All language subtitles for Deadlock.1970.1080p.BluRay.x264-SURCODE

So.

My name Roland Klick.

I'm the director of this movie which is
about to be shown on the screen now.

In the Negev desert,
close to the Dead Sea.

I'm sitting here together
with Uli von Berg,

who wrote a very beautiful book

on my movies, on my person as a director.

The book is called "The
cinema of Roland Klick"

and was written in the mid-90s.

That is why Uli seemed to be
the suitable discussion partner,

to comment this movie
here in front of the screen.

He will ask me questions and
we'll try to provide you with insights

on the production history and on
working on the different settings.

Uli...

Roland, you once said the nice sentence:

"In the beginning
there's the vision of the

world in which the story will take place.

With DEADLOCK it was supposed
to be a snow-white desert."

Could you briefly tell us how
you came up with this location,

or if the story, the basic
idea for it was there first?

This is a good question. Actually, this
movie has a lot of personal components.

My wife died in a car
accident and so I had a

moment in my life where
I needed to contemplate

how to keep on. Not only in
terms of movies, but in general.

And when this happened, the
first vision of a movie in the desert

already existed but only in fragments.

I had done with Otto Sander, who was
back then at the theater in D�sseldorf,

the movie "Ludwig"

and we imagined the
quarry scenery in "Ludwig",

playing in Bavaria, being
projected on a large scale

and a large desert landscape which
now opens the big cinema, kind of.

In this situation which I just described,

I just started my trip.

I went to Tunisia, to Almeria in Spain

where a lot of these
westerns were being shot.

And somebody told me

to have a look at Israel. Then,
there was a movie week in Israel.

I was invited with my movie "Little Boy",

so while I was there
already, I took a rental car

and drove to the desert.

That was the first contact.

And then I saw things
where I immediately knew,

this could be right.

I rented an old Jeep

and drove right into the desert.

This is a peculiar story.

You can watch the images
since it takes place there.

I drove into a wadi.

These are washed-out river valleys,
since sometimes the water washes...

It got narrower and narrower to
the left and right white walls of rocks,

the jeep struggled through it,
also stopped again and again.

And suddenly, up in a wadi there
was a hole on the rim. It was a cave.

So I climbed up, into this cave

and suddenly, I stood in a
cave full of burning candles.

Burning candles, wax was running down...

I was terribly frightened
since I realized:

there were people here just before!

Later, I thought that
maybe it was Al Fatah,

who thought, now there's
an army Jeep coming.

Anyways, I went through this cave

and at the end, you could walk
up some stepped out stones.

I walked up and suddenly there's
the vast desert in front of me.

I would never have found it, it
was somehow always up there.

Suddenly, I saw this desert

and knew that the movie
should take place here.

Then I discovered this old
camp which we are about to see.

I slept there in a sleeping bag
for three days, wa"ed around

and the vision became
physical, for it is salt,

and you break into the salt
while walking, it crunches.

This is also the origin
of Masha's character.

Meaning that the movie became a vision

in this world I experienced down there.

This is the vision.

Here, we see Adorf now.

We saw the boy

stumbling through the
desert, Adorf finds him,

and there in the suitcase,
what should it be?

Money!

And a record. That's the way I like it.

Before Mario Adorf, who was
already quite a big star back then,

in the 50s and 60s already,

we have seen Marquard
Bohm for a few minutes.

This is striking and actually I
haven't seen this before until then,

I was 16 when I watched
the movie for the first time,

There's an actor,

who obviously has an
incredible physical presence.

I was aware of it a bit by
the movies of Rudolf Thorne,

but not from a genre
movie in the widest sense.

He's coming out of the
background to the music of Can,

to the shimmering sun images,
walking towards the camera

and you treat him like a star.
Like Alain Delon is treated.

And such dealing with
stars, not with actors,

that was unique.

This is what distinguishes you from all
the Wenders, Herzogs, Fassbinders...

This is nice how you put it.

This is my basic philosophy.

That the part also is made from the
personality of the one performing it...

That's why I don't like to
say actors rather performer.

He can only perform it
if this is inherent in him.

And I'm always looking
for this connection.

I'm searching in this person, in the
way how he eventually moves his fingers,

you gonna see it, I kind of develop
the appearance of the character

from that what the performer is
delivering me, intuitively and visually,

also formed as a certain vision.

And that's leading to this
visual style, to express this vision

with the help of the one performing it.

And that is the
connection. Which is, by the

way, something that
all the great American

and French directors are doing.

Of course, Delon
developed itself out of Delon.

Or James Dean who is a very good example.

In Germany, one would
have told him perhaps,

boy, stand upright and
don't look from below.

Instead the directors

developed out of the appearance
of this boy, out of his singularity,

James Dean, the movie star.

And for me, this is a prerequisite
for the existence of great cinema.

Robert van Ackeren.

You know him, later he did
some quite remarkable movies.

And Can, the music group, is known too.

It's a cult band.

Back then, they weren't or even remotely.

Or it started. Yes, it
started a little bit, right.

But they became bigger and
bigger. Today, they really are cult,

an irrevocable thing, also international.

- They did great soundtracks too.
- Yes.

From "Harold and
Maude", Mother Sky, right?

In any case, I have
been very lucky with it.

I was also able to work
with them very well.

By the way, here we see yet
another main protagonist of the movie.

In addition to the three
male leads there are two cars,

which you didn't see
in movie history again.

They are basically characters too.

The army truck and a bit later...

a mobile stall which can only
be called a total work of art.

Which we really built
from an old Cadillac.

Were those spontaneous ideas?

Yes... and no. You know, it's like that.

I knew that we needed one
car and we needed the other.

We drove around junk yards, then
the set designer came with pictures

and we slowly put it together.

Here, we added a roof on top.

It was without roof
which we then assembled,

because I thought that you only
should guess the characters in it.

- And the pin-up girl in front...
- Yes, of course.

I have to add to Adorf,

there were different
versions of the movie.

We established a co-production
in Italy which then fell through,

since the co-producer
didn't have the money.

At the end, we had actually run out of
money. When we started with the movie,

the money to try unsuccessful
attempts was gone,

except for 250,000 Deutschmarks.

Actually this was a prize for which
you couldn't realize this movie.

And in this one version

there was Lionel Stander as Charles Dump.

Meaning that Adorf's part was
supposed to be played by Lionel Stander.

I met Stander in Rome with the
co-producer who somehow initiated this,

we sat together and Lionel Stander
was a great old gangster actor

and had a new career through Polanski.

