they would not they would not be enough. So I had this I had this contact me or TV broadcaster and I gave her the story. You read it. And she said, Okay, I'm going to give you 30 K Company. And so we had to run about 60€60 thousand for making this event, which is a lot pursuing them. And then we just went there and did it. So my cinema, cinema photographer, who, who caught Flavian? He's, he's just great. And also, yup. And these are people who just work on, how do you say on the verge of this step to professionalism, to work, to make a living off of it that were there. They were one step behind, just like me, with this film, it was just a chance to do that we can do it. And yet it turned out, well for all of us Muslims to shoot a movie like that. Jackie was it. Did you have to present the Xiongnu scripts and say Sort upon an approval process. How did that all work? Right, so first first of all, you have to in order to get a permit, you just take your camera and do shooting, you have to apply. And when you apply in an actor, which is the capital. So when you apply it, you have to suddenly the synopsis. But we fake the synopsis though. We didn't, we didn't submit the real synopsis. We just faked it. We'd be off took out all the parts that would have been crucial. And on top, our our school gave us, they dictate the, they organized some press press batches for us. So in case we run into a brown because we wanted to shoot the rally. And they were back then there was like rallies, Hudson somewhere with some, some protests. And the one that you're seeing in the film is actually, is a, is a protest that we bumped into C. Plus none of those are extras. Though. It was a bit, you know, you had to be careful, but we were working with very professional Turkish production company. And they, they, they protected us. And we had like one or two very like moments where police came and wanted to take a takeaway the camera at all. But they figure it out. I don't know how they did. It was just come and then they they made a deal. Yeah. Well, yeah. But you know, that I think nobody took notice of the film until we got the Academy work. And when we did, all of a sudden, like I got these press inquiries and people wanted to see the bill. But I got to do I did not speak to any press and Judy, not a single one, not even the ones that I think would have not because I'm a family. It is though I tried to stay under the radar. Have you spit off fills out and we'll use it or didn't know I have like the question is if I'm if I'm going to face issues because of this film, if I want to film there again, No, I haven't I haven't seen issues and have them already to more like trees, each of them. So repeat. Now I'm about to do my third next summer. I was lucky, I guess. And also the repression of the government. They focus more on journals. Not, not, not so much on this. And I mean, I know for many people have watched this skill. So it would for them it would not be marked to arrest person like me. And then go to our media posts about it. Rather than just leaving this film like that and knowing nobody's going to watch a horse. I think. Well, I couldn't say because I don't live at work. They're pregnant early, but they have a real story and censorship thing. I, I was approached by some Netflix series the other day. And our grids and Deborah, they were dairy. They were like pretty portable circumstances. They were like Uh-huh. But they said already, we don't know if we can get is two, because the states, oregon of censorship is quite strong. Even with Netflix productions. They produce a lot there. Yeah. I'm back on unconscious. Yes. Hello and thank you. I also very much enjoyed the film and Plata. That are the nice things and I can quite repeat them are, but I just want a second. Everything she sets. So I had a question which relates to your firm but also to what you just said. So we have the scene and put I mentioned that about okay. And what society would you like your child to grow up? So my question is, then, what's your responsibility as a filmmaker? To then make certain sounds that take a stand that try to, I guess change society. So this is one part of the question, where do you see your own row? And then the other thing is related to this in the sense that what, what, what role does the medium of film play in that endeavor potentially? And I was kind of thinking about, you know, we we have one family. They may have watched the same thing, such as the news about the pandemic or many other things and become a wave, a different interpretation. And we also have, of course, the technology that is evolving and might give us voices and faces that are fake, for example. So, so, yeah, so I'm kind of wondering to take you take or about you take on these things. So first your role as a filmmaker, but also then of the medium of film. And where, yeah, so just your thoughts on these issues within the sort of political radio Africa context, which is more difficult because of technology. Yeah, yeah. Well, I like, I got this question a couple of times and I always think that me as a filmmaker and I understand myself as like, you know, like an hybrid artist. I think art should be free of any agenda of any anything that makes some sort of, like if I wanted to make a film with a certain idea in my head and just promoted in my work. I would not feel comfortable with that because I'm not I'm not like people also ask me, why do people smoke so much new films here. I'm not you a teacher, I'm not a health advisor. I'm just I just do what what I think is central and