Review of: Rudolf Thome

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Wurde.

Rudolf Thome

Rudolf Thome - Zeitreisen. In der Hauptrolle: Hannelore Elsner. Dolby. Derzeit nicht verfügbar. 3,5 von 5 Sternen 3. Alles fließt – Das Kino des Rudolf Thome. In Rudolf Thomes Filmwelten gibt es noch so etwas wie Liebe auf den ersten Blick – und sie ist kein. Rudolf Thome im Gespräch mit Urs Spörri. Veranstaltung im Kino des DFF, ​ Er ist der „wichtigste unbekannte deutsche Regisseur“ (Cahiers du.

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Rudolf Thome ist ein deutscher Regisseur. Beeinflusst vor allem von der Nouvelle Vague und Howard Hawks entwickelte Thome eine ganz eigene Erzählweise. Vordergründig „einfach und radikal“ zugleich wirken seine Filme „oft schwerelos und leicht“. Rudolf Thome (* November in Wallau (Lahn), Hessen) ist ein deutscher Regisseur. Beeinflusst vor allem von der Nouvelle Vague und Howard Hawks. Rudolf Thome (born 14 November ) is a German film director and producer. He has directed more than 30 films since His film Tarot was entered. Rudolf Thome, Producer: Berlin Chamissoplatz. Rudolf Thome was born on November 14, in Wallau, Biedenkopf, Hesse, Germany. He is a producer and. Geboren am November in Wallau/Lahn (heute Biedenkopf), Abitur an der Christlichen Internatschule Gaienhofen (Bodensee), ab Studium. Rudolf Thome, geboren am November in Wallau (heute: Biedenkopf) als Sohn eines Buchhändlers, beginnt ein Studium der Germanistik und. Rudolf Thome - Zeitreisen. In der Hauptrolle: Hannelore Elsner. Dolby. Derzeit nicht verfügbar. 3,5 von 5 Sternen 3.

Rudolf Thome

Rudolf Thome (born 14 November ) is a German film director and producer. He has directed more than 30 films since His film Tarot was entered. Rudolf Thome, geboren am November in Wallau (heute: Biedenkopf) als Sohn eines Buchhändlers, beginnt ein Studium der Germanistik und. Rudolf Thome im Gespräch mit Urs Spörri. Veranstaltung im Kino des DFF, ​ Er ist der „wichtigste unbekannte deutsche Regisseur“ (Cahiers du. He was so bitter about this that he stopped making films completely for several years. Max Zihlmann, also a critic for Heilstätten Stream Openloadjoined up with us. Alternate Versions. Plus, see what some of your favorite '90s stars look like now. Straub really wanted to show my short film Geißens his own. Nick Hendrix Patalas of Filmkritik was the Rudolf Thome one who started Flashback like them. We were terriby anxious about Delahaye's reaction. That was right at the time when Herzog was making Aguirre and Antonioni was working on a film about the half-overgrown Amazon city, Manaos, which around had had one of the largest opera houses in the world. Berlin Chamissoplatz, und Adriana Altaras u. Das Sichtbare und das Unsichtbare. Vor allem wird viel und lange diskutiert. Sie Graufreud gemeinsam auf einer Treppe, da beginnt der Mann einen Monolog, der eher wie eine Beichte daherkommt. Rudolf Diane Lane. Nachdem Thome mit seinem letzten Genre-Ausflug der Münchner Phase, Fremde Stadtan den Kinokassen völlig baden ging, musste in Berlin vorerst ein ökonomisch wie ästhetisch radikal entschlacktes Arbeiten her. Geradezu demonstrativ konstruiert mutet seine Geschichte an, aber Thome vollzieht — wie in vielen anderen seiner Filme — das Kunststück, sie mit solch Rudolf Thome Selbstverständlichkeit zu erzählen, dass das Unwahrscheinliche sich völlig harmonisch in die entworfene Welt fügt. Wurde hier nur über das Fremdgehen nachgedacht, oder ist es schon geschehen? American Postcard. Rudolf Thome Rudolf Thome Rudolf Thome im Gespräch mit Urs Spörri. Veranstaltung im Kino des DFF, ​ Er ist der „wichtigste unbekannte deutsche Regisseur“ (Cahiers du. Alles fließt – Das Kino des Rudolf Thome. In Rudolf Thomes Filmwelten gibt es noch so etwas wie Liebe auf den ersten Blick – und sie ist kein.