You know him as a
butler from "Hart to Hart..."

This is Lionel Stander.

And in this version,

in the first production version, Mario
Adorf was destined to play the guy

who will arrive by car here any
minute. I think, his name was Enzo.

Yes, exactly.

And when the thing burst,

this pseudo-big
German-Italian co-production

and I couldn't pay Lionel
Stander anymore, Adorf said to me:

"Roland, I would rather play
the leading part of Charles Dump."

I said to him that he's too young.

"Roland, make me as old as you like!"

"If I play the part I become
as old as you want me to!"

He really did! He gained 20 pounds,

so it fitted!

Here, the cameraman lies on a blanket.

On a real horse blanket.

We pulled it before him,
that's why we are so far down.

Even with a dolly, you cannot
get this far down beneath a guy.

It was a blanket.

He had a bubble under
his arm for the blood.

When he suddenly stops
and the blood is running out,

he is just pressing the arm on it and the

blood goes through
the tube into the wound.

Did the certainly adventurous, but for
the time not atypical production history

influence the content?
For there are obvious...

Now I want to watch Mascha for a
moment. But I will address the question.

This is Mascha's first
appearance, that is why I didn't...

want to miss it. There are three, four
fans behind her and are blowing her hair.

- Yes, it's like that...
- The question hasn't been asked yet.

Ask! I answer the question.

Of course... This is, by the way, Betty
Segal, a famous actress in Tel Aviv.

I think it's fantastic that
she played the part like this!

So the way there was a fight
for money, and so is the movie.

That's right, you're absolutely right!
There was a very strong influence,

but it was of a mental kind.

I think the main influence was,

that I only had for this movie 300,000
I've been receiving for a script award.

However, the movie cost one and a half

million. That was a
lot of money back then.

No TV station, no
co-producer was involved.

The Italian attempt cost 50,000,

because we stayed in the best
hotels and had to always act up

as movie producers,

and within a short
time, 50,000 were gone.

Then the whole thing collapsed

and we had 250,000 left.

Back then, I had a production manager,

who was a very brave man and
he said: "Roland, let's try this thing."

"Can we finish the
shoot with this money?"

"If we are economical..."

I can't be economical, I
have to make a movie!

To cut a long story short:
we shot the movie for 250,000,

which was an adventure!
We've sent down 15 cars,

the light machines... through the
desert! Shipping from Genoa and Trieste!

Before, Adorf got a lot of money.

Meaning, it was extremely meager!

There were stories I shouldn't
tell, but now I can tell them.

I had a producer who had a success
with "The Technique of Physical Love",

it was Mister Krausser. He
made a porno with wooden dolls

which was very successful.

The dolls in different positions...

And he was an old soldier and a nice guy,

and somebody said to me to go
to Krausser, he has a lot of money.

So I met with Krausser, he had
this scar on his forehead and he said:

"Roland, I like the script, but I'm
an old soldier and one thing I know,

you will be the preferred target
of the guerillas and the Al Fatah.

If you are shooting there,
you won't get out in one piece!

"And that's why I don't give you money!"

I said: "Fine, Mister Krausser...

you are telling me that if we get out in
one piece you'll give me the money?"

He said okay if we get out in one piece
and finish shooting he'll give me 50,000.

Now we were down
there, finished shooting,

but we couldn't pay our bills.

The partners down there
legitimately retaining the equipment.

The cars and so on. They wanted to release
them only in case the 50,000 are paid.

So I flew to Krausser, it was in spring.

Arrived in Munich, stepped into
my old Jaguar, rushing to Berlin

and got into a mass
accident because of black ice.

Crash into it with 200 km/h,
ending up in hospital in Hof,

got stitched up like in a field
hospital, the nurses were yelling at me,

it was a total mess.

I said I cannot stay here,
I need to go to Krausser,

and arrived with a bloody turban.

The blood was dripping into his office

and he said:

"Hahaha, Klick, didn't
I tell you before?"

I said: "You're wrong,
Krausser, this happened at Hof!"

Not Negev, on the highway!

And he handed me the money.

He said: "It is okay, you finished it."

So I paid ransom for the crew. Otherwise,
the whole thing would have blown up.

There was this stroke of
luck and another small one.

We were able to do it with these 250,000

but I had the material.
And we didn't do it cheaply!

I was also trying to prevent
this shortage of money

from influencing the production.

But the best thing was

that the crew always knew
that we didn't have any money.

Everyone knew.

And this created an
incredible solidarity.

We are not talking about
extra hours but it was as if

as you mentioned before, movie
history and production history became one.

It was about pulling through
and not to end up as a loser.

And it really happened.

In the scenes which we have seen so far

it certainly came across

at least my generation in the
audience perceived it back then,

that the movie has formal reference
points toward the spaghetti westerns,

which was blooming back then.

Meaning the conscious
externalization of the characters,

that the internal life of the protagonists
is transformed into the action.

Absolutely right. What
actually is cinematically right.

Coming from Germany,
this wasn't very common.

At the same time, however, there have
always been highlight moments like this,

mostly coming from the plot itself,
from Marquard Bohm's feverish dreams,

since he has a gunshot wound.

Images, brief shots which
looked like an underground movie...

Now, here's the great car...

Yes... should I tell
you something about it?

I just tell you quickly
that this is Sigurd Fitzek.

A great... forgotten,

passed away a long time ago...

There were no parts for him!

Who once gave me the greatest
fear experiences of my childhood.

- He did in...
- "Stahlnetz", right?

Where he played the child
kidnapper, it was called "Rehe".

Yes, a wonderful actor! Powerful...

I just want to say some quick words
on the car, before we return to the topic.

This car should have been driving
through the desert for weeks now.

How do you cover it in dust?

I told my assistant
director: "Get the car dusty!"

So the guy takes a rug and
puts dust on it, everywhere.

It looked heartbreakingly bad.

So we did the following:

We built up a wind machine in
front of the car, took buckets full

of salt water, the Dead Sea is very
close, and poured them over the car,

and finally we blew the sand
with the wind machine on it.

And this created this
structure, you know?

It looked like it has been driven
and at the same time, through the salt

you couldn't remove
it even with a chisel.

So much for this Cadillac.

It is packed, we really created that.

I assume it is still standing
somewhere down there.

But now to the topic.

You know, movies have
their temporal background.

And back then, we
moved in this strange...

temporal space.

There were The Beatles and so,

the whole hippie movement,
the whole drug culture,

these acid dreams, yes?

The blue goddess,
this psychedelic culture.

And spaghetti westerns, right?

