Fiction Factory / Films

FICTION FACTORY ROBERT FISCHER FILMPRODUKTION
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2024

Against All Odds: Georg Feil on Producing The Cat

Beyond Good and Evil: Christoph Fromm on Writing The Cat

Good Times: Dominik Graf on Directing The Cat

Bernardo Bertolucci on Last Tango in Paris

Carroll Baker: Looking Back

Kim Novak: Looking Back

Angie Dickinson: Looking Back

Auggie’s Corner: Wayne Wang on Smoke

Invitation to a Party: Tony Bill on Hal Ashby’s Shampoo

Katja Rupé erzählt, Teil 2: Deutschland im Herbst, Endstation Freiheit und Theater in Paris

Katja Rupé erzählt, Teil 1: Vom neuen Theater zum neuen Heimatfilm

Le Cinéma en jeu: L’Amour fou de Jacques Rivette revisité

Making Melodrama Work: Robert Blees on Robert Aldrich’s Autumn Leaves

Rainer Erler erzählt: Operation Ganymed (1977)

2023

The Art of Seduction: Milos Forman on Valmont

Making a Difference: Jean Porter-Dmytryk on Edward Dmytryk

Ein Handwerker des Kinos: Elke Seel-Viandon über das Leben und die Filme von Robert Vernay

Rainer Erler erzählt: Plutonium (1978)

This Boy’s Innocence: John Moulder-Brown on »The House That Screamed«

Edward Dmytryk on the Hollywood Ten

2022

Rainer Erler erzählt: News – Bericht über eine Reise in eine strahlende Zukunft (1986)

An American Dissident: Milos Forman on The People vs. Larry Flynt

Das Arturo-Projekt

»Was zählt, ist die Idee«: Curt Siodmak erzählt

Slow Days: Asta Scheib on »Fear of Fear«

Working with Fassbinder: Renate Leiffer on »Fear of Fear«

Working with Fassbinder: Renate Leiffer on »Mother Küsters Goes to Heaven«

Man in the Shadow: Michael Fengler on Rainer Werner Fassbinder

Freedom or Death!: Michael König on »The Niklashausen Journey«

Taking Off: Michael König on »Rio das Mortes«

2021

Personal Investment: Sydney Pollack on American Cinema and 40 Years in Hollywood

Jack Arnold Remembers: The Incredible Shrinking Man

Das Publikum im Blick: Rainer Erler über seinen Film »Fleisch«

Rainer Erler erzählt: Fleisch (1979)

Le Partage du plaisir: Souvenirs personnels du Dernier Métro

Rainer Erler erzählt: Die Kaltenbach-Papiere (1991)

Rainer Erler erzählt: Zucker (1989)

Rainer Erler erzählt: Die Halde (1975)

Rainer Erler erzählt: Das blaue Palais (1974/1976)

Rainer Erler erzählt: Von der Bavaria zur Pentagramma (1952-1973)

2020

High Atlas Adventure: Angela Allen on John Huston and The Man Who Would Be King

The Gentle Giant: Danny Huston on His Father John Huston

Codes to Live By: Walter Hill on »Johnny Handsome«

Der Albers, die Romy und ich: Michael Heltau über Harald Brauns »Der letzte Mann«

A Son Remembers: Sean Hepburn Ferrer on Audrey Hepburn and »The Children’s Hour«

The Hour of Truth: Veronica Cartwright on William Wyler’s »The Children’s Hour«

Richy, Schocker und die anderen: Regina Ziegler über »Die große Flatter«

Am Set von »Doktor Faustus«: Erinnerungen von Peter Seitz

Teufelsbünde: Dichtung und Wahrheit in Thomas Manns »Doktor Faustus«

A Son Remembers: Sean Hepburn Ferrer on Audrey Hepburn and »Two for the Road«

Berliner Ballade: Die Restaurierung

Ganz Berlin lacht sich kaputt: Wie die »Berliner Ballade« entstand

2019

Die sichtbare Seele: Elisabeth Wicki-Endriss über Bernhard Wickis »Sansibar oder der letzte Grund«

Core of Reality: Robert Blees on Douglas Sirk’s Magnificent Obsession

Life As It Is: Miloš Forman on His Czech Films, Part 2

The Beauty of the Land: Anthony Slide on Andre De Toth and The Indian Fighter

Rebellion auf Elba: András Fricsay über Bernhard Wickis »Die Eroberung der Zitadelle«