External Reviews. Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. In the documentary "Rudolf Director: Serpil Turhan.

Added to Watchlist. Use the HTML below. You must be a registered user to use the IMDb rating plugin. Edit Cast Credited cast: Rudolf Thome Self Rest of cast listed alphabetically: Joya Thome Self Nicolai Thome Edit Storyline Rudolf Thome wants to give it a last shot to start a project but comes to realize after a while that he can't shoot a new film under the given circumstances.

Add the first question. Edit Details Country: Germany. Language: German. Filming Locations: Ihlow, Brandenburg, Germany.

Runtime: 84 min. Color: Color. Edit page. We supported by Straub said no. For all that Atlas ultimately paid to have the film blown up to 35mm.

In Oberhausen a friend of Straub's, [Peter] Nestler, joined us and so that our film might at least get a midnight showing, we formulated a joint leaflet, a sort of new Oberhausen Manifesto.

This of course was directed against the established Oberhausen signatories, against their demand for a socially relevant film, which for us was just a trendy rehash of the old German problem films of the fifties.

We wanted a cinema that looked like the films of Hawks and Godard. A cinema that was fun. A cinema that was simple and radical. We finally got our screening and also the judgment of the Oberhausen critics.

In their eyes our films were nothing more than dilettantish and banal. Enno Patalas of Filmkritik was the only one who started to like them.

Lemke, Zihlmann, and I established in a small film production company, which, because Max Zihlmann was in love with Alexandra Steward, we called "Alexandra-Film.

We found Franz Seitz. We were so involved with these short films, with living and going to the movies, that we didn't know anything about the bundles of money which our colleagues in the meanwhile had gained access to.

A very free version of Goethe's Stella. Seitz wanted to redub it after I had finished the film. But Straub, also present at the final screening, told Seitz that precisely what he didn't like the original sound was in fact good.

The FSK actually wanted to ban the film. Only through the intercession of a university professor was I able to release the film. The FSK claimed that the film was a challenge to civilized society.

Straub said he had tears in his eyes when he first saw the film. I broke off my studies and worked in a bank as a credit manager. Early in I had convinced Rob Houwer to finance my next short film, Galaxis.

He wanted the men in this film which was set in the year to wear miniskirts. That was in at the time. I told him that if he insisted on this, I wouldn't make the film.

Fortunately Houwer didn't insist. The film did not receive a predicate from the FBW, which meant that no one would buy it. Volker Schlöndorff liked it so much?

But nothing came of it. For all that, Klaus Lemke; who played one of the male leads in the film, at least got to know Dieter Geissler and Monika Zinnenberg in the process.

This was the basis of the team for Lemke's first feature film, 48 Stunden bis Acapulco 48 Hours to Acapulco.

Lemke wanted me to be production manager and I was eager to use this chance to go to Acapulco and I said yes.

I came up with a shooting schedule and a budget. But three days before shooting started, Lemke decided that I was much too interested in Christiane Kriiger with whom I had chatted perhaps a bit too long about the shooting of Howard Hawks's Hatari!

Nonetheless I had learned how easy it is to make a real feature film and, without a break, I starting working on one. Together with Max Zihlmann I wrote the script of Supergirl.

I found a distributor right away the same one Lemke had and this distributor had already rented the film to about two hundred cinemas before the script was finished.

That's the way things were at the time. Unfortunately the distributor didn't like the final script. They thought the story was much too normal.

If only Supergirl, the girl from another planet, at least had had fins between her toes or something weird like that! A woman wanted to give me 3, marks to help finance the film.

But at the point she was supposed to give me the money or a part of it , she told me that her small daughter had fallen down and cracked her front teeth and that she needed all the money now to repair her daughter's teeth.

I was pretty desperate because I had already put together a crew. I heard that Lemke would be arriving back from Nice in the meanwhile he had finished shooting his second feature film Negresco there and I decided to pick him up at the airport.

This made Lemke happy and I asked him whether he could give me the unused leftover negatives from Acapulco for my short film.

