La vegetazione era molto rigogliosa, è incredibile cosa la natura possa... Die Vegetation war sehr regal. Es ist unglaublich, was die Natur tun kann. Hier probieren wir das letzte Training von Dutak Mitsu und erzielen die Natur. Nur er hat heute die Goldmedaille gewonnen, aber auch...... sich bei Brüdern, Schwestern und Kindern zu verabschieden. Die Situation in den Wäldern Schweiz verschlimmert sich täglich. Mittlerweile stehen drei Viertel davon im Brand. 27 Prozent sind bereits vollkommen zerstört. Es ist uns vor 40 Jahren undenkbar erschienen, dass eine Hitzebremse hier in Skandinavien uns Teile unseres Landes kostet, meinte der Premierminister Adrian Walder während der gestrigen Krisensitzung. Einfache Sitzungen reichen in Venedig allerdings nicht mehr aus. Heute Morgen erreichte uns die erschütternde Nachricht. Die Kulturstadt ist endgültig versunken. Die Welt trauert um das ehemalige Symbol für Kunst und Kultur. Hallo Leute, bin gerade am Weg zum Launchpoint und habe noch ein ungutes Angebot für euch. Ihr wisst schon, wer mich die letzten Tage verfolgt hat, NovaSpace hat mir die Möglichkeit gegeben auf Planet B zu reisen und dort zu leben und ihr könnt das natürlich auch. Ihr könnt hier auf den Link gehen und meinen Rabattcode eingeben und erhaltet 15 Prozent für das nächste Ticket. Aber beeilt euch! Das Angebot gilt nur mehr bis 5 vor 12. Also see you on planet B! Zwei Wochen ist auf sozialen Plattformen die Rede von einem Planet B, einer zweiten Erde. Privatpersonen werden immer wieder mit Werbungen und Aufrufen konfrontiert, die dazu animieren sollen, sich ein Ticket für diesen angeblichen neuen Planeten zu kaufen. Wie sich nun herausstellte, sind das Fake News. Die NASA deckte den Skandal vor einigen Stunden auf und nach einer ausgiebigen Prüfung kam man zu dem Schluss, dass es die Firma NovaSpace, die dahinter stecken soll, nicht gibt. 10.000 Euro pro Ticket haben die Betrugsopfer verloren. Und die Experten stehen vor einer Herausforderung, denn wie es scheint, ist es hoffnungslos, den Weg und Aufenthalt des Geldes zurückzuverfolgen. Die zahlreichen auf den Betrug hereingefallenen müssen sich nun die Frage stellen, was tun jetzt, wo es keinen Planet B gibt. Kjell, du har en kväll! El Código de la Ciencia El Código de la Ciencia El Código de la Ciencia El Código de la Ciencia El Código de la Ciencia El Código de la Ciencia Choco, choco, la, la No, es por el codo No, pero ahora hace mal Ay, hay chicas Mira, mira esto No, tenés un montón de cosas Pero no me querías poner nada Sí, sí, sí, o sea, yoés un montón de cola. No, no quería hacer nada. Sí. O sea, yo lo vi a Matías con una cara. Sí. Y además no sabía cómo decírselo. ¡Vaya! ¡No, la manzana! Se viene y no llega a casa. ¡Sí! ¡El rinraje! Puedo llevar mi twister porque me da un poco de cosa jugar al rinraje. Ay, duele. Yo no puedo. Tengo patina. ¿Y esas es la mejor? ¡Mira! ¿Ves? How can I find a way to make you see? I love you. Words don't come easy. Words don't come easy to me. This is the only way for me to say I love you, words don't come easy And I'm just tired of you seeing me You're a issue for me, it's true I'm really tired of you ¿Qué pasa? Semi-trabant SEMISTERÍA VALCARTE Muy bien, a ver, Renata, eso, miro para el frente, ahí, sigo el eje, muy bien, de ahí voy a carrito, bien, dale. Bien Dale Martina Eso, estiro más los brazos Mentón arriba, el torso arriba Caro, cuidado, seguí tus compañeras Ahí va Abajo los hombros, Catalina Muy bien Natalia, ¿por qué no se van con Inés y le pasas los pasos que hicimos recién? Dale, Renata, eso, muy bien, arriba Estiro brazos Mentón arriba, brazos estirados y empujo Dejé, mentón arriba Arriba, eso ¿Qué pasó, Inés? Me duele la panza. Bueno, si te trae un ratito y tomá agua. Eso, muy bien. Estiro más el torso, Catalina. Ahí va, ojo, ojo. Ojo, mi compañera. Ahí va, estiro más el torso, Catalina, ahí va, ojo, ojo, ojo mi compañera, ahí va, estiro, muy bien, quiero