If one wants to participate successfully as a director, cameraman or actor in a movie production, passion, talent, good luck, the ability to assert oneself, strong nerves and a bit of exhibitionism is needed. Assistants and interns should also have a significant tendency for masochism. One says. Justly.

Nevertheless, I don't want to miss my time at the set of MUSIKILL. Of course, in the beginning I had to make coffee, carry cameras and tripods, install cables and help out as a set driver (which, and I don't mean it in an ironic way at all, I liked doing until the very last scene was shot); especially by doing these simple tasks at the beginning I had the opportunity to learn something about each field of the production.

From the very talented - and after a zillion of my questions still not being annoyed - cameraman Georg Witterman, I learned not only what it means to roll up a cable correctly, but also how to set up the light, how the mechanism and optic of film and video cameras work and finally how a camera-drive has an spectacular look as well as realizing the script and ideas of the DoP and the director.

With the help of the already mentioned bit of good luck, I was allowed to assist Wilm Bruckner (sound master). A very good sound quality is expected from today's (mass) movie audience. Due to stupidity or lack of knowledge the achievement of the sound master is hardly ever really appreciated. Unknown camera drives are being celebrated as revolutionary, for their contribution to film some directors and actors are being worshiped a long time already. But especially because the finished product, a movie in the movie theatre, is being carried by the voices of the actors and the noises of all kind of movements on the screen, it should be obvious, that the movie experience would loose its uniqueness without an excellent sound.

Seldom are genius and insanity as close to each other as they are with Clemens Keiffenheim. Taking the fact, that being responsible for the direction and the script in addition to the production of a movie, sounds either like having suicidal intentions or complete faith in a project. With Clemens for sure the latter is true. With his heartfelt passion for the script he managed to inspire us over and over.

Truly everybody on the set - as long as everything in ones area was done in the best way possible- always had complete support and the chance to give one's best. To this, I owe my positioning as a still photographer in the end. Finally I want to emphasise, that Clemens' talent, being able to always bring out the ironic and sometimes tragic intentions of the film material with the help of the actors- precise and still easily performed- probably is unique.

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