what I like to see what, you know. So I don't feel it's like on the one hand, I don't feel the responsibility because I don't think that I am the B. I'm no teacher already. I'm, I'm an artist, so that's, that's the one hand. On the other hand, I am aware of the fact that we do have certain responsibility where with our fields. So I would like, for instance, if there's an issue that bugs me, like the protests, everything surfing around this political tensions. Then I tried to put, put it into an artistic form. But I never make a film about a topic. But I always try to make this film about you met somebody human, okay, so I, I look for something human in it, that human beings have flaws. So no human being is, is perfect though that, and that's where it gets interesting. So if I were to be a person who wanted to be a teacher or some sort of, you know, I'm like eaten up by the responsibility that I show ring. Could not I could not go there because the responsibility would just make me make me still, you know, so I try to be flexible there. But the other hand, there are these issues, this, It's these issues in society that bugged me and then the story comes to me. And eventually I start making like riding ideas down and thinking about the stuff. But not because I want to be because I want to be, you know, go there and sign the live on on a certain topic or anything. But just this because I want some friction. Like there's something there are questions, but like, all right, let's put it this way. There are filmmakers who try to give answers and then there's filmmakers, her to pose a question. For me. Posing a question is always more interesting than saying something or giving an answer. So if I, if I have an issue going on, then I try to find a story that can pose a question to this issue. Okay? I don't know if this if this is the satisfies if this answer satisfies your your question. Yeah. I I mean, I very much understand. I think yeah, I was I was trying to decide with your thumb if if I got away SO impartial and if I did, why or if I didn't, why not? So I was just there interested to know. Yeah. What size how do you get across these family members? You mentioned on your Facebook feed, which I obviously have to and and what made cinema play and yes. So you answered my question. This question, in some ways tip a lot a lot more than than, than we, than we think. Because like my whole world until a certain point was defined by cinema, bye, bye. Tv shows, maybe from, from the United States. It has been a great help to low, like a tool to promote culture, to promote values. And it is still to this day. But making sense myself, I'm very much aware of also the minute relation that's going on there. And I tried to not be mindful, that might mean villages in that matter, like this. I have a certain value. It's like, yeah, it's like if I want to promote something and I catch myself trying to do that, then I step back, you know, like I didn't want this film to be the liberal fist in the air. You know. So, so that's, that's how I try to approach it. Just, just finding the ambivalence in, in every subject. So that's that's that's the approach for our question. Yes. No. See, there we go. Here is a tilde character who's asked me for me. Even though it's not proven A-U G-C result is Easter, which is Azure. Okay. Yeah, the question is that what comes next after this short film on, if you see yourself continuing on. But from full feature film though, this, this movie has been made in 2014. And I've, I've made five full feature films up ever since. Though. I do, I do, I do, I add, hadn't done another hook them up to this. And next year I'm actually again in Turkey with this. But the story on marriage and on modern day life, just, just like that Very brings us to this, to this. Yeah, but I like to explore different kinds. And making kinds of stories. So every, every single one of those I films they did, They are very different. Though. I wouldn't like, I always try to surprise the audience and myself and look for new challenges. So if something has worked out, It's actuallys. So again, I will step back from it because I don't want to repeat myself. So yeah. I think yeah, it might lose and that's the way to stay alert and fresh, you know. Yeah. The turkey and particularly Eastern the country and the city that you're bringing up parking. And how did that influence your work there? And just sort of envisioning, I'll just finish roles for the film. I can't help but notice g big organizational enlightenment chairs in famous Eastern earthquake that several times happened was devastating effects. And if you are there my first time I was in peacetime, what I notice right away and every rooftop and they're out there making Rockers. Yes, singers, other gangsters. Absolutely. That's it. Sort of a very eerie atmosphere, right? Brightness, this noise, the screeching and the glands with the shot back and forth between scientists and the woman, et cetera. How did that, or did you have them as a vision right away and we would use it or no. My, when my author is came up with the very first setup of a man, this busting into the emergency and a woman protecting him and a husband finding out. I thought that was a good ambivalence, Dory. And then, and then living in Turkey and having experienced the great earthquake in 1999, were like 1000 thousand people have died. I remember that back then, the first ones to notice where the animals, especially like dogs and birds and a day before big thing went crazy and nobody knew what's going on at that time. That