Yeah, we had a little post-production house in Berlin, called ForFilm. Because we were the first, and only post-production house in Germany featuring Acmade and Moviola equipment, we got the movie. On a side note, the first fax we ever received in our office, fax was very new then you know, was the ok from CentFox. You cannot imagine how it feels, when the first thing you see coming out of the fax machine is the famous logo. I was shaking, and my business partner Klaus Zimmermann and I got drunk that night!
So I came to meet the one and only Craig McKay. One of the greatest editors I have ever met - and I have met many - who taught me the way of transition and scene drama. I learned more from Craig in those 8 months working together than anywhere else. And David Seltzer, who also wrote The Omen, was an inspiration as well.
Oh my, there are so many stories that I could tell, like how I ran over MD, he was standing right behind me, and I did not see him, he is not very tall you see. So when I turned I bumped into him and he fell. I almost got fired for that, but because I belonged to ForFilm, he couldn't. MD, what a guy really. He wanted a goddamn Pullman 600 Mercedes as his car. So we had to look everywhere to find one. When we found one, and we brought it back to Berlin, he did not accept it, because it was dark blue and not black. Well, that's him.
Another memory is when I watched the shooting of Hitler's parade. In Potsdam 1990, the wall had just come down and this part of Potsdam still looked like 1939. All we had to do was to take off the TV antennas, and there we were. All the extras, hundreds and hundreds of them, 1930ies police on horses, Hitler youth, the roar of the engine of his original car, the flags and the hysteria of the people going bonkers when seeing Hitler, you could really feel it. Still gives me goosebumps. It felt like the devil had come alive.
Or one afternoon with Melanie Griffith, I walked with her while she was crying. Don Johnson just called to tell her that Stefano Casiraghi had died. She is actually a very kind person.
Unfortunately, the movie is not good. But the memories are very strong and I won't miss them.
So I came to meet the one and only Craig McKay. One of the greatest editors I have ever met - and I have met many - who taught me the way of transition and scene drama. I learned more from Craig in those 8 months working together than anywhere else. And David Seltzer, who also wrote The Omen, was an inspiration as well.
Oh my, there are so many stories that I could tell, like how I ran over MD, he was standing right behind me, and I did not see him, he is not very tall you see. So when I turned I bumped into him and he fell. I almost got fired for that, but because I belonged to ForFilm, he couldn't. MD, what a guy really. He wanted a goddamn Pullman 600 Mercedes as his car. So we had to look everywhere to find one. When we found one, and we brought it back to Berlin, he did not accept it, because it was dark blue and not black. Well, that's him.
Another memory is when I watched the shooting of Hitler's parade. In Potsdam 1990, the wall had just come down and this part of Potsdam still looked like 1939. All we had to do was to take off the TV antennas, and there we were. All the extras, hundreds and hundreds of them, 1930ies police on horses, Hitler youth, the roar of the engine of his original car, the flags and the hysteria of the people going bonkers when seeing Hitler, you could really feel it. Still gives me goosebumps. It felt like the devil had come alive.
Or one afternoon with Melanie Griffith, I walked with her while she was crying. Don Johnson just called to tell her that Stefano Casiraghi had died. She is actually a very kind person.
Unfortunately, the movie is not good. But the memories are very strong and I won't miss them.