By Marion Schmid, Herbert Gehr, Juliane Lorenz
(Applause Books). Rainer Werner Fassbiner left in the back of a literary and cinematic legacy which holds a special position within the background of ecu movie and within the tradition of the 20th century. It developed because the expression of an period, among 1966 and 1982, in a rustic which used to be then one other Germany and which now not exists.
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Additional resources for Chaos as Usual: Conversations About Rainer Werner Fassbinder
Nothing was the same. What brought antiteater into being? That was entirely Rainer and Willi's work. I didn't want to see any of them; I was furious with them and with myself. The next thing I remember was The Beggar's Opera. They had found space for their antiteater in Witwe Bolte, a pub somewhere in back of the university. That was antiteater's fifth performance. By then, in 1969, I was back on the team. We now lived at Nordliche Auffahrtsallee near Schloss Nymphenburg. Again it was Irm, Rainer, Willi, and myself -a wonderfully creative time.
But after Querelle he was tired and even told me so. I said, "So sleep for a few days. " But there was this pressure about getting the movie to Cannes on time ... It was the first time I said, "I can't do it. I can't edit a Dolby-stereo film in ten days. " He was desperate. His total exhaustion did not come from drugs but from work, from constantly pushing himself to the limit. Rainer hardly ever slept. In the early days, he refused to touch drugs. Drugs made him nervous. Maybe he knew that, once he started, he wouldn't be able to stop.
She must have offered him something-the cuisiniere, as they called her in the salons of Europe. Was Goethe superior to her? It's a good example, though it doesn't shed much light on the psychological process. Rainer had one peculiar quality: extreme dependence on others depending on him. Did you find him gullible in any way? No, but he was so transparent that he was like no one else. Our own reflections in his face were more complex than anything we had ever learned about ourselves. Let's now turn to the project you worked on together in 1975, the movie Shadows of the Angels.
Chaos as Usual: Conversations About Rainer Werner Fassbinder by Marion Schmid, Herbert Gehr, Juliane Lorenz