But there was also, which
shows in "Supermarket",

the political dimension. But all of
them have not gotten themselves right.

I mean, Baader did somehow
act like Bonnie and Clyde.

As they say, in retrospect

Well yes, but you intentionally
left out the social world.

I left it out intentionally,
however the influencing frame

was set, so to say.

I mean, it is also a political
film. "Where's the money?,"

is simply a fantastic line.
The whole trailer of the movie

only consists of this one sentence.

Where is the money?

And for this one
sentence, the entire world

is beaten to pulp and everyone is killed.

- Where is the money?
- But in such a social no man's land,

where the characters are thrown back to
themselves and their very own instincts.

I wanted this and that is why nobody
wanted to co-finance this movie.

The people weren't able to read this.

You can only read the
movie when you are watching.

The sentences are reduced to
"Where's the money" or whatever.

- "The bullet stays in."
- Yes, "The bullet stays in"!

And that's why it was so difficult.
I'm always saying: good scripts,

no one can read those.

Because they get on without the
gibberish and without the reflections.

But they express themselves through
the representation of the characters,

of the backgrounds and so on,
and you cannot read this in the script.

- That's the drama.
- Greed, cowardice, courage...

Yes, but also the
presence in the face or the

glances, or how the dust
is blowing up with Bohm.

It is no coincidence but made
with wind machines and fans

at the right moment.

Or she with the little
wheel, like a handbag...

Well, and Bohm is great again.

I mean, I find Adorf very, very good as
well. Working with him was really very

inspirational and of course
he was the professional, right?

And he simply accepted
Bohm, which I really appreciated.

He didn't rise himself above
him but he did all the stunt stuff,

when he hits his head
with the machine gun,

through all this, Adorf did go as well.

This really was a big reward.

Although it is of
course certainly, out of

that time, also the
fight young against old.

Yes, yes, absolutely right, it is.

And he isn't named Kid for no reason.

He actually represents the dreams
from back then, the flower power ideas.

Why can't we share? What's it all about?

Sharing the money,
enough for the both of us.

And he does not drag the past
around with him, he looks forward.

Which I always find important.
You only can present the past

through things like a suit or so.

If you start telling: my father hit me,

the movie ends.

By the way, I did this also with
"Supermarket". I strictly avoided

to let people talk about their neuroses.

They exist via the presence,
there are police records,

where a little bit happened and
this is the wrong guy eventually,

because it applies to all.

Did you see it in a genre tradition,

for example based on foreign
movies? For there are people who say

that it is a gangster movie. But there
are also people who say it is a western.

And there are people who say it
is actually a psychedelic dream,

and the fat actress with her
stage is also a Fellini character.

Sure, I had something to do with
Fellini and this wasn't for no reason...

These are great images.

By the way, this is the train to Dimona.

It is totally secret since it goes to the
clandestine nuclear projects of Israel.

We had to fight. But of
course, we had in Israel...

You see, it was after the Six-Day War

and they wanted their
country to live again.

They wanted to attract money, bring
foreign movie productions to the country,

that is why they practically gave
us everything what we asked for.

But this train which later plays a part,

wasn't allowed to stop.
We had to enter in Dimona,

rehearse the scene in
advance, with the stopwatch...

Here, this a peyote tree,
which she swallowed there.

So you're familiar with Dimona, right?

Yes.

So it is a huge honor we were
allowed to even film the train.

Actually, it doesn't exist.

And Mascha Rabben is your find as well?

I have once in the 60s,

sometimes I did also make
the soundtrack for my movies,

I sang, made music, wrote songs

and I sang in a joint in
Hamburg called 'Danny's Pan'.

You could sing there in the evening
for a bottle of beer and 10 bucks.

The mood was great and
every evening, there was

a 14-year-old girl
sitting in the front row,

she looked at me, we flirted,
I sang, and that was Mascha.

At some point, we met and
ate shrimps in the harbor.

It was all a bit awkward
since she was only 14.

And when I was preparing
DEADLOCK, I started a huge campaign

and looked for the actress
in every German newspaper.

They made a movie about
it, it's called "The Chance".

And yet there was none.

Then Maria Schell called me,
her husband is a director too,

and said: "We are shooting a movie as well
and now that you've seen so many girls,

could you please show us your
records, maybe we find someone."

I asked what they wanted.
A blonde and so on.

And then I suddenly remembered Mascha.

I said, I know the right girl for her.

I found the address,

it was her mother's or so,

and said they should call her and
let her come, it could be the right pick.

One week later, Mascha called me.

"I wanted to see the man who
still remembers me after 5 years."

We met and suddenly she is
sitting on my couch and I think:

"Are you insane? You're
always looking for a

black just because it
takes place in Mexico."

Suddenly, just like you mentioned
it before regarding the scenery,

the next vision on this character
is unfolding from this character.

Because I wanted something
completely irrational in this movie.

If there's a black girl running around,
whose father is a planter in Mexico...

That she is a redhead and the fact
that she shouldn't be in the sun at all,

this is actually the contribution which
her presence and God's gift to the world,

this beautiful girl, gave me.

Which is also expressed here.

And who doesn't speak five sentences.

None!

She's mute, doesn't talk. She is
touching, her fingers do the talking.

And I honestly have to say
although her part isn't really prominent,

a large part of the movie's radiance

came through this girl and
it came to me through her.

That was marvelous.

This is great now too,
because there all these little...

She's now living in Hollywood
and is writing books, Mascha.

I've visited her two or three years ago.

In general, one could say that
the film has a three-act structure.

The first third is the confrontation
Adorf - Marquard Bohm,

in the second third, Dawson appears who
is playing his sadistic games with Dump,

and towards the end, in the third act,

like a show-down, Dawson against Bohm.

- Right.
- And now here

the first act slowly ends,

in which there are these
little moments of approaching.

Yes. This is beautiful.
Basically it is...

You are saying that Dawson
is playing his sadistic games,

I'd rather put it this way:
Dawson is an old, dying man.

- He has something to prove.
- Right. Bohm hasn't.

You know, this results in sadism.

Dawson has to prove to Bohm,
that he is still the big, strong...

- And to prove it to himself too.
- To himself and others.

He permanently needs to stage brutality.

And Dump needs to try and play
the person of authority he allegedly is.

Yes, but it collapses pretty quickly.

The moment Dawson is there,
it is actually out of the game.

And that is what I meant
earlier. It is a political movie.

Today, I see George
Bush or so in this context.

America is actually a dying country.

It must constantly hit somewhere on it,

in order to document its former
greatness. Which was not so after the war.

