Alexander Wadhouh • Film Chromosome Producer

Chosen as part of the mobile producers, the German producer tells us how important it is for filmmakers to take their time

Alexander and Duh He worked at Essential Filmproduktion and later founded his own company Chromosom Film. He is now developing proverbs Loose Lucy‘s What do you call love?About dysfunctional relationships or Florian Hoffmann‘s monsters timeThe year 1914 is about a vaccine against “sleeping sickness” in Togo. Now selected for Producers on the Road, he spoke with us about his work and his vision.

(The article continues below – business information)

Cineuropa: Are you looking forward to seeing other participants in Cannes this year?
Alexander and Douh: I won’t be staying there for long, but it looks like it will be very busy – we will make up for the last couple of years. It would be great to see all these international partners. During the Berlinale, almost no one was there [due to Covid restrictions]. You are doing your best not In order to meet.

I’ve been productive for a while now, I think we can safely say that without making you look like a 100-year-old man.
I’ve been in this field for 23 years – I started when I was 19. At first, I wanted to become an actor, I wanted to shine and shine, and then I thought of directing. I applied for a production class at DFFB [German Film and Television Academy Berlin] Almost by chance. And they took me! I had no idea what the production was.

Later, I had the opportunity to work for Philip Popper For the Office of Co-Production and Essential Filmproduktion. I’ve always wanted to do international co-productions – that was one of my goals. I worked on import and export [+see also:
trailer
film profile
]
by Ulrich Seidlemployment Ilya Kharzhanovsky‘s dawwhich they released 10 years later, or Cornel Mondrocho‘s delta. I wanted to pursue these high-end films also with my own company, which I funded in 2006. Again, these filmmakers are demanding and difficult to work on these films sometimes. I thought, “I’d like to focus on a different area of ​​international co-production with people who aren’t too exhausted.” Although it was an inspiring time.

How are you looking for partners now? On your website, you say you value “long-standing alliances”.
I did two movies with [Amsterdam-based production company] Topkapi and I learned a lot from them. When they come to me with a project, I’m halfway there – you can count on these partners. Same thing with managers. Once you get to know them, it’s easier to carry on – you have an understanding. We do many firsts, so we’re part of the team that builds them and teaches them how to produce as well.

That’s interesting. Usually, the director is not expected to know how to produce works.
Some are open to it, even interested in it, and some just don’t have access to the way their producers think. But when we tell them something is too expensive there is little resistance – it’s not like we’re driving around in a Ferrari and they can barely survive. There is this mutual trust. Also, arthouse isn’t where you make a lot of money, so we’re focusing more on whether we can make this movie happen. Can we finance it, will it become a reality?

Sometimes we have younger managers who want to speed up on their next projects. They need to understand that it takes time. People don’t know if your project will improve – they judge based on what they see. “Quickly” is a word that does not belong to cinema. Nothing fast and nothing cheap.

Producing documentaries also takes time. What’s your biggest difficulty when working on it, or perhaps your biggest advantage?
You are more flexible. You can post things. Now, we’re shooting Gabriel Brady‘s Wolves always come at night in Mongolia. It took a long time to prepare, but now two people are going there. The hard part is that film funds in Germany tend to judge projects on a commercial level. They want to see if there is cinematic potential, but documentaries don’t always end there and you can’t attach high-level actors to impress people. Now, we’re shooting test scenes and footage that we can give to film funds and financiers.

You were telling complex and varied stories before they were on everyone’s mind. Are you still ambitious?
Most of our projects are complex, you are right. They are set abroad, dealing with topics like terrorism that are not easy to absorb. But we didn’t make something like Borja [+see also:
interview: York-Fabian Raabe
film profile
]
Because we wanted to make a ‘Variety Movie’. We’re looking for interesting stories and interesting filmmakers who have something to say.

When we shot Laila M. [+see also:
film review
trailer
film profile
]
It was the height of the Syrian war. I am half Syrian and I used to ask myself if my grandmother was proud or angry, seeing her people portrayed like this. or take Hungry Ghost Island [+see also:
film review
trailer
film profile
]
, where stories about Bengali refugees have been basically put together with the lobster migration that has been taking place in this place since ages. When you watch these movies, you know what the world was thinking – they came from a specific time. They aren’t Marvel movies that focus on something general, like the importance of friendship or love. More people are going to watch Marvel or Bond, which is fine, but that’s not why I want to make movies.

(The article continues below – business information)

Leave a Comment

Your email address will not be published.