the earthquake it. So I said to him, Well, let's add the interesting thing about the earthquake is that many families together, like in a state of emergency, even come together again. To me, this ending, can, it can, it means different things. It can also be read as something where family comes back together. Okay. It can also mean of course, the black, the dark, whatever. But back then, the earthquake was just something where the whole society got together. Again. I like this emergencies, emergency thing where everybody is helping each other. Though, living in Istanbul has probably affected the story and enemy. Just knowing the city and knowing the vibrancy of the city and knowing where I want to shoot what and how. Also like this First Lady with the scarf and her looks. And there's a certain thing between, you know, that the Muslim conservatives part of society and there's these little tensions. I think you have to have lived in that society in order to be able to just tell a story about that, or at least have done your research. And yeah, I was lucky enough to have lived there eight years and they'll have a lot of family here in this video. Who are. Now? What's your question about the transition scenes, which I mentioned earlier, the food as well. So what went into and what's the function of these transition seasons? Well, I don't know. I think it's it's got something to do with the world if you want to. That if you want to be detailed and the role that you want to be as colorful as possible. And at the same time that just colorful, it's awesome. There's also something dark about it. It's like, I mean, maybe not dark but something if you're like these men, they argued over there at the end. It's all made basically. And that woman in between all those men. Though, that was just about creating an atmosphere. And at the same time, showing the chaos of the city maybe as well. Like life is going on. People are our sushi and this tourist. Shut those seeds actually without like we just said. Okay, I said to the actress, you go there, you ask them where the character is, the guy you're looking for. And they will ask, Who is it, though they didn't know. So it's like if this would have been a professional production, we could not have sharp spike. London started like that because when we were shooting it, we were like, okay, no worry of these people is ever going to come back and say, There's my right. I like you, you're using Y are the same height. I love using my likeness on the screen. All right. So we could just, it was just really gorilla. And but that, that is something that, you know, as a filmmaker, you have to sometimes like if you stick to the rules all the time, we're not going to get what you really need. You have to be. I think that's something that has the video personality bit. You just sometimes break the rule. Just go there. Without I know I had like assembling these now in certain situations. But but you have to go there. No, I have to say, Oh, what are you doing then you can say, oh, I'm sorry. But that was a production. It was, you know, you have to be a bit flexible, especially in a city like Istanbul where everything is so chaotic that you cannot really plan things. You can plan it to a certain point, but after that, you have to stay flexible in your head, in your mind. And yeah, that's that's how we how we approach the whole thing. Yes. Okay. The question is that we've had alternative endings before, before this, before we decided on the earthquake. And the answer is no, no. Like when we went to just shoot the film, we were very much aware like we wanted this to be the ending. But like in that first process of like finding the right script, we have many things. Yeah. Thank you. Thank you. Yeah. Yeah. But the thing, the good thing about shortcuts is if they're good, It's great because they're good or bad. Yeah, That's so long. So keep up. The good aspects of the film in which there were many. I wanted to ask about the montage sequence in the end, which I found really interesting, where the kid runs the father's arms as far as homogeneously, we see that the man, for testers running into the arms, they write nuance for any arms. And it's really sort of a striking, striking simultaneity of this. And yeah, what went into designing? That's right. So you sacrifice something in order to make something, some, something else flourish. Who that was the idea. So it is sacrificing the IEP, the protester, No order to to have security, not in his own family, to be with his child and his wife. And we were just talking about that. See what we were like coming here today with our if I would do that, see today, I would probably not do it the same way we say it was just me. It's now it's, it's just a bit obvious, like the parallel is like the parallels. I just, it's just a bit though. But when you do that, you want to show up everything that you guys have to, you have to convince people that you are talented and you have ideas and whatnot. And I'm trying to, you know, either now i'm I'm in a place where where I'm like this is more and yeah, I didn't know if I would bet because that's a very stylized me. And but David, who's speaking about the sort of fireworks of that graph that you put in there. How is did you run something on, pick up something in that movie while working on that movie that really came in handy or fondling longer farms where you were able to say, Oh, I'm going to use it, you something that I'm going to do this again, I'm going to do which this a bit around, but this is perfect for the next