You know, it was a composure.

Once I drove around the Normandy,
where the invasion took place,

there was a real faith in this
country which materialized itself

in this sacrifice and so on.

Today, he's imitating it
to prove how strong he is.

To me, it shows he's not strong.

It's a mechanism, not
untypical for humans.

One tries to show more
strength the weaker one gets,

up to the apocalypse.

Yes, where, to get
back to the movie, this

old-young contrast is
also massively featured.

- Precisely.
- Back then, it was stronger than today.

Exactly. Today it's blurred,
because revolutionary thoughts

are no longer allowed.

Basic welfare.

By the way that was nice,
I told Can, I'd like a tango.

They sat down and
listened to fifty old tangos.

The whole tango
structure is very classical.

Whiskey Tangoman.

This broken-out door is
also amazing somehow.

Actually, Bohm is quite
tender with regard to Adorf.

He doesn't take him seriously.

Stealing his weapon
and putting it back...

That is something you hardly see
with German actors, being laconic.

Yes. Laconic, and the
German actors always think,

like Klaus L�witsch in these
stupid private eye stories,

that strength cannot be
expressed through this,

otherwise you also have to
throw flowers in the grave.

You know, such sayings.

His strength is in the tenderness.

And also in being
light, laconic, and funny.

No, this is the presence, the time
but I mean you simply got to have it.

Not many people can.

It's the little gestures,

like how somebody opens a car door,
how he is counting a bundle of money.

It's wonderful, just wonderful.

No, Bohm is a star for he has a

deeply hurt soul and it
isn't easy shooting with him.

- And here comes Dawson.
- Now Dawson is coming.

How did he get into play?

I had different ideas of
the bigger structures too,

also with the Italian co-production,
and when all this didn't work out,

Adorf recommended him.

Adorf said he isn't the greatest
actor but an amazing type.

Adorf recommended
him, I just had him flown in,

looked at him, we tried the costume here

and then he was there.

And of course it is
also a stroke of luck.

Because he can walk, stand, look,

and that is what makes the character.

One knew him mainly from
Hitchcock's "Dial M for Murder".

Exactly, he played the
killer with the black hat.

In "Once Upon A Time in the
West" he is in the bar scene

as the captain who is breaking
in, but these are all small parts.

Actually, this is his first big part

where you recognize him.

And he just felt that I was
not letting him act enough.

Thus, we had a tense relationship.

I always said to him: "Listen, Tony...

He always opened his
mouth and made a bad face.

...you don't need to make
a bad face, the part is bad."

I'll leave it as it is.

He then replied: "Okay, you're
the boss, bastard! You are the boss!"

We made this movie with
this light touch of humor.

Then I took a terrible revenge,
by inviting him to the premiere.

He came with his wife from Rome

and at the end of the movie,
he sat in the box and cried

and his wife too!

"See", I said, "Bastard!"

And after that, we
became very good friends.

This here is one of my favorite scenes
when he does this waving with his hand.

This is his power, not
playing the villain somehow.

Actually, you can already see
here that Dawson is staging it directly

that he is stealing his weapon.

And he falls for it.

The weapons aren't too bad
either. During the last decades

you're getting used to so much stuff
so special weapons are quite natural,

- but not back then, right?
- No, no, that was all very elaborate,

this killer weapon here.

When he's walking backwards and
says "You are playing with your life",

I still have to laugh today.

This is all built here.

Of course, there are no cemeteries.

How big was the team you were with then?

Actually like it can be seen in the book.

Twelve, fifteen people.

The shooting team was very small,
on the picture you also see the actors.

Everybody has done everything somehow.

The sound guy at the
same time was the driver,

and that's why we didn't
have sound at the end,

because he always headed to the airport.

But they still were...

It was all compensated
through the zest and joy

and Van Ackeren's
professionality, one must admit.

Really amazing how he made
his light with composure and clarity.

We had a very good dolly
operator, G�nther Bauer,

who, if he ever hears this, should know.

The best operator since "Ben Hur" or so.

He interpreted the colors
like Paganini, like an artist.

It was a great collaboration.

There's Pico, a small gaffer.

It was a small team, we had
two best boys. A best boy and a

dolly operator who also
was best boy. Small.

Then we had a big night
scene with 10kW lights.

Once.

I can tell you more about this
later, because it is also very funny.

So it was a tiny team,

compared to the usual size.

- Was it shown in Israel as well?
- Yes.

And how did they like the
way you showed their country?

I've heard it did good.

Unfortunately, I gave
away the Israeli rights

since I eventually
had financial troubles.

I gave away a lot of countries,
to receive the peak founding,

the movie had to get finished.
It is not enough that it is shot.

Then there was the Ge yer lab
which I really have to thank again.

They really gave me a
250,000 loan for copying.

For nothing!

That guy Grimm came
to me, sat on my couch,

I wore those little boots
and we were the generation

where you had the feeling that they knew
what they were doing, getting things done.

And when he walked
out, I had my 250,000 loan.

I mean this is the equivalent
of half a million today.

Including compositing, finalization,
editing rooms, everything.

At the end, we were a bit short

and I started to sell off my countries.

Adorf loved the movie a lot and at the
beginning he said in several talk shows,

it was his favorite,
his best and whatnot.

But later, he withdrew a little bit

and I always thought, what's the reason?

Perhaps because he wanted
to get away from this image.

He had this good name.

- Age-related, too.
- Yes, yes.

And then there was a
pretty long feature on Adorf,

and this movie wasn't mentioned.

So obviously...

Apart from that I think it was
a lot of fun working with him

and I think he was very good, it is
an especially beautiful version of his

presence as an actor. I
reckon there's no need to hide it.

No.

The sly guy, you know,

like the fireman in "Ship of the Dead".

There are a few roles that he
doesn't want to know about anymore,

but actually they are
his best ones for me.

"Bellheim" is of course honorable but...

- In the US with Peckinpah,
- "Major Dundee", yes!

Where is playing this
Mexican cavalry man.

By the way, we brought
the box from Germany.

There was no music box in Israel.

Can you imagine? At
least none we could use.

This single record in
the suitcase, what was it?

The old Polydor label.

The orange one with
the three little crowns.

I don't know anymore, I forgot.

Belongs in a movie museum.

This is now the game phase.

Exactly.

Cat and mouse stories.

Yes...

It's just that the film was
very controversial back then.

There were spontaneous fans
like Uli here, but he was just 16

and in movie theaters,
it worked very well.