Giselas Erinnerungen: Ingrid Resch über Bernhard Wickis »Warum sind sie gegen uns?«

Salomon and Josef: Sally Perel on Europa Europa

Cut to the Chase: Stuntman Conrad E. Palmisano on The Electric Horseman

The Eclectic Designer: Bernie Pollack on Sydney Pollack’s The Electric Horseman

Peace of Mind: A Personal Look at Samuel Fuller’s China Gate

Bad Boy: Arno Frisch on Funny Games

Trojan Horses: Michael Haneke on Funny Games

Game Culture: Alexander Horwath on Funny Games

Running in the Dark: Glenn Erickson on Jules Dassin’s Night and the City

An American Tapestry: Milos Forman on Ragtime

Un film fantôme: Stéphane Tchal Gadjieff à propos de Jacques Rivette et »Histoire de Marie et Julien« (1975)

Observing Fassbinder: A Tribute to Photographer Peter Gauhe

No Strings Attached: Renate Leiffer on Rainer Werner Fassbinder and World on a Wire

A Tune for Laura: David Raksin Remembers

2018

A Dangerous Nostalgia: Simon Callow on The Magnificent Ambersons

A Killer’s Emotions: Tony Curtis on Richard Fleischer’s The Boston Strangler

Out of His Mind: Richard Fleischer on The Boston Strangler

Monocles and Cigars: Simon Callow on Charles Laughton and »Witness for the Prosecution«

The Marlene Dietrich Collection

The Real Amy Jolly

Crazy Love: Janet Bergstrom on Josef von Sternberg’s Morocco

Painting with Light: Nicholas von Sternberg on Josef von Sternberg

Life As It Is: Miloš Forman on His Czech Films, Part 1

Life As It Is: Miloš Forman on Miloš Forman

Visiting… Budd Boetticher: Budd Boetticher on the Ranown Cycle

Illusion of Freedom: Richard H. Kline on John Frankenheimer’s Birdman of Alcatraz

Produced and Directed by Otto Preminger: An Appreciation by Peter Bogdanovich

Film Beyond Cinema: The Dumpster Kid Experiment and Other Utopias

Acting with Fassbinder: Margarethe von Trotta on Baal

Richard Fleischer: Looking Back

Jean Oser [on G.W. Pabst’s Kameradschaft]

All As One: Hermann Barth on G.W. Pabst’s Kameradschaft

Jean Oser [on G.W. Pabst’s Westfront 1918]

2017

The Beast Inside: Creating »Wolf«

The Hired Hand: How Monte Hellman Almost Directed »The Mechanic«

American Samurai: Dwayne Epstein on Charles Bronson and »The Mechanic«

Erinnerungen an »Via Mala«: 3. Sissy Höfferer

Erinnerungen an »Via Mala«: 2. Mario Adorf

Erinnerungen an »Via Mala«: 1. Jörg Graser

Über »Die Brücke« nach Hollywood und zurück: Elisabeth Wicki-Endriss über Bernhard Wicki

Der Junge mit der Panzerfaust: Michael Hinz über Bernhard Wickis »Die Brücke«

Simon Callow [on Orson Welles’s ‘Othello’]

Avanti!: Clive Revill Remembers

Armer Bruno: Mario Adorf über »Nachts wenn der Teufel kam«

The Actor’s Quest: Isabelle Huppert on The Piano Teacher

Viennese Obscenities: Michael Haneke on The Piano Teacher

G.W. Pabst’s »Kameradschaft«: An Introduction by Jan-Christopher Horak

G.W. Pabst’s »Westfront 1918«: An Introduction by Jan-Christopher Horak

Father Figure: Steve Rowland on Roy Rowland

The Biggest Game: Jan-Christopher Horak on Fritz Lang’s »Man Hunt« and Hollywood’s Anti-Nazi Films

The Woman Is Dangerous: Vanessa Wanger Hope on Joan Bennett, Walter Wanger and Fritz Lang

Means of Survival: Christopher Knopf on Robert Aldrich’s »Emperor of the North« and Writing in Hollywood