apuntar los pies. ¡Gracias! Usa tan la mejor? Que pasa, Inés? ¿Cómo estás de la panza? Hola. ¿Cómo están? Hola. ¿Cómo están? ¿Cómo estuvo todo hoy? Bien, todo bien. ¿Vos? Ya que está Javi, contale que te duele la panza. ¿Te duele la panza? ¿Querés que te revise? ¡Ay, qué mal humor! ¿Un minuto? Sí. Gracias. Bien, loco, eso, muy bien. Inés, los visciones para adelante, eso, y las cervicales, cuidado porque te vas a hacer mal. ¿Y qué? ¿Vos también sos médica? Inés. Inés, ¿por qué me respondiste así? ¿Qué pasa? Hablemos bien. Inés. ¿Qué pasa? ¿Querés que la llame tu mamá o querés volver a la clase? Bueno, vamos y la voy llamando. A veces cuando las cosas no salen como queremos, hay que darle su tiempo y nada más. ¿Vamos? Dale. Lleguen horario, practiquen, maquilladas, peinadas, coman sanito. ¿Sí? Preparadas. Muy bien. Muy bien vos hoy, ¿eh? Muy bien, muy bien vos hoy, eh. Hola Inés, ¿qué tal? Hable con tu mami y te llevo yo a tu casa, ¿sí? Bueno, vengan chicas que dejé el auto en doble fila, me van a matar. Mirá este, le cortamos las mangas un poco y acá le ponemos más brillitos así de varios colores de los mismos acá. Una guarda. ¿Y el pelo? ¿Qué te querés hacer? ¿Una colita alta? ¿Una trenza cosida? ¿Hola? Le cambiaron la medicación Y bueno, hay que ver cómo la tolero Te agradezco un montón Sí, me hace muy bien saber que están ahí No, lo que pasa es que La dije tantas veces hoy que yo no sé qué Qué estoy diciendo Estoy un poco mareada Porque Sí y no No sé qué estoy diciendo. Estoy un poco mareada. Porque... Sí y no. Yo te voy a mantener al tanto, claro. No, no necesitamos nada. Dale, pasito. A ver, peinado. Se bruna. ¡Vale, pasito! A ver, peinado. ¡Ten por uno! ¡No, no, no! ¡Vale, tenés que peinar, dale! ¡Dime! ¡Con media, pero! ¡A media! ¡A media! ¡Ten, ten, ten! ¡Ten, ten, ten! ¡Ten, ten, ten! ¡Ten, ten, ten! ¡Ten, ten, ten! ¡Ten, ten, ten! ¡Ten, ten, ten! ¡Ten, ten, ten! ¡Ten, ten, ten! ¡Ten, ten, ten! ¡Ten, ten, ten! ¡Ten, ten, ten! ¡Ten, ten, ten! ¡Ten, ten, ten! ¡Ten, ten, ten! ¡Ten, ten, ten! ¡Ten, ten, ten! ¡Ten, ten, ten! ¡Ten, ten! ¡Ten, ten! ¡Ten, ten! ¡Ten, ten! ¡Ten, ten! ¡Ten, ten! ¡Ten, ten! ¡Ten, ten! ¡Ten, ten! ¡Ten, ten! ¡Ten, ten! ¡Ten, ten! ¡Ten, ten! ¡Ten, ten! Vamos a estar sorteiendo un montón de premios. Televisores, minicomponentes, bicicleta, un colchón de plaza y media. Ellas son las más pequeñitas, así que les vamos a dar un fuerte, fuerte aplauso. A ellas que estuvieron ensayando un montón de veces, que pusieron garra de las hadas de la selva. ¡Fuerte el aplauso! Words don't come easy to me How can I find a way to make you see I love you Words don't come easy Words don't come easy. Words don't come easy to me. This is the only way for me to say I love you. Words don't come easy. easy I'm just a music melody for my best friend but my words are coming out wrong and I reveal my heart to you and hope that you believe it's true cause words don't come easy to me How can I find a way to make you see I love you, words don't come easy This is just a simple song that I made for you on my own. There's no hitting me, you're the one. ¡Gracias! ¡Gracias! Don't come easy to me How can I find a way To make you see I love you Words don't come easy It isn't easy Words don't come easy. Thank you. I'm sorry. Was ist Kunst? Kunst, ganz kurzer Satz. Kunst ist Kunst. Wer versucht die Kunst zu definieren, der hat die Kunst nicht verstanden. Kunst ist subjektiv. Punkt. Kunst kann man nicht definieren. Wie trinkst du deinen Kaffee? Ich bin ein richtiger Pussy. Quatsch. Ich trinke nämlich ganz viel Milch und mächtig viel Zucker, also wirklich so fünf Löffel Zucker. Ich trinke keinen Kaffee, ich trinke nur Kakao. Und dann so ein Drittel Milch. Chai-Dee mit Honig und Zitrone. Und dann Schaum ich mich am besten. Definitiv größer, wie man sehen kann. Ich war immer die kleinste Person in den Schulklassen oder so. Und wie in der Volksschule war, hat die Schulärztin