It was showing in the Zoo Palast in
Berlin and in the largest German cinemas.

At the same time, from
the New German Cinema,

there was a lot of reservation
since they said it is too commercial

and they wanted to get
away from the commercial,

away from the audience,

and to create an art
scene in terms of movies,

which kind of doesn't
appeal to the audience,

acknowledging it at the
box-office but not otherwise.

And not even that. It
was a very peculiar mood.

'We as artists need to get
into the ivory tower somehow.'

Here, the movie was in incredible
disturbance. They felt that it was

betraying the way away
from grandpa's cinema,

away from a cinema which
also works at the box-office.

I have to say one thing on that:

When a movie works,
meaning that you like to watch it,

then you're going to go the cinema.

And when you like to go in a movie,

you have a commercial effect.

This movie has never been
shot for the commercial effect!

But it was made so it is a
beautiful, powerful, colorful,

amazing movie which
I carried in my heart.

And as result, since it worked,
because it is simple and magical,

because it has suspense, an
oddity, which is conveyed and so on,

it worked at the box-office and that
suddenly produced very bad blood.

As if I had my eyes on the box-office!

Was it also a personal turndown?

Actually, there was no reason for that.

It was just that I suddenly found myself

facing a strange front of No in the
field of the New German Cinema.

I don't want to name names now.

And on the other side, by
the producer's association,

and with the power of the old
producers Wendtlandt and Angermeyer,

it was pushed through that this
movie is Germany's entry in Cannes.

Of course, this was a huge honor.
It was my first own production,

after all my second feature movie.

Of course, I was happy
and had so many debts

that I thought, I had a
child, my wife had died,

I had a child to support...
These were terribly difficult times.

And Cannes for me was the feeling

now there's something starting and
the movie is pushed into the world,

this is going to save me
financially and even more.

So I sat in my old Jeep, I had a...

By the way, a beautiful scene, love it.

This misunderstanding between these two.

She just wants to look
what kind of person this is,

and he wants to take appropriate steps.

Mascha is wonderful.

Anyway...

I drove across the Alps,
wearing my hippie shirt,

cruised down to Cannes,
and on the Croisette

posters were hanging... DEADLOCK,
DEADLOCK, DEADLOCK.

It was like a blessing,

realizing you are in
the Cannes competition.

And three days later they've told me

that due to the influencing
of young German directors,

Favre Le Bret, head of the
festival, an old man back then,

threw the movie out of the competition,

because it wasn't representative
of the New German Cinema.

Actually, this is
against the regulations.

For the entry, a country itself submits

cannot be thrown out
by the head of the festival.

He can throw out a
film that he put in himself

and if he changes his
mind afterwards, but he's

not allowed to overturn
the official entry.

If he accepted it.

The Federal Foreign
Office should have protested,

however, Germans do not
protest. They adjust their ties,

grovel and instead
came up with 5,000 bucks

of the Foreign Office's treasure chest
and organized a special screening.

Off the Croisette, in the
second row in a movie theater.

They invited all the journalists
and there was a huge cold buffet

with lobster tails and so on.

Well, I still was a child and I didn't
know what was happening to me,

okay then, let's do it like that.

And just at the moment when
the movie was supposed to screen

a hailstorm arrived, with
hailstones as big as pigeon eggs

and so nobody was in the theater,

except for three people I brought along,

and one of them was Jodorowsky.

He made "El Topo", which was also screened
in Cannes, also very controversial,

and his black press
manager, Doris Dynamite.

A very sweet lady. Doris Dynamite.

They sat in the cinema,
with an assistant, and me.

Jodorowsky watched the movie,

and he said, which is
huge honor for me: "Roland,

this is the best movie at the festival.

Maybe you would have
won the award, but that's life."

And then we went for the cold buffet!

We couldn't eat everything up,
so we took the tablecloth along

and put everything inside, the
hailstorm had stopped in the meantime,

we sat ourselves on the
beach and devoured the lobster.

Didn't manage to eat up
and had leftovers the next day.

This was the story of DEADLOCK in Cannes.

Yes...

Today you can't even imagine
it, but the times were like this.

But this certainly triggered your
outsider image within the German scene.

Mainly, yes. I didn't know before.

Something a lot of your fans
are enjoying, but everyone -

maybe not as a 16-year-old
- later understands

that making movies is something
very capital intensive, specialized

and also something where
you are tied to certain structures.

That's right.

The story of your movies
shows that each one was a fight.

These are nice stories today
but they involve your lifetime,

your energy which is fading...

And I would probably have made
twice or three times as many films.

What I could probably add for
this is my favorite scene now...

Yes, it's an awesome scene!

Let's say I grew up in a country which
was remote-controlled in terms of culture.

We were a cultural colony,

through Rock'n'roll and Hollywood...

That wasn't bad and wasn't
questioned by the youth.

But someday, you ask yourself
whether there is something like that here?

And if, you get German
movies, like music comedies,

Winnetou and tralala. This was just...

as if you'd dip a tea bag
for the third time in hot water.

And then came a handful of
things and DEADLOCK is the best.

But then Fassbinder and others came.
What are they, what are they doing?

It was always so 'German'. In
addition the Oberhausen manifesto...

This was like an association, so
German, with statutes and so on.

There's a famous photo
which shows them all,

I always thought to
myself that this is the

rabbit breeder association
on a staff outing.

Or "Movie distributors of authors",
again another organization.

So programmatic,
right? And anti-pleasure!

Yes! And they had programs
and order... and you...

Well, looking at the pictures of you,

that was simply great. You
almost look like a movie character.

That's nice of you to say.

- But it came with a price, right?
- Yes, it had a price.

I mean I came to the movie business
because I was transferring cars.

Then I got tuberculosis and ended
up in a sanatorium for lung patients,

for we were driving 24/7.

Suddenly I had earned a lot of money
and wanted to make movies with it,

but I was sitting in Davos

and instead bought me a
big car, met my wife there,

she had a lung disease
too, the both of us.

But there was no talk of movies,
there was talk of Thomas Mann,

since everybody had to
read "The Magic Mountain..."

Movies always were a dream. I did
the radio station in the sanatorium.

A small station where I did
radio plays and other stuff,

in order to keep up. I also
staged the "Faust" there

with all those sick patients, which
was very beautiful and very exciting.

I was keeping up but I
still was far away in the Alps

and developed a vision of
how I would like to make movies.

Meaning that I wasn't familiar
with this entire political structure,

of 'we have to replace the old cinema'!

'Actually' not familiar
with, in this damn valley.