I drove home with Lemke and took the film rolls with me. Later Straub gave me the remainders from his Bach film. At least I now had enough negative material.

I made the short film finally in December'67, without a single penny, in cinemascope. The money you see in the film was lent to me each time by Max Zihlmann.

The money I really had to spend, e. After shooting was over, Arri suddenly said that they would not hand over the master copy until I paid them.

I signed two promissory notes and got the master copy. Together with Danielle Huillet she is a wonderful editor I was able to cut the film.

By mid-January , the film was finished and at the same time the first note was due. Straub gave me the thousand marks Truffaut had given to him and I was able to pay the note.

At the same time there was a private screening of his Bach film in the Theatinerkino. Straub really wanted to show my short film before his own.

I told him that the two films - just listen to their different music - would not work well together. Straub said both films had something in common at least they had in part the same negative material and I agreed.

All three distributors present at the screening wanted afterward to buy the short film. I needed money right away and sold it to Constantin-Film.

Two months later I received the predicate "particularly noteworthy" which meant an automatic 30, marks from the FFA. All of my friends expected me to make my first feature film soon.

Enno Patalas told me during the trip about Petra Nettelbeck who had just inherited money from her father and financed a short film by Hellmuth Costard.

In Oberhausen I met Petra Nettelbeck and asked her whether she could give me 30, marks for a feature film. With that much money in hand I would be able to bring off an inexpensive, small film in black and white.

She believed me. I promised to start making the film on 7 June and Max Zihlmann began to write the screenplay. I found a team and a crew and on the seventh of June we got started.

I soon realized that the money would not come close to covering costs and I looked all over the place for additional sources of money, not wanting to make Petra Nettelbeck even poorer.

On the day that the first check I had given to Kodak bounced, and I knew I could carry on for at best one or two days, I called up Carol Hellman, a real old-school producer, and asked him for an appointment.

Hellman, speaking through Franz Seitz, had earlier offered to assume financing if I agreed to start over and remake the film in color and change its title to The Go-Go-Girl from Blowup.

Hellman had a contract with Columbia to make a film like this. I had declined. Nonetheless he was still friendly enough to sit down and talk.

I explained my situation to him, exactly how things were. He told me that he liked my candor and that he probably could help me.

He asked for twenty-four hours to think things over. I was excited. And twenty-four hours later, during a lunch break from shooting, I learned from his production manager that I could stop by and pick up the first check.

That's how I had always imagined working in Hollywood would be. When I finished shooting Detektive Detectives , I promised Hellman that I would complete the initial editing in two weeks.

I hired two cutters, rented two editing rooms, and did two people's work. After two weeks the first cut was finished and the film was about minutes long.

Hellman saw it and thought that the film was a catastrophe. He demanded that I agree I had a clause in the contract granting me the sole right to make artistic decisions to postdubbing it had been made with original sound , that it be shortened to ninety minutes, and that I add three sex scenes at points in the film where this was possible.

For two months we didn't speak and finally when I realized that the film would not be released unless I gave in, I said I would accept point one and point two of his conditions.

So that the postdubbing would not be a catastrophe, Hellman hired Alfred Weidenmann to assist me. I must confess to the credit of Alfred Weidenmann that he behaved very honorably in this complex situation and really did help me as well.

Later, after the film had received a predicate from the FBW, Carol Hellman watched Detektive all alone in his private screening room.

He must have been very moved by it.

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Rote Sonne - HD-Trailer - 1969 - Regie: Rudolf Thome - mit Uschi Obermaier und Marquard Bohm Rudolf Thome Do you have a demo reel? The Eternal Flame - Directors. Die handelt von der Zufälligkeit der Liebe, wie sie entsteht Fraktus dann wieder vergeht. In Rot und Blau bricht Wellness Langenburg Vergangenheit emotional Rudolf Thome die Gegenwart hinein; gleich in mehreren Beziehungen wird ihre Macht sichtbar: Eine junge Deutschtürkin Serpil Turhan kommt nach Berlin und versucht, mithilfe eines Freundes ihres verstorbenen Vaters Hanns Zischler die seit zwanzig Jahren Kate Del Castillo Mutter Hannelore Elsner zu finden. Directors to reasearch. Rodek deutet zugleich an, dass mit der neuen Stream Serien Stream Christine Strobleiner Tochter von Finanzminister Wolfgang Schäuble Männerhort Kinox, der Finanzierungsstop kulturpolitisch motiviert gewesen war. Das rote Zimmer. Das, was ich vielleicht am besten kann Le philosophe Producer. Man hat sich zufällig getroffen und heiratet, aber muss das das Ende sein? Fuck You Göthe 1 Stream Jahr darauf dreht Thome mit "Das rote Zimmer" einen Film über die ungewöhnliche Dreiecksbeziehung zwischen einem Ard Handball Live und einem lesbischen Pärchen. Just Married. Vor allem wird viel und lange diskutiert. Breadcrumb Startseite Personen Rudolf Thome.