sogar gesagt, dass ich irgendwie so Hormone kriegen soll, dass ich größer werde oder schneller wachs. Aber meine Eltern haben mich das nicht machen lassen und mittlerweile verfluche ich sie dafür. Ich werde kein Großes. Wie viele Fragen hast du schon beantwortet? Ich würde sagen... Ich weiß nicht, infinite Fragen. Wir beantworten Fragen jeden Tag. I don't know, infinite questions. Like, we answer questions every day. We need to answer questions for our entire life. But is actually our answer the right answer? Do we actually even answer questions? Or do we just put more questions? Ich weiß nicht, was ich jetzt sagen soll. Gehen wir. Raus. So. Wir sind auf einem ganz schlechten Weg als Menschheit. Und es ist so unwahrscheinlich, dass sich das irgendwie noch verändern wird. Wir können es ein bisschen herauszögern vielleicht. Das wäre richtig cool. Was bist du? Also, ich bin ein Buchse. verändern wird. Wir können es ein bisschen herauszögern vielleicht, das wäre richtig cool. Was bist du? Also, ich bin ein Fuchs. Mensch, denke ich. Was siehst du, wenn du in den Spiegel schaust? Ich glaube manchmal sogar nicht einmal mich selbst. Meistens nicht mich selbst, so. Ich sehe eigentlich nur... Das, was ich im Spiegel sehe, hat halt sehr wenig damit zu tun, wie ich mich selber gerne sehen würde. Deshalb versuche ich manchmal, mein Aussehen irgendwie zu verändern. Aber ich glaube nicht, dass mein Aussehen irgendwann mich darstellen wird. Ich glaube, heute habe ich Angst vor Spiegeln, weil ich Angst habe, dass ich in Wirklichkeit nicht viel mehr bin, als das, was da im Spiegel ist. Ich weiß es nicht, aber ich mag die Person im Spiegel. Ich grüße mich nicht. Hast du Angst? Tauben, Glas und langweiliges Leben. Welche Allergien hast du? Ananas. Ja, das ist ein sehr witziges Thema. Ich habe basically eine richtig harte Allergie gegen Haarfarben. Ich habe zigtausende Allergien und die Hälfte davon merke ich mir nicht ganz, aber Hunde, Kassen. Wenn ich mir meine Haare jetzt färben würde, dann würde mein gesamter Kopf auf die doppelte Größe anschwellen. Pollen, Gräser. Eigentlich habe ich immer gedacht, dass ich überhaupt keine Allergien habe. Ich kriege Fieber und es kann sein, dass mir die Haare ausfallen. Dann noch verschiedene Obstsorten. Sollte das in meiner Blutbahn landen, kann es sogar sein, dass ich stirbe. Schmerzhaft letzte Woche herausfinden müssen, dass ich eine Penicillin-Allergie habe und ich bin nacktloserintolerant. Meine Familie halt. Was sind drei Worte, mit denen dich deine Großeltern beschreiben würden? Gott sei Dank tragen wir nicht denselben Nachnamen. Höflich. Schwachdunkel. Verschonkert. Was ist das für ein Wort? Ein lieber Bub. Was ist der Sinn des Lebens? Ich finde, man darf nicht vom Leben erwarten, dass es dir einen Sinn gibt. Und jeder Mensch muss selber schauen, dass es dir einen Sinn gibt. Und jeder Mensch muss selber schauen, dass er seinen eigenen Sinn im Leben findet. Und das kann ganz banal sein, aber du musst halt selber den Sinn im Leben finden, weil das Leben gibt dir keinen Sinn. Jeder kann was bewirken, jeder hat eine Aufgabe, aber die muss er finden. Was bedeutet Leben? We have to work on it. Every task has to be done. What does love mean? What does life mean? I think we are here just to learn. Eventually to make others happy. Ich weiß nicht, nur um zu lernen, andere glücklich zu machen. Oder vielleicht bedeutet es nichts und wir sind wie ein Flut. Wir sind zum ersten Mal in Form von Kuchen und dann werden wir uns verändern. Und wir sind nur in einer mittleren Phase und haben keine Ahnung, was daraus kommt. Ich glaube. Das ist richtig schwierig. Worauf freuen wir uns? Ich freue mich drauf, wenn Corona vorbei ist. Ich freue mich auf das nächste Mal, wenn irgendwas richtig Cooles passieren wird, ohne dass irgendwer damit gerechnet hat. Und das ist halt wirklich häufig so. Wenn man jetzt daran zurückdenkt, was vor einem Monat war, da ist echt