Antonythasan Jesuthasan [on Dheepan]

Strange Aliens: Jacques Audiard on Dheepan

Guy Green: A Life Behind the Camera

Enchanted Island: Michael Green on the Filming of The Magus

Wim Wenders on Buena Vista Social Club

Sucker Punch Blues: A Look Back on John Huston’s »Fat City«

A Search for Truth: Robert C. Jones on Hal Ashby’s »The Last Detail«

About a Trip: Alexander Payne on Hal Ashby’s »The Last Detail«

Program Notes: An Introduction to »The Last Detail« by Alexander Payne

Bunny Lake Is Missing: Clive Revill Remembers

Bunny Lake Is Missing: Carol Lynley Remembers

Mirror Images: Harry Baer on Fox and His Friends

2016

A Unique Collaboration: Jan-Christopher Horak on Saul Bass and Otto Preminger

Being Beryl: Judy Geeson on Richard Fleischer’s »10 Rillington Place«

Cop Stories: The Making of Richard Fleischer’s The New Centurions

Simon Callow [on Orson Welles’s Chimes at Midnight]

Norman Eshley [on Orson Welles’s The Immortal Story]

Traveling Roadshow [Rüdiger Vogler, Hanns Zischler and Lisa Kreuzer on Kings of the Road]

Outer Movement, Inner Movement [Rüdiger Vogler and Lisa Kreuzer on Wrong Move]

Still Alice [Yella Rottländer, Rüdiger Vogler and Lisa Kreuzer on Alice in the Cities]

Hans Fromm on Phoenix

Love/Work/Cinema: A Conversation with Christian Petzold and Nina Hoss

Bright Colors, Deep Blacks: Conrad L. Hall and the Visual Style of »Black Widow«

The Predator and Her Prey: Ron Bass on Writing »Black Widow«

Outside the System: Alan Heim on Editing Frank Perry’s »Doc«

Truth Be Told: Stacy Keach on Frank Perry’s »Doc«

Remembering »Duelle«: Bulle Ogier and Hermine Karagheuz

Framing Jonathan: Bruno Ganz on The American Friend

Colorado Chic: Lee Purcell on Richard Fleischer’s Mr. Majestyk

Colorado Cool: Richard H. Kline on Richard Fleischer’s Mr. Majestyk

2015

Pure Cinema: Joe Napolitano on Brian De Palma’s Body Double

Les Mystères de Paris: »Out 1« de Jacques Rivette revisité

In a Foreign Country: Michael Haneke on Code Unknown

Beyond Morality: Fabrice du Welz on Leonard Kastle’s »The Honeymoon Killers«

Body Shaming: Todd Robinson on Leonard Kastle’s »The Honeymoon Killers«

Folie à Deux: Todd Robinson on the Real Lonely Hearts Killers

Love Letters: Tony Lo Bianco, Marilyn Chris and Stan Warnow on The Honeymoon Killers

The Tall Writer: Christopher Knopf on The Tall Stranger

Sentiment et Raison: Christian Braad Thomsen à propos de Fassbinder et Brecht

Le Poète et le Cinéaste: Volker Schlöndorff à propos de »Baal«

Martine Barraqué [on François Truffaut’s Day for Night]

Pierre-William Glenn [on François Truffaut’s Day for Night]

Volker Schlöndorff on Bernhard Wicki

Gregor Dorfmeister [on Bernhard Wicki’s The Bridge]

Hans Hirschmüller on The Merchant of Four Seasons

Irm Hermann on Rainer Werner Fassbinder [and Merchant of Four Seasons]

How to Brand a Film: Jan-Christopher Horak on Saul Bass and Cowboy

Capturing the West: A Tribute to Charles Lawton Jr. by Richard H. Kline

Delmer Daves by Michael Daves, Part 2: Cowboy

The Shadows of Noir: Phedon Papamichael on Delmer Daves’s 3:10 to Yuma

Delmer Daves by Michael Daves, Part 1: 3:10 to Yuma

Father Knows Best: James Schamus on Eat Drink Man Woman

The Essence of Life: Ang Lee on Eat Drink Man Woman

The Best Man: Mitchell Lichtenstein on The Wedding Banquet

A Comedy of Remarriage: James Schamus on The Wedding Banquet

Family Values: Ang Lee on The Wedding Banquet

The Center of Gravity: Ang Lee and James Schamus on Pushing Hands

Return to Beethoven Street: Sam Fuller in Germany

Große Premiere mit kleiner Verspätung: Wie der Heinz-Erhardt-Film »Geld sofort« vor dem Vergessen bewahrt wurde