project. Well, no, I the next project I did was like absolutely like a different world. It was a psychedelic, big city western, very colorful, playful coming of age and B. And if I like, I knew that After this, I got lots of offers or with scripts hurtling around. They political issues are circling around hertz and Germany, are circling around Mike reshared. Because I'm like, I'm a Turkish, the omega, and I want it to be as far away from all now that's awesome. You know, everything that was related to this movie. I stacked step back from. So I made it a whole different thing. And people were, I think people were a bit disappointed with my first movie because it was so much what they did not expect. But I didn't care because I just wanted to make something else. I was I was in it. And that was in a time where I listened to lots of electronic music and I met these hippies and I was doing like different substances. And then this, the screenplay came where it was like crazy. And I've never read that. And I thought, Okay, this could be something. So that's once upon a time, Indiana law. If you get a chance to see it, it's on Amazon. But yeah, as I'm saying, whenever something works out, I try to take a step back because that's, that's something down already. For further subverted like this gives us Coplanar board where we see a lot of what is already in them is the bigger the end product that where we have the story of a male sex work. That's my second, right? Yeah, right. If I said that is, for example, a really interesting Germany and Turkey together in a new way, in a very different way than the sample. I can get it. Yeah. Yeah. So so again, it's referring to my to my second movie which is called I was, I am, I will be. And it's about this German pilot, Turkey, after having breast cancer diagnosis. And then there's this male prostitute who's like trying to like, who's, who's who's basically with women, with women much older than him, trying to convince them, bury him in order to come to your search of a better life. That's that's the that's like the plot story. And yeah. And that seal again, is completely different from from my first movie. There's I'm saying everyone, like I try like with all the directories I adore. Like, I don't know for Thomas Andrews as the qubit, they have a they have a bouquet of films are so different from each other. Um, I used to be a fat like in the early days of genome and at some point I felt like he's doing with the same movie over and over again. So this is something Yeah, I do. I try to find stories and visual styles that I haven't done before. Yeah. Yes. Uh-huh. Movies. The question is if there are other filmmakers that I didn't have to and yes, there are. There are, Of course. I mean, as I'm saying, I I I I have always been a big fan of awesome comes and then this glove is the latest licorice pizza. I have been like GSK been said, has been, has been great because I, I love also the variety of the square is like he's doing these blockbusters and then he's doing this, is, is this tiny little films, Steven soul rubber, but just a new name. A few Americans, omegas. And then there are of course, original makers such as new male or female cuckoos. I don't know if you've ever heard of it. But these people I just, I just, you know, very much about character, very much about, about I can't even describe is there's so many, there's so many. I mean, the endure as, as, as an artist, you're always the, that's the sum of all the other things that web experience, right? And I was lucky enough to have seen lots of fields until I got to make that, got into filmmaking after getting into steel making, I watched weigh less. But those years In 182322, 23 or what? That, That was my social needs. So it's Elysium socialization, socialization and film-making. And until this day, whenever I read a story, like images pop up in my, my bills that I've seen back then like 15, 20 years ago. But that was a very like 820 three, I would say. Those are very important years where you suck at everything into you. You suck it up and it stays with you. Though. Yeah. Germans, them make the call Christiane soil. I really like I was he was my god. And two years ago we were nominated for Best Picture in Germany. And and I didn't. But that was just so crazy. Like yeah, it's just like it was my idol. And we were on the same stage. And if it's these things happen. But for me, for making has always been like, why was who asked, Why did you become a filmmaker? It was really about perceiving your world differently. Like all of a sudden, everything became arches. Like you were like we didn't want the street or even see a person walking his or her dorm. And the way he or she does, it expresses something about that currently, you know, and all of a sudden everything becomes meanings like that. There, there's meaning. And that was the best thing about like you sharpen your eye. And when I, when I, when I consciously, consciously said, Okay, I want to do this. I want to write stories. I want to sell my work and characters. I started to see the world differently, but with an eye much more aware and it's sharpens. Yeah. And we fortunately, though, they did She year. Relative to the genres. Yours, sir, by opinion on civility. In regards to this conflict spatially in this happening? Well well, when we were like, I remember one thing I'm going to ask this question a little bit different. When we were having or like we had this tiny little production of a city sample. It was like the basement of my mother-in-laws. Place. Though. We have this, this