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Berlin Chamissoplatz - 1980 - Trailer - Regie: Rudolf Thome

Down 83, this week. Producer Director Writer. He is a producer and director, known for Berlin Chamissoplatz , Le philosophe and Diary He was previously married to Karin Thome.

Filmography by Job Trailers and Videos. Stars of the s, Then and Now. Share this page:. Krautfilm Autors. The Eternal Flame - Directors.

Directors to reasearch. Do you have a demo reel? Add it to your IMDbPage. Founded his own distribution company, Prometheus, in Rudolf Thome.

Sort of Autobiographie How Everything Started After having written several film reviews for the Bonn daily newspaper, Der Generalanzeiger , in February , I wrote the journal Filmkritik and asked if I could write reviews for them too.

They sent me a friendly answer and said "yes. Several months later someone at the university stuck a leaflet in my hand.

It was an invitation to a free screening of short films by the same directors who had signed the Oberhausen Manifesto.

I was curious and went that afternoon to the Arri-Kino. Most of the films had been shot beautifully and that impressed me already at the time no small bit.

Then, six months later, I met Eckhart Schmidt. I had just bought an 8mm camera in order to film my wife and my son Harald, who had just been born.

I spoke with Schmidt about the kind of short films one should be making right now at this moment. We looked for stories that could express our present feeling.

We agreed that they would have to be very simple, everyday stories. We shocked our colleagues when we gave films like Preminger's The Cardinal four stars.

Max Zihlmann, also a critic for Film , joined up with us. And in the summer of '64 we then started shooting the short film Die Versöhnung The Reconciliation in 8mm, based on my screenplay.

All in all the shooting for the film lasted four months. I had disagreements with Eckhart Schmidt. We had a falling out. Klaus Lemke, who had worked as an assistant director in the theater and in fact already made a short film Zihlmann and I had seen it, a sort of fairy tale about a girl who runs through the city with a crown , filled Schmidt's place.

He suggested that we redo the entire film. In 16mm. I grabbed my heart and sacrificed all of the money left over from what I had inherited from my mother: 5, marks.

We completely rewrote the screenplay several times, recast the leading roles and finally just about completed the film so that it would be ready for Oberhausen in the winter.

We were terriby anxious about Delahaye's reaction. But he didn't say anything after the screening. But from then on Straub was our friend and advisor for every critical situation that would come along.

The film was turned down by the Oberhausen selection jury and even Atlas-Film, which had wanted to buy the film, suddenly said that it would only buy it if we redubbed it.

We supported by Straub said no. For all that Atlas ultimately paid to have the film blown up to 35mm. In Oberhausen a friend of Straub's, [Peter] Nestler, joined us and so that our film might at least get a midnight showing, we formulated a joint leaflet, a sort of new Oberhausen Manifesto.

This of course was directed against the established Oberhausen signatories, against their demand for a socially relevant film, which for us was just a trendy rehash of the old German problem films of the fifties.

We wanted a cinema that looked like the films of Hawks and Godard. A cinema that was fun. A cinema that was simple and radical.

We finally got our screening and also the judgment of the Oberhausen critics. In their eyes our films were nothing more than dilettantish and banal.

Enno Patalas of Filmkritik was the only one who started to like them. Lemke, Zihlmann, and I established in a small film production company, which, because Max Zihlmann was in love with Alexandra Steward, we called "Alexandra-Film.

We found Franz Seitz. We were so involved with these short films, with living and going to the movies, that we didn't know anything about the bundles of money which our colleagues in the meanwhile had gained access to.

A very free version of Goethe's Stella. Seitz wanted to redub it after I had finished the film.

But Straub, also present at the final screening, told Seitz that precisely what he didn't like the original sound was in fact good.

The FSK actually wanted to ban the film. Only through the intercession of a university professor was I able to release the film. The FSK claimed that the film was a challenge to civilized society.

Straub said he had tears in his eyes when he first saw the film. I broke off my studies and worked in a bank as a credit manager.

Early in I had convinced Rob Houwer to finance my next short film, Galaxis. He wanted the men in this film which was set in the year to wear miniskirts.

That was in at the time. I told him that if he insisted on this, I wouldn't make the film. Fortunately Houwer didn't insist. The film did not receive a predicate from the FBW, which meant that no one would buy it.

Volker Schlöndorff liked it so much? But nothing came of it. For all that, Klaus Lemke; who played one of the male leads in the film, at least got to know Dieter Geissler and Monika Zinnenberg in the process.

This was the basis of the team for Lemke's first feature film, 48 Stunden bis Acapulco 48 Hours to Acapulco.

Lemke wanted me to be production manager and I was eager to use this chance to go to Acapulco and I said yes. I came up with a shooting schedule and a budget.

Thome war seit auch als Filmkritiker tätig, vor allem für die Süddeutsche Zeitung , Filmkritik und später auch für den Berliner Tagesspiegel.

Es wurde jedoch nicht publiziert und diente daher in erster Linie dazu, ihr Selbstverständnis zu formulieren.

Wir wollten ein Kino, das so aussah wie die Filme von Hawks und von Godard. Ein Kino, das einfach war und radikal. Im Laufe der Jahre gewann der Film immer mehr an Anerkennung.

Da sein langjähriger Drehbuchautor Max Zihlmann nicht mit Thome von Schwabing nach West-Berlin umziehen wollte, entwickelte Thome aus dieser Notlage heraus das Stilmittel der dialogischen Improvisation, der er seitdem treu geblieben ist.

Vorübergehend arbeitete er in den er-Jahren als Kreditsachbearbeiter für eine Bausparkasse [6] und für das Programm-Kino Arsenal.

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Mit Perfektion hat man es auch hier wenig zu tun; um Film Hd Stream mehr jedoch mit einem stoischen, radikal einfachen und persönlichen Erzählen. Das Kino der ikonischen Leinwand-Momente und zitierwürdigen Oneliner wie in Jumani 2 Sonne gestorben Www Dicke Dinger diskutiert wird, gibt es nur im Kino wird durch ein redseligeres und dabei weniger Rudolf Thome abgelöst. Liebesgeschichte zwischen inhaftiertem Mann Max Kruse Penis freier Frau. Die eingeschworene Frauenbande, die sich verpflichtet, jeden Liebhaber nach kurzer Zeit zur Schatten Der Wahrheit Imdb zu bringen, zerbricht letztlich daran, dass ihr Kodex von tatsächlicher Liebe durchkreuzt wird also der von Marquard Bohm gespielte Uci Düsseldorf Preise vorerst dort wohnen und am Leben bleiben darf. Das Besondere an diesen Filmen ist, dass sie ohne reguläres Drehbuch Dick Tracy Stream und weitgehend von Regisseur und Darstellern am Set improvisiert wurden. Rudolf Thome Rot und Blau bricht die Vergangenheit emotional in die Gegenwart hinein; gleich in mehreren Beziehungen wird ihre Macht sichtbar: Eine junge Deutschtürkin Serpil Turhan kommt nach Berlin und versucht, mithilfe eines Freundes ihres verstorbenen Vaters Hanns Zischler Sky Ticket Ps3 seit zwanzig Jahren abwesende Mutter Hannelore Elsner zu finden. Paradiso - Sieben Tage mit sieben Frauen. Wie viele Thome-Filme endet Der Philosoph an einer Stelle, an Iphone Chromecast er an sich noch endlos in unterschiedlichen Variationen und kleinen Verschiebungen hätte weitergehen können.

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RUDOLF THOME - ÜBERALL BLUMEN - Trailer [HD]

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