Then I went to Munich, looking
to be close to movie people,

made the 'Munich-Film' with
the American, a student movie,

this was my movie school,

and then I started to
make movies on my own,

just the way I imagined it.

This included the
audience as an integral part.

Because for me, if I'm the man, a
woman also belongs to a loving couple!

Meaning that there's a mutuality!

I have always been
accused of currying favor.

Do I curry favor with the
woman when I want her to like it?

This is absolutely ridiculous!

For me, film is communication!
This is part of my style!

Having the right rhythm,
coming across, yes?

This isn't currying favors
but the essence of cinema!

Those vibrations between the
maker and those in front of the screen.

And back then, they always
said it's about the people.

It was always about people.
But back then, they forgot,

that in front of screens are also people!

They somehow had been
denounced as audience.

As an audience you shrugged off.

In this regard, the whole style
hasn't been evolved out of the idea,

to make commercial cinema,
but out of desire to communicate!

And it worked.

And I think, it becomes
clearer and clearer today

that this way is
eventually the right one.

It was always the right one and still is,

for there is no other country
which has such strange structures.

Where people, especially in the 70s,

made several movies,
proving that they aren't able to,

and nobody cared whether
anyone was interested.

- I don't want to belittle them.
- No!

But I mean, once you
met them semi-publicly,

they were immensely cynical
and despised the audience...

Those you have addressed here.

I witnessed it several times,
for that what I'm saying now,

I also said on stage, during
discussions, for example in Duisburg,

during the Duisburg Film Festival,

I have literally been booed down!

- You have no idea!
- I do!

"Little Boy" for instance has been booed,

not in the cinema but afterwards
at the press conference,

because I always pleaded
for the movie to speak for itself.

And someone in the audience said,
coming from one of the journalists:

"Well, in this case I hope you will
earn a lot of money with the movie!"

I mean, "Little Boy" is absolutely
not made to earn money!

- If so, you would have made the next one.
- It simply works!

If movies are working,
it is of course possible

that something happens
at the box-office, yes?

But to assume that
this is the only reason,

this was a prehistoric
criterion, very weird.

Just the fact that the movie's
working, his images are built in a way

that the rhythm and the
music can work like this,

was already seen as
corruption, strangely enough.

This is difficult...

Hard to comprehend! Of
course, I suffered a lot from it,

I say this all honesty because
it caused me many difficulties

at financing. The next, I
had to start from scratch.

On the other side, this is nice too,

if everything does not go so
smoothly, because you can also...

How do I put it? I
already started in the 60s,

to pen about film theory
and to express and articulate

my whole concept.

Thus, I became more
aware of what I was doing.

At the same time, you also lived.

I mean, you can see that in
the films in thousands of details.

You certainly didn't do a
holdup to illustrate speed.

And if so, I wouldn't tell.

There are a lot of
things in "Supermarket",

where you recognize the streets.

That's right. I cannot complain at all,

because actually I had a nice life

and made those things I wanted
to, but I wanted to do a lot more.

And it certainly loomed large

that I couldn't just
call the station and tell

them that I'm going to
make my next movie,

but this whole cinematic form

kind of verified itself out of it

and today is rather without dispute.

Did you have opportunities
or the goal, the vision,

to leave Germany behind you and to go to
countries with a real cinematic culture?

Well, they tried to get me to Hollywood.
Scorsese was here, Spielberg was here,

one producer watched DEADLOCK on a plane,

the one who produced "Marathon Man",

and he belonged to the scene
of young, American producers.

He absolutely wanted to get me over there,
but then I was remarried to Eichinger,

and of course my family situation,

it wasn't easy to just go over there.

In other words: Somehow...

Spielberg presented "Jaws"
here, I sent my girlfriend along,

because I was in the
middle of shooting for

Eichinger in Berlin 'Dear
Fatherland Be At Peace'.

But then I also bet on Eichinger. I
didn't underestimate Spielberg either

and neither did my girlfriend Maggie.

She became friends with him
and he also wanted to get she over

to the American academy of film.

These were close contacts,

but somehow, they didn't realize.

Yes, here, Mario's scene.

It is a wonderful achievement
as a human and a person.

He ran at my request

before each scene ten,
fifteen times around the house,

until he couldn't anymore.

I ran the first two or
three times in solidarity,

like I always do.

He said: "No, I'll do it, I
have to be in the picture."

And the panting here, the trembling,

he really got it from this exhaustion.

Meaning when Mario...

Look at this! You cannot act like that!

See?

Fifteen times around the house.
That is where this comes from.

I think it is terrific when actors...

This is like sacrificing.

But he wanted it. He wanted it as well.

He has an incredible will to
do things as good as possible.

He's very similar to Dennis
Hopper in this regard.

He just added cocain.

Mario does it with certain
techniques. But this will,

being the best and
nothing else, this is great.

And you also owe a lot to it. Also in
the next scene we are going to watch.

Then this rat, that wasn't easy.

To somehow let them run as they should.

This rat played the part sixty times.

And each time it was finished,
the whole team raced on

trying to catch the rat again,
because we just had two or three rats.

- Brought along, or what?
- No, we had them from the

- veterinary institute in Tel Aviv.
- House rat.

They were kept in a cage.

You can't imagine, this rat...

The one who caught it had a lot of fun.

A beautiful theme here.

Jaki Liebezeit at the guitar.

Can...

When did you come up with the title?

Back then, was an English
title a problem here in Germany?

I didn't feel that.

I thought from the beginning
that the title should be English.

We had the title 'Bloody
Sunshine' as a proposal,

then there was the title 'Showdown'...

DEADLOCK is great but not
many people know what it means.

Yes but somehow...
Look, this is a crazy scene.

They told me the speed of the
train and so were able to rehearse it,

then I imagined how fast they are
and we ran it with the stopwatch.

We calculated where the train was supposed
to be and we marked it on the ground.

And we only had the train
once, we only could shoot it once.

It started in Dimona,
with the camera crew,

Adorf stood on a rock and from
this moment on, it had to work.

Only once it didn't quite work out
when Adorf came out of the picture.

He didn't pay attention
then. I always told him...

That's the production
manager, he already died.

He also contributed significantly to
the fact that we dared to do this at all.

Dieter Schoenemann.

A marvelous production manager.

Shot it once.

They asked me in Hollywood
how many times I did shoot this.

Once.

But... I died beforehand.

Now, here's Enzo's second
and also last appearance.

This betrayal topic
wasn't so important, right?

Between Bohm and Dawson.

That he's the guy who
shot him after the holdup.