viel passiert, worauf man sich hätte freuen können, wenn man damit gerechnet hätte. Und es gibt eine Menge Dinge, auf die man sich auf die lange Sicht freuen kann. Es gibt eine Menge gute Musiker, die noch leben. Was interessiert dich? Abgesehen von Astrologie und diesen ganzen Sachen. Gitarre spielen. Pse Psychologie. Sitzen. Viel zu viel rauchen. Feiern. Eis, Koffee trinken. Alles. Das ist viel zu ehrlich. Welche Farbe trägst du gerne? Heute Grün. Welches ist dein Lieblingsgrün? Ich würde sagen, mein Lieblingsgrün ist wirklich so ein dunkles Grün. Forest. Ich finde so helles Grün cool bei den Klaufen. Oder etwas sehr schwarz. Musik Welche Ziele hast du dir gesetzt? Überleben. Don't let them hear Who I find You So sweet Love me one And a seven See Hello? I moved into my house two years ago. I suppose my house turned into my home on day 730. These are a few of my favorite things. Baking chocolate chip cookies. Watching old films. The kind that make you wonder what it feels to be in love. Baking chocolate chip cookies while watching old films. Oh, and making coffee and taking Polaroid pictures, of course. I'd be lying to you if I didn't admit that the only way that I can feel okay is by fixating on the moon. I've tried a lot of things before. Morse code. The only way that I can feel okay is by fixating on the moon. I've tried a lot of things before. Morse code. Love letters. Terror. Turn around. But taking Polaroid pictures was the only thing that ever stuck. Every night I made myself a cup of coffee. Took my Pol with the camera. And then I took a picture of her. Now for a quick commercial break. For only $3.33 you can get your anxiety right here, right now. At this great price you can feel as if you were spiraling in your own thoughts and can't get out. Side effects might include hyperventilation, sweaty palms, a sudden urge to never talk to anyone again and not wanting to leave your bed for the entirety of the day. Get your anxiety today. Now back to regularly scheduled programming. The moon! Where is the moon? Where is the moon? Where is the moon? Where is the moon? I'm right here. This moon? That's me. I'm... I'm Tara. I know who you are. Your name is Tara. You've lived in this house for 730 and a half days. Your favorite thing to bake is chocolate chip cookies shaped like hearts. You love watching old movies about love. You mesmerize me. A little bit like I think I mesmerize you. It's okay to not be okay sometimes, you know? Oh, my God! © transcript Emily Beynon Thank you. piano plays softly موسیقی در موسیقی درسته Musik Ausmaß der Brände war gestern... Thank you. අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි අපි Thank you. What separates us? Was uns separiert hat. Alle und alle von uns. Hey, oh, Alter, schon gehört. Klopfen wir an zu. Ich zerschlange die Scheiben, bis der Boden bricht Tanz auf meinen Beinen, zu Hause im Rampenlicht Ich zerschlag die Scheiben, bis der Boden bricht Tanz auf meinen Beinen Zuhause im Rampenlicht Ich zerschlag die Scheibe Bis der Boden bricht Tanz auf meinen Beinen Zuhause im Rampenlicht Ich zerschlag die Scheibe Bis der Boden bricht Tanz auf meinen Beinen Zuhause im Rampenlicht Ich zerschlag die Scheibe Bis der Boden bricht Tanz auf meinen Beinen, zu Haus im Rampenlicht What separated us? What separated us? All and all of us What separated us? What separated us? All and all All and all this ប្រូវាប់ប់ប់ប់ប់ ប្រូវាប់ប់ប់ប់ ប្រូវាប់ប់ប់ប់ ប្រូវាប់ប់ប់ប់ ប្រូវាប់ប់ប់ ប្រូវាប់ប់ប់ ប្រូវាប់ប់ ប្រូវាប់ប់ ប្រូវាប់ ប្រូវាប់ ប្រូវាប់ ប្រូវាប់ ប្រូវាប់ ប្រូវាប់ ប្រូវាប់ All in all, all in all of us All in all, all in all of us All in all, all in all of us All in all, all in all of us All in all, all in all of us All in all, all in all of us All in all, all in all of us All in all, all in all of us All in all All in all All in all All in all All in all All in all All in all. What separated us? What separated us? What separated