quote by Benjamin Franklin saying, well, let me just, anything. Those who sacrifice freedom for security will end up losing both. Okay. The beginning, that was just the sentence. But making this film. And then seeing that it never lost its relevance. That's something that really sanguine though now and you didn't live. And whenever I'm like oh, I like there is whenever there is this need for security. I always say, Okay, if I'm sacrificing any sort of freedom for that security, hey, COVID or whatever, I will end up losing both. Yeah. Though. It's it's it's always I don't know. It's it's bits. Businessman. The question I'd I don't think so. Yeah. Can you didn't streaming as well? Yeah. I guess that's the E z. Only difference. Yes. It does because like eight years ago that was a sentence that I thought. Okay, this is just another sentence some smart guy said. But now, like seeing that everything we've been like all the feedback I got to this film and I would like all over the world. We traveled with this. We went to Japan and whatnot. We went everywhere. And all all the people said, yes, this is two, this is, this is just what happens in and being, being in a spot where, you know, this is that sentence become, became like, it's like haunting me. And whenever I, I, I it has been it has been with me and it has been, you know, it it became more of a realities me than eight years ago. Yes. Yeah. Yeah. I was wondering now you have been in Georgia for three months. If I understood, I remember that correctly. Service running your time here. It if you could make a movie, what would it be about? Or is there is there anything about your experience here that may have inspired you for your next yeah, your next film. Well, if that's a hard one, well, it's it's very personal life. Well, I don't know what really struck me most when I got here was my students. They are very smart, very talented, very young, much younger than students. I'm, I'm used to in Germany. And they are like the university has like heights 11. I invited them to you. Do you just do a pop to just get to know them? Because it's also about creative writing. Or I'm telling them, it's just, I want you to write things about about things that you're not telling your parents about or that you would be off to tell anybody. So go there, go to these places so that that that was kind of a measure to get to know them and hopefully make them open, open up. Though we went to this pop. I asked them where do where should we go in? And they suggested this up, though, and then we order. And can you believe it? I have like 10 students and not a single one of them drink beer. I was the only one we're going to be in and I was the only one having a cigarette. And I was asking the guys, are you like are you not 2121 back most of them to do two of them weren't writing one. And that was something like in Germany, you could not imagine finding the students to a pub and like all of them drink, drink, drink water. And then I was just talking to some, to some of my mosaics and telling about filling them about there. And then I learned this word called binge drinking. They said, Oh no the NuvaRing. But it's different way of drinking is not eggs. And, and this is something that fascinates me about, about American society. Where you have everybody has a car and even short distance. They, they, they, they do by car and they don't goals. And then on the other hand, they go like running and there's this big hype around, you know, about fitness. And it's, it's very like they're like. And also the students, if I would do something, it would probably be something about this lack of whiteness that I see. Like students not drinking beer would be but going beach drinking on the weekend. Or let's say people just getting into their car for for a distance of 200 feet. And then at the same time, you know, just just doings, working out like that. So this is something that fascinates me or like that that I have been observing here. And yeah, and I mean, young people, artists, I love, I love human beings who are not aware of the, of their, how do you say of their innocence? Maybe. Are there U and this is, this is an age that I like that I will probably would like to do something on student life. Yes, I do. Yeah. I asked the question is if I teach, I am at UGA. I've been, I've been a German teacher for a semester. But we've been like, it had a strong focus on on film-making. So by students got to read scripts and we were talking about scripts. I like to leave the script and talk about topics because I'm, I'm really like I want to know what let's go down and thereby Hello. Yeah, it's been it's been great. It's been a time that I wouldn't want to miss. Athens with a different place from Athens is very different. Yeah. Very good. It's it's small and it's very pretty. And you can walk everywhere, which is great. But I'm the only one working though. Yeah. Great. Coming in. Pink. Are there any BUT or you're just transcribing ethic. I think that brings our events. There are a wonderful conclusion. I think that was a good way to round things out here with the remarks about or about college life and your freshmen. And hopefully this will make it into a movie and we'll get to see a future lesson out it is. And yeah, thank you so much for attending this event. Both to people before audience here and also the people on BlueJeans. Thanks so much and thank you for coming and for sharing your craft with us. Thanks for having me. It's an amazing thumb. I'm really glad that we see it here together. So thank you very much.