Actually, the betrayal
happened immediately.

He tried to kill him right away.

I didn't emphasize it.
Those who understand...

By the way, this was nice as well.
A pyrotechnician was in the car,

he came from the army,
no movie pyrotechnician.

He sat in the car and ignited
when he heard the shot.

It is psychological
important too, I think,

that Dump becomes guilty,

- by shooting.
- Yes, yes!

Yes, that's important, he was right.

- So far, he's always been the victim.
- He also goes over dead bodies.

This is an amazing shot.
Look, now he's walking there

and then I did something I developed.

I always noticed that when
characters look from right to left,

the character on the
right is always stronger.

Because this is the sunrise, kind of.

From left to right is the
normal writing direction,

but the Jewish writing
direction as revelation writing

is coming from the east with the sunrise.

Here, did you see?

If I want both characters to be strong,
I'm dolly shooting across the axis.

He just did it while I was yakking.

You know, one looks right-left,

and if I want the other person
to do this too in the next shot,

I move across the axis
and he has also right-left.

Depends on the axis. I
did this in several movies.

Doing a dolly shot across the axis.

Unfortunately, this was
all while I was yakking here.

But through this I accomplish
that one person is strong,

then I move over and the other one
is getting strong in this perspective too.

Otherwise, one has
always the weaker position.

In the big westerns, the Indian
attacks always come from the right.

Trains rolling into the frame,
they always come from the right.

Everything dynamic is
coming from the right.

And if you now want to give
two figures an equal dynamic,

you can create it by
moving across the axis,

then both are coming from the right.

Otherwise, if one comes from the right,
the other has to come from the left,

in the case of cut and reverse
cut, but once you move over,

during the shot, you
can avoid this principle.

This fly here.

That's Bohm...

with these nice hand gestures.

One could say to the visuals...

You see, the fly. This is simply...

...there are hardly any zooms as
opposed to most spaghetti westerns.

- Or none.
- Hardly any.

Imperceptible. I just used them
to enhance a natural dolly move.

When the camera is moving
anyways and you realize

you need a little more
pressure on the dolly rail,

- you can do it like that.
- This is a stylistic device,

you associate most with it.

But this barrenness
also forbids it a bit.

Well, and here...

We did these shots ceaselessly.

And Adorf went all the way.

He really got exhausted,
was very happy and said:

"Well, now you see it."

And it's this physical presence
which makes it eventually so believable.

For me, this is a typical scene
where the old guy has to prove

that he's the strong one.

He really could have let him go.

- He's saying it also, right?
- Yes, exactly.

He says to him: "You have to show
me what a strong man you are..."

Kid is saying that.

Here, Dawson is also very
good, simply with this expression.

The first poster showed this scene.

It is surely difficult to
nuance something like this

since you had this
plot-wise 500 times before.

Now I wanted to tell
you how we shot this.

Contrary to one version
Adorf put into the world,

but he's telling beautiful stories
so I don't want to take this from him.

We assembled a platform in front
of the car which was 9 feet long

and Adorfwhen he was hitting
the car, walks on the platform,

which you cannot see from
the camera's perspective,

towards the hood where we
attached a sponge with blood,

he hits it with his head,
has blood on his forehead,

gets up and let himself
fall on the platform.

This creates the impression
that he's vanishing under the car.

Then something's juggling as if they were

rolling over him and
he's flying out the back.

That's how we shot it.

And Mario said that we were
planning to let him jump into a hole,

which is completely absurd.
A best boy back then said

that there ought to
be a hole. Yes, correct.

Of course we were brainstorming, a stunt
like that is evolving over many days.

As I said, since I always
appreciated Adorf's stories,

he was also entertaining
the entire crew back then.

Beautiful stories about how
he shot with Brigitte Bardot.

It was completely irrelevant whether they

were true or not, they
were very diverting,

and since we didn't have any TV
in the desert, we enjoyed them a lot,

and that's why he shouldn't
stop telling this story.

It's part of his charm,
even if it's a fairy tale.

But we shot it the way I just told you.

It took a lot of effort to figure out
how to really hit a person with a car

and not like in a normal stunt

somehow flies upward,

but vanishes under the car
but you see that the car is rolling!

I'm still proud of it.

Even in this hole, each
prop is there on purpose.

It's so great, so atmospheric.

Also the wind, which you don't hear
now, if the lamp squeaks so quietly...

- Oh no, that comes only afterwards.
- And the broken off hand from

this cardboard cowboy.

These were also things I felt
from the spaghetti westerns.

There are these mill wheels
which are causing strange noises.

I have this in all my
movies, this noise level.

Sometimes, up to 18 to
20 tapes were running.

Oil pumps in American movies.

Yes, I totally love it.

This is 'Musique concr�te', really true.

A real soundtrack.

Now here's Mascha, the little one.

Plays beautiful woman.

After the movie, Steve
McQueen invited her to Paris,

seemed like he watched the movie there.

He made a racing movie.
It was "Le Mans", right?

- It was "Le Mans".
- She went there,

McQueen put his feet on
the table and Mascha thought

that his behavior wasn't
decent, so she left.

- Well, this is good!
- Totally funny, totally cute.

Then she disappeared
with Bhagwan to Pune,

she helped building the
commune and then started

writing scripts and translating and
now lives in Hollywood as an author.

I can't imagine any
other woman in this part.

When I think about
it... It's just Mascha.

Now there's the gorgeous love scene.

Bohm said: "My dick?
Only over my dead body!"

"My dick isn't in the shot!" I said:
"Marquard, we need this scene.

Come on, we do it very
tender and fine." "No! Never!"

Well... And then one day,

for the external shots where
they're shooting at him at night,

we had 10 brutes with
10kw coming from Tel Aviv.

With trucks, transportation
costs 10,000 bucks with best boys!

When you are shooting
at night in the desert,

there's no light around like in the city,

but you need to light up the
whole desert, so you are able to film

and then you darken the color grading.

These ten brutes were
assembled, plus the ten best boys...

You know, those brutes, huge things!
The entire desert was illuminated!

Then Marquard came
along and said: "Roland...

today, I could shoot this love scene."

"Today, I feel like doing it."

There he has sold
his little dick expensive.

The production manager went
crazy! "Roland, you can't do it!"

"These things cost 10,000 bucks!"

"Is his cock worth it?"

I said: "Listen, have a look
by yourself, it's worth it."

And Marquard wouldn't
have made the scene.

This was the price.

Of course, it's beautiful,
also with the music by Can.

Look, Mascha's fingers.