us? What separated us? What separates us? What separated us? What separates us? What separates us? All in all of us. you Kansai International Airport Dramatisk musikk Die Geschichte der Klinik Das ist ein bisschen lang, oder? Aber ich mag nicht Epoca, wo genau. Sorry. Kannst du nicht aufpassen? Was ist mit dir? Entschuldigung. Wie das hier schon viel an hat. Ja, alles. Gehen wir mit ihren Freunden fort. Nå er vi på veien. Scheiße. Was ist passiert? Das kann jetzt nicht sein. Bin ich jetzt im Körper dieser Loserin? Bin ich jetzt echt in dem Körper von diesem scheiß Arschloch gefangen? Was machst du da bei Patrizia am Spind? Ich muss dir was sagen. Heute... Es interessiert mich eigentlich nicht. Wie soll ich das jetzt irgendwem anderen erklären? Und bleibt das jetzt auch so? Ich brauche deinen Code. Warum? Ich bin du. Ähm, ja, stimmt. 365. Ich brauche aber auch deinen Code. 187. Ja. Zu wem soll ich jetzt nach Hause gehen? Also hat mein Alter nicht merken, dass es nicht ich bin. Und zu wem soll ich jetzt nach Hause gehen? Ich bin doch nicht so dunkel. Thank you. Systems Online. Nearby alien creatures in stable orbit. Scanning. Uh-huh. No! That's why I don't leave anything to you. What does that mean? Maybe if you actually let me do anything around here, I could be... Warning. Evacuate immediately. What? They shouldn't be here. They're out of orbit. Give me the controls. I know how to shoot them down. Stop! You'll mess it up. There's too many. We can't make it through. Let me do it! Access denied. You disabled my... You don't know what you're doing. Just stay in your room. Engine down. No! Backup damaged. Error. Lev. Give it to me! Lev! Give it to me! I can't shoot them forever. I need your help. Let's do it. Ranao, Malaysia. Home to the biggest cabbage growing industry and the only cabbage statue in the world. Seeing the cabbage is a once in a lifetime, never going to happen again experience. Book your cabbage tour now at 1800 CABBAGE 01. I love you. The Sari kata oleh SDI Media Apa yang kamu buat di sini? Bersiapkan beg kamu. Kita perlu pergi lihat statu kacang. Statu kacang di Renau. Di mana itu? Di Malaysia. Statu kacang di Renau, Malaysia. Lelaki, mitos, industri tur myth, the multi-million dollar tourism industry. A presentation on why it's imperative that Ruthanne Kelly go see this statue. Today in this presentation I'll be covering a brief history of Renal, a brief history of the cabbage statue, the symbolism of cabbages in Southeast Asia, geography and climate of Renal and its relationship to the cabbage statue, the symbolism of cabbages in Southeast Asia, geography and climate of Renault and its relationship to the cabbage. This concludes my presentation on why we need to go to Renault to see the cabbage statue. As soon as possible. Like tomorrow. We'll be back before Sunday. Didn't you finish your homo already? Yeah, but... This is a once in a lifetime, never going to happen again experience! If we don't go this weekend, then we'll clash with the cabbage statue pilgrimage. And then JTP Lewis is starting next week. Do we really want to fight with all the aunties and uncles who want to see the cabbage statue? Is the test really worth missing out on? Is it really? I just need to insert some excitement into my life please. We need to pack. Is that true? Is the test really worth missing out on? Is it really? I just need to insert some excitement into my life please. We need to pack. Is that a yes? Yeah. Saya minta maaf kerana saya terlewat. Saya tak boleh buka kamera saya. Adakah kamu dapat menemukannya? Tidak. Saya ada telefon saya. Kita terlewat dengan pelanggan 90 tahun, jadi kita perlu tunggu untuk mencari pelanggan. Anyway, we missed the 9am bus so we have to wait for the 24 hour one. Must keep the badge on. I got the spray. Terima kasih. Hai.嗨,你知不知道那座香蕉雕像是在蜂巢中的那座名牌?又是兩個新加坡人來看那個蜂蜜雕像我們是不是轉右還是轉左?