The Bike Work: Craig R. Baxley on the Motorcycle Stunts in Rollerball

The Fourth City: Shooting Rollerball in Munich

Last of the Independents: Don Siegel and the Making of Charley Varrick

Michael Ballhaus on The Bitter Tears of Petra von Kant

Outsiders [on Rainer Werner Fassbinder’s The Bitter Tears of Petra von Kant]

2014

Michel Chion [on Jacques Tati]

Johanna ter Steege on The Vanishing

George Sluizer on The Vanishing

Perspectives on »Othello«: Joseph McBride on Orson Welles

Touching Death: Alejandro Amenábar on »Tesis«

Arbeiten mit Billy Wilder: Ein Gespräch mit Mario Adorf

Inside Rupert Pupkin: Thelma Schoonmaker on Martin Scorsese and The King of Comedy

Auf eigenen Schwingen: Die Visionen des Sir Hubert von Herkomer

Einladung zum Totentanz: Johannes Schaaf über »Traumstadt«

Die Melancholie des Untergangs: Johannes Schaaf über »Trotta«

Swan Song: The Story of Billy Wilder’s Fedora

The Otherness of Sound: The Tangerine Dream Score [for Michael Mann’s Thief]

2013

Metin Erksan and Fatih Akin on Dry Summer

Rumble on the Lot: Walter Hill’s Streets of Fire Revisited

The Fury: A Location Journal

Spinning Tales: Fiona Lewis on Brian De Palma’s The Fury

Blood on the Lens: Richard H. Kline on Brian De Palma’s The Fury

The Many Faces of Mike Hammer: A Personal Recollection by Larry Cohen

Edouard Molinaro [on La Cage aux Folles]

In Praise of Smaller Movies: Adam Greenberg on The Last American Virgin

Babe of the Eighties: Diane Franklin on The Last American Virgin

Memories of a Pizza Boy: Lawrence Monoson on The Last American Virgin

The First American Remake: Boaz Davidson on The Last American Virgin

No Trespassing: Joe Dante on »Piranha«

Slow Motion: Walter Hill on Sam Peckinpah

The Northfield Minnesota Raid: Anatomy of a Scene

Outlaw Brothers: The Making of The Long Riders

Real Killer, Fake Nose: Richard Fleischer’s »The Boston Strangler« Remembered

Split Screen Personality: William Friedkin on Richard Fleischer’s »The Boston Strangler«

Richard Fleischer, Storyteller: William Friedkin on »Violent Saturday«

2012

Rag Doll Memories: Nancy Allen on Blow Out

Black and White in Color: Vilmos Zsigmond on Blow Out

Return to Philadelphia: George Litto on Blow Out

Lessons in Filmmaking: Keith Gordon on Dressed to Kill

Dressed in Purple: Nancy Allen on Dressed to Kill

Dressed in White: Angie Dickinson on Dressed to Kill

Symphony of Fear: George Litto on Dressed to Kill

Will He Live or Will He Die: Walter Hill on Southern Comfort

Aldrich Over Munich: The Making of »Twilight’s Last Gleaming«

Ohne jede Empathie: Michael Fuith über »Michael«

Eine Art von Normalität: Markus Schleinzer über seinen Film »Michael«

A Winter’s War: Keith Gordon on A Midnight Clear

Ultimate Intimacy: Urszula Antoniak on »Code Blue«

Filming Rage: Oliver Stone on Talk Radio

2011

The Cinema and Its Double: Rainer Werner Fassbinder’s »Despair« Revisited

Ted Kotcheff’s Gourmet Cinema: The Making of »Who Is Killing the Great Chefs of Europe«

Schach mit Dürrenmatt: Maximilian Schell über »Der Richter und sein Henker«

»Deep End«: Remembering the Deleted Scenes

Starting Out: The Making of Jerzy Skolimowski’s Deep End

Erinnerungen an »Hemingway«: Bernhard Sinkel im Gespräch mit Robert Fischer

Before »Taking Off«: Milos Forman’s Road to America

Erinnerungen an den »Kinoerzähler«: Bernhard Sinkel im Gespräch mit Robert Fischer

Erinnerungen an »Kaltgestellt«: Bernhard Sinkel im Gespräch mit Robert Fischer

Erinnerungen an den »Taugenichts«: Bernhard Sinkel im Gespräch mit Robert Fischer

Erinnerungen an den »Mädchenkrieg«: Bernhard Sinkel im Gespräch mit Robert Fischer

Erinnerungen an »Berlinger«: Bernhard Sinkel im Gespräch mit Robert Fischer

Erinnerungen an »Lina Braake«: Bernhard Sinkel im Gespräch mit Robert Fischer

2010

Simon Callow on Charles Laughton

Murnau and the Advent of Sound: Janet Bergstrom on City Girl

A Sense of Americana: John Bailey on F.W. Murnau’s City Girl

Erinnerungen an »Felix Krull«: Bernhard Sinkel im Gespräch mit Robert Fischer

Von der Liebe und den Zwängen: Mutmassungen über Fassbinders »Ich will doch nur, dass ihr mich liebt«

Full ›Circle‹: The Two Versions of Max Ophuls’ La Ronde

Making an American Movie: Lutz Bacher on Max Ophuls and The Reckless Moment

Erinnerungen an »Väter und Söhne«: Bernhard Sinkel im Gespräch mit Robert Fischer

Letters from the Front: Carlo Lizzani on »Germany Year Zero«

2009

Unraveling the Enigma: The Making of »Marienbad«

Working with François Truffaut: Nestor Almendros, Director of Photography

Visualizing The Last Metro

Performing The Last Metro

Saving Cain: Robert Blees on Slightly Scarlet

The Man Who Bought a Canyon: Robert Blees on Allan Dwan and Cattle Queen of Montana

Fast Shooter: Stuart Whitman and Harry Carey, Jr. on Allan Dwan and »Silver Lode«

The Last of the Old Masters: Peter Bogdanovich on Allan Dwan

A Conversation with Allan Dwan by Peter Bogdanovich

Douglas Sirk erzählt… Zarah Leander und »Zu neuen Ufern«

Working with Max Ophuls: »Lola Montès« Revisited

A Tribute to Douglas Sirk by Allison Anders

Interview von Robert Fischer mit Wayne Wang

2008

An Introduction to »All I Desire« by Allison Anders

Fille d’Eve: Piper Laurie on No Room for the Groom

Fun on the Lot: Remembering Has Anybody Seen My Gal

Acting for Douglas Sirk: Written on the Wind and The Tarnished Angels Remembered

Acting Normal: Billy Gray on Douglas Sirk’s All I Desire

Infernal Circle: Bill Krohn on Douglas Sirk’s The Tarnished Angels

Perspectives on the American Family: Allison Anders on Douglas Sirk’s There’s Always Tomorrow

So Many Years Later…: Pat Crowley and Gigi Perreau on Douglas Sirk’s There’s Always Tomorrow

Talk About the Business: William Schallert on Douglas Sirk’s The Tarnished Angels

Working with Max Ophuls: Annette Wademant, Co-Writer

Working with Max Ophuls: Marc Frédérix, Assistant Decorator

Working with Max Ophuls: Daniel Gélin on »Le Plaisir«

Working with Max Ophuls: Robert Christidès, Set Decorator

Working with Max Ophuls: Tony Aboyantz, Assistant Director

Working with Max Ophuls: Daniel Gélin on »La Ronde«

Circles of Desire: Alan Williams on Max Ophuls’ La Ronde

Marcel Ophuls on Max Ophuls

Filmheld Mackie Messer: Michael Pabst über G.W. Pabsts »3 Groschenoper«

Reise in die Vergangenheit: Ulli Lommel über seinen Film »Haytabo«

Beyond Melodrama: Kathryn Bigelow on Douglas Sirk

Malle’s Fire Within

Tempus fugit, manet amor: Jacques Rivette à propos de «Va savoir»

Szenen aus dem parallelen Leben: Erinnerungen von Jacques Rivette (2)

Szenen aus dem parallelen Leben: Erinnerungen von Jacques Rivette (1)

2007

Kurosawa and the Censors

Sanftmut und Gewalt: Bernhard Wicki im Gespräch mit Robert Fischer

Displaced Person: Peter Lorre and »The Lost One«

Out There in the Dark: Wesley Strick on the Secret of Douglas Sirk

Contract Kid: William Reynolds on Douglas Sirk

Born to Be Hurt: Sam Staggs on Douglas Sirk’s Imitation of Life

»Ach, die Sissi!«: Wie Romy lernte, nein zu sagen

Ein Seelenhaus: Michael Pabst über G.W. Pabsts »Der Schatz«

Heisser Sommer ’68: Ulli Lommel über »Detektive«

Die Einzelkämpferin: Christiane Höllger über ihre Freundin Romy Schneider

Zwei Bücher für Romy: Ein Besuch bei Renate Seydel

A Tapestry of Music: Laurence Rosenthal on His Score for Becket

Requiem for a Killer: The Making of Blast of Silence

The Making of Highlander: IV. The Producer’s Point of View

The Making of Highlander: III. A Strong Woman

The Making of Highlander: II. The Visual Style

The Making of Highlander: I. A Legend Is Born

2006

Death in This Garden: Jean-Paul Rappeneau on The Horseman on the Roof

Men of Mystery: Simon Callow on Orson Welles’s Mr. Arkadin

Reviving Harry Lime: Harry Alan Towers on Producing Radio Serials with Orson Welles

Moral Tales, Filmic Issues: A Conversation between Barbet Schroeder and Eric Rohmer

The Shadow of My Father: Michael Pabst on G.W. Pabst’s Pandora’s Box

Ernst Lubitsch in Berlin: From Schönhauser Allee to Hollywood

Dalton Trumbo: Rebel in Hollywood

Infinite Pleasure: Todd Haynes on Max Ophuls’ Le Plaisir

Working with Max Ophuls: Alain Jessua on the Making of Madame de…

Le Plaisir: From Script to Screen

Maternal Overdrive: Todd Haynes on Max Ophuls’ The Reckless Moment

Alter Ego: Harry Baer on Rainer Werner Fassbinder

A Powerful Political Potential: Todd Haynes on Sirk and Fassbinder

Multilingual Murder: A Conversation Between Alfred Hitchcock and François Truffaut

A Cinema of Signs: Claude Chabrol on Alfred Hitchcock

2005

Larger Than Life: Norman Corwin on Orson Welles and Radio in the Forties

Jean-Claude Carriere on Cyrano de Bergerac

Working with François Truffaut: Suzanne Schiffman, Script Girl, Assistant Director, Co-Writer

Being Charlie: Charles Aznavour on Truffaut’s Shoot the Piano Player

Willy Kurant [on Jean-Luc Godard’s Masculin feminin]

A Drama of Manners: Mike Figgis on Anthony Asquith’s The Browning Version

Working with François Truffaut: Jean Gruault, Co-Writer

2004

Catherine Breillat at the Berlin International Film Festival, February 2001

The Sadist’s Smile: Karlheinz Böhm on Fassbinder’s Martha

The Roots of the Wounds: Juliane Lorenz on Fassbinder’s In a Year with 13 Moons

Love and Despair: Werner Schroeter on Fassbinder’s In a Year with 13 Moons

2003

Rui Nogueira on Melville

Cinematographer Xaver Schwarzenberger

Screenwriter Peter Märthesheimer

Hanna Schygulla: Remembering RWF

The Honeymoon Killers Interview: Leonard Kastle

Working with François Truffaut: Claude de Givray and Bernard Revon, Co-Writers

Edited by Thea Eymesz

Interview with Brigitte Mira [on Ali: Fear Eats the Soul]

Interview with Jost Vacano [on The Lost Honor of Katharina Blum]

Johannes Heesters: Erinnerungen an »Die Fledermaus«

Hanna Schygulla: Lili Marleen Remembered

2002

You Love Me Anyway: Hanna Schygulla and Ulli Lommel on Fassbinder’s Love Is Colder Than Death

Fassbinder in Hollywood

2000

Milos Forman: Film Is Truth

Never Stop Beginning: Ufa Star Carola Höhn

1999

Monsieur Truffaut Meets Mr. Hitchcock