Look, only she can do it.

So innocent...

These are marvelous
actors, also as persons...

If you have a closer look at
what's happening in the face.

Simply unique...

But the price... it was paid!

This is also classical.

The smokes, the gun, the suitcase.

The suitcase...

And he with his dirty jokes.

That had been shut down
a long time ago, right?

Yes, very long.

I really re-built it.
We put in electricity,

we had to do everything.

We had a generator, had
to install telephone lines,

on the other hand, it was my Hollywood
as well, I could do what I wanted to.

I could break through walls...

- It was great.
- No watchdogs?

Oh, nothing of the sort, no one cared!

We hired a few Bedouins
as a kind of patrol,

so someone watched at
night that nothing got stolen.

I often sat with them at the campfire

and at the end, they stole the props.

Because they didn't understand why
such a lighter is suddenly important,

since it was once in a shot.

Beautiful how Mascha approaches.

She had to run this way twenty
times, at the end she just cried,

so the tears are real.

Of course it was difficult on high
heels, and to exactly coordinate

with the dolly shot in the background.

- Was it very hot?
- It was like 60 degrees in the shadow!

It is the hottest spot on Earth!

Death Valley and over there, there
are constantly fighting where it's hotter.

And he's in a turtleneck.

Yes, yes...

And I had to run
around in a black jacket,

so you wouldn't see my
reflection in the windows.

That's why there's
pictures of me in the book

where I'm wearing a black leather jacket.

I'm sitting in front of the window,
and without it you'd see my reflection.

Completely in black.

Like a Tuareg.

By the way: the whole car sounds
have been generated synthetically.

This clapping has
been made in the studio.

We had no original soundtrack.

That was mean, small, unprofessional,

because we hadn't a real
equipment, no real sound editor,

you were supposed to roughly
know what the people were saying.

The whole soundtrack is synthetically,
the same with "Supermarket".

I love it because I can play and
make music with each clapping

of the car, of the tin.

Or the ignition when
he lets the car roll down,

it is all manufactured.

As if it wouldn't ignite otherwise
just like a synchronous processing.

Yes, yes, each time he's
shifting the gear with a bang.

But still surely not a quiet truck.

No, I got a truck that
sounded right to me,

recorded its sounds
and integrated them here.

Together with Kramski and Kutbay, the two

stars of the sound
editor scene back then.

With tin, buckets, and cans. They
also created the sounds for "Das Boot".

The whole tin in "Boot"
also comes from those two.

This here is way before "Das Boot".

This here is also a dolly
shot, I love those dolly shots.

Suddenly, the ascending can be
emphasized completely different.

See, my dear friend, there you have it.

There still was some
room for improvisation,

or was everything in
the script beforehand?

This is all staged, however, spontaneity

and staging is no
contradiction in my world.

Since I observe the people so closely,

so I just know what they
would do spontaneously.

I'm writing this down before while
I'm building up the whole thing,

also the camera work with the camera man,

and then it's "I would
have done it anyway",

"That's why you get it, go on."

You know, hands to
the hips, stuff like that.

This is one of my basic
concepts of direction,

that there are no differences
between spontaneity and staging.

Because both derive from the
physicality and spirituality of the actor,

and not from some director's
mind somewhere sitting at a desk.

Now he learns or we learn

the precursor of the fact
that the bullet in his arm

had been shot by Anthony
Dawson, alias Sunshine.

And in a posture which shows very clearly

that he's waiting for
the final reckoning.

He's waiting for the
final reckoning, right.

Meaning this conflict in which
Dawson tries to outwit him,

did actually already
happen during the holdup,

when they were robbing the money.

Still he was stronger
because he had the money.

Exactly, there was a
situation where he was

able to get away and the other couldn't.

There was the appointment
to meet here again.

But the betrayal actually
already happened in the past.

By the way, this was also addressed at

night, when they were
lying there in the dark

and Adorf is trying to snatch
the suitcase. And he's saying:

"Someone shot at me."

That's where he
addresses it the first time.

So a classic showdown is in the offing.

And in the classic showdown, as we
just agreed, no one can back down.

- Right, otherwise it wouldn't be one.
- Otherwise it wouldn't be one.

Here comes the music.

The other turns on the music to
remind him of the old friendship.

This is like a hint.

Already from the position
of the strongest, right?

Yes but he's still looking
for an understanding.

"We used to be friends and
listened to the same record at Lilly's."

But...

Anthony Sunshine...

knows that this is the last
fight. Either he wins or he dies.

Actually, he knows.

He cannot share.

The question arises whether Kid
would now also be willing to share.

I think so, yes.

Sunshine has his share.

- He got the leather bag.
- Right, sorry.

It's already divided.

He just got it into his head
that he wants the whole thing.

- Here, a dolly shot again.
- And he's good there.

An infinite sadness, despair...

He can do that. But in the moment
when he's supposed to become dramatic,

it's getting centered.

Where's the money?

It's yours.

Sitting somewhere
in the desert, waiting...

Even when it's not a showdown...

- You certainly like also "Wages of Fear".
- Of course!

One of the most gripping...

You are never gonna find it without me.

Well, and now the situation occurs...

...that Sunshine is blackmailing
him by threatening to shoot the girl.

One could assume, one could say...

He has a choice.

Bohm could save the girl by giving in.

That's the trap he's in.

"Don't do it, Sunshine", he says.

But he doesn't say:
"I'll give you money."

This is, kind of, his tragic complicity.

He could save her but he's unable...

...to get out of this confrontation.

Psychological, for himself,
without losing his pride.

Yes, this is the scene
he is acting there.

In the background, there's still
the shooting over the clothes.

You see the shots in the back.

Of course, Dawson's very good here.

- It also contains a death wish.
- Yes, yes.

So, and out of six characters
now only one is still alive.

Well, with "Supermarket"...

Obviously, I'm a person
who likes ambivalence...

Not a real happy ending and not really
tragic, but in my case an ambivalence,

such an ending. It also
leaves everything open.

The hero stays lonely.

And leaves. A little bit
like in "The Third Man".

The hero stays lonely. Actually,
this is a classical western too.

You know, he's riding out of town at the
end. Maybe he took care of everything,

or maybe he didn't.

But the happy ending when he says: "Baby,
you need to learn how to speak now..."

Not... this.

But in "Supermarket"
it is different, isn't it?

Yes, sure.

But somehow, the lonely
hero is shown at the end...

- And you know what happens.
- Yes, yes.

Well, yes, but maybe he is dying.

You do not know.

Well, that's it in a nutshell.