謝謝转右还是转左谢谢Ruth谁啊 你好 Who are you? I'm tired. I'm going to sleep. Do you think this is it? You mean there's no map to the statue? What was the point of them printing all these flyers? Adakah kamu fikir ini sahaja? Maksud kamu, tiada map untuk bintang? Apa tujuan saya untuk menghapus semua buku ini? Ya Tuhan, saya tak boleh berhubung dengan Maxime di lokasi ini. Tak mengapa. Saya sudah membuat semua map. Adakah kamu tahu bagaimana untuk membaca map? Ya. Saya sedang mencuba brownies. Oh, betul. Saya lupa kamu lakukan itu. Apa yang kamu lakukan dalam brownies? Kami lakukan banyak perkara. Seperti apa? Seperti... Awak tahu, kita rosakkan marshmallow. Hanya itu? Tidak. Jadi? Kita buat penyumbang. Ruth, bolehkah kita nyanyikan suatu lagu untuk menjaga keadaan kita? Tidak. Adakah itu ya? Tidak. Adakah itu ya? Tidak. Ayuh, saya hantar kamu ke tempat yang baik malam tadi. Tengok harmonika itu. Tapi mengapa mereka akan membangun kawasan ini? But why would they build a telescope? Get up. I thought you said the statue was 200 metres from the bus stop? Maybe the map's wrong. But I think we're nearby. Don't worry, I can feel it! I think your feeling has gone almost lost. Statu itu 200 meter dari toko bus. Mungkin jenama itu salah. Tapi saya rasa kita berada di dekat sini. Jangan risau, saya boleh merasakannya. Saya rasa perasaan kamu sudah hilang. Mari kita cari tempat untuk tinggal malam ini dan cuba lagi esok. Tidak, tidak, tidak. Kita akan cari semuanya segera. Mari kita teruskan. Dah 6 jam. Statu itu tak akan bergerak di tengah malam. Kita sudah sampai sejauh ini. Mari kita teruskan. Awak selalu buat begini. Buat apa? Awak ada masa untuk berputus asa. Saya mengekori awak untuk melayani Malaysia untuk bintang awak. Ya, dan awak berputus asa sebelum kita dapatnya. Saya tak berputus asa dengan bintang awak. Saya cuma berkata kita patut cuba lagi esok. Saya takkan bimbang awak untuk ikut saya. Ini sama seperti tahun lepas, ketika kami tak dapat melihat kucing di Koning Island kerana kamu berputus asa. Kucing di Koning Island mati 3 tahun lepas! Tiada bintang kacang! Lain kali jangan minta saya datang. I always do this shit for her. You know why? I can't go along with stupid- AH! Fuck! Ruth? Ruth! Ruth! Dania. Oh, Tuhan. Oh, Tuhan. Satu tajam. Apa? Tidak, lupakan saja. Kita akan cari dia esok. Satu tajam di mana? Dania! Oh, Tuhan! Oh, Tuhan! Satu katil. Apa? Tidak! Lupakan saja! Kita akan cari dia esok. Satu katil di Malaysia sekarang. Di mana? Di mana? Di sana. Do you want me to dig it out for you? Use this fork. I'm going to take a short break and go to the next station. R1 Kjell Kjell I'm sorry. Thank you. Hi and welcome everyone, I'm Leonie and here with me is Emilia Herbst. Today we talk about the film An Invisible Apprentice. Let's start with the first question. What inspired you to make a film like an invisible apprentice or what was their background story okay hi how are you well this story is about my life when i was young so it's like a method of catharsis i don't know if you understand me but is when I the story is about when I was young and my sister was ill I it's a really sad story and I needed to do it because when I start growing up I start comprehending another things that I really need to do this this film is yes it's about my life when I was 11 years old so it's a real story yes it's a real story in the beginning of the process I start to separate the real life from the story but then when I start writing and doing the casting and all the stuff I say it's really hard to separate the real life from the channel so I do I say well I will do it really the most real way of the of my life I think that's really cool that you are that you made a film about your real life that's really cool and what was the biggest challenge or let's say what was the most challenging scene to shoot well there is a scene where there are 15 rolling skating girls yes 11 years old and this is in filming it's not in digital way so I shot one or two times so that was really hard because was like the choreography and the girls and yes that was really hard yeah I think that was really hard and it looked very cool and why did you shoot everything on film? Because it was an award from the university. Oh, okay. They told me that this movie, because of the story and the sensitive, was going to be like added value, for saying it in another way. It was shot in Phoenix. That's the reason i really loved the look of the film it was so beautiful thank you yeah um thank you for this talk about your film i wish you all the best thank you and hopefully we see another film from you next year. I hope the same. I hope the same. And thank you for the interview. And I hope you understand my English well. Yeah, of course. Thank you. Bye. Bye. Bye. Welcome to the Q&A with the filmmakers of the film Taubenglass, which we are really excited to show. So you are all for the writers, directors, producers to this film, right? And you are all complete with Paul Pippern, Manuela und Foto Pernusch und Manoa Merzich. Können Sie zuerst darüber sprechen, wie Sie Ihre Themen gefunden haben oder wie Sie vielleicht zu den Themen, über die Sie den Dokumentar überwiesen haben, verbunden sind? Manoa, mö want to start? Yes, it was more of a, we started the project and we had a few different ideas, but in the end we were like, okay, we want to make something that's more stylistic and about an aesthetic than about the people or the context that we're interviewing. And then we just thought to ask some friends who we thought looked good and collected video material and then just started to work how it feels the best, how it felt the best. best. So what was the context of this project? So like the root, what idea did you start with? Well actually it was the idea was that we make an interview but we focus on the visual aspect so that the things that people say that are actually pretty interesting and that was just a coincidence, it was actually not the plan at all. The key word was stylized interviews and we worked around that basically. And how, because you are four people, so how did you all work together um we started with filming so we kind of like um everyone did a part of it so we all uh thought of the questions we filmed together like mostly and then when it came to cutting we just uh everyone took like uh a question and worked around that and worked around it so every question has another uh cutter has another editor yeah because we had um a few questions because we had a lot and people that we interview were able to pick the questions they wanted to be asked and so they approximately knew what they were getting asked and then we had a few of the same of course because a lot of people picked the same things and then we just cut these together with those little video snippets we had in between and so we had then 11 parts 11 different questions and then we cut those together and yeah we just went on like that so you did not expect the film to be also so poetic and kind of deep because you thought this would more be questions about coffee and yeah things like that we we um we just picked every question that we asked started with with a w and a lot of them were very senseless a lot of them did have like a lot of deep meaning if you talk it out and our interviews we just told them they can answer whatever they don't even need to answer the question they can just say a word they can say something completely different just whatever they feel like and so if you talked a lot if you didn't at all so we just then worked on what we had that's cool so but i feel like um the people that you made the documentary about knew you very well or like trusted you yes there's a lot of credit to like how the video went with what the people said and we knew we wanted to do something with our friends because like they look very cool and yeah they're very it's they're very visual people so it was very artsy from the beginning because we had their looks and then it just came out that they have like interesting things to say and we could work around that it was really nice it was it was just a cool combination of very visual people who are maybe just very deep into individuals they it just worked out it worked out so great honestly we we couldn't expect any better from that from them okay well um thank you uh for for your answers and for your beautiful film um and maybe see you at Yuki. Yes, hopefully. Hello everyone, I'm Laurence and I'm speaking to Sarah Blake, the director of Holding Hands with the Moon. You're 18 years old, you're a student filmmaker attending Sarah Lawrence College Film School in New York. And dear Sarah, my first question to you is in holding hands with the moon the moon is the moon assumes of human form and visits the protagonist who is struggling with anxiety um what does the moon stand for in this story I definitely feel a lot of connection to Tara and so for me um the moon in Holding Hands with the Moon was sort of like the support from my best friend through the pandemic like she was very much always there for me and I very much leaned on my feminine friendships and the feminine and femme identifying women in my life for support through that hard point in my life when I was experiencing a lot of anxiety and there's no better way to do that than depict it through art and through film and so that's what I did and my uh the nickname for my best friend is moon girl and so I was like oh moon girl moon and so I just turned my best friend into this like human um but also like object kind of moon planet um kind of solar system situation into a character in my film which meant a lot to me um and in terms of cinematography the film has a very distinct look um and and also style what inspired you to to go for this analog look yeah so um my director of photography uh was just so talented he's a filmmaker himself and makes incredible films and so he was super helpful in helping me figure out what I wanted my film to look like. But to be honest, I think my film is just like a representation of my personality and the things that I like. Like I very much love taking Polaroid pictures, baking, watching old movies, like making heart shaped chocolate chip cookies. Those are all things that I did during the pandemic. So it really was just a reflection of myself. So it really was just a reflection of myself. And I'm a firm believer that to be a really good filmmaker, it kind of stems from an understanding of who you are as an artist before you can, at least for me, before I can really make films that I think resonate with a specific audience and that I think really let me uncover who I am even more. And so, yes, the film has a very specific analog look, but to be honest, I think it was just representation of like my own character with the help of my director of photography, Jack Cosgraph. Thank you very much for your talk. And I hope to see you soon in real life, maybe. Absolutely. Ich hoffe, dass wir uns bald in der realen Welt sehen. Absolut! Viel Glück mit deinem zukünftigen Arbeit und tschüss! Vielen Dank! Und danke Yuki stattfinden. Yuki veranstaltet auch dieses Jahr wieder Online Q&As mit allen Filmschaffenden, die ihre Filme präsentieren. Und ich freue mich besonders, dass ich heute ein Gespräch haben darf mit Eva Kirschner, die den Film The Redness of Earth bei der Yuki präsentiert. Du bist in der jüngsten Alterskategorie vertreten und das ist besonders toll, dass wir jetzt auch ein Gespräch führen können. Danke Eva, dass du heute Zeit hast. Ich starte mit der ersten Frage und zwar befasst sich dein Film mit sehr schweren Themen, aber auch sehr aktuell wichtigen Themen. Es kommen Waldbrände vor, es kommt Krieg vor und ich würde gerne von dir wissen, warum du dich dazu entschieden hast, dich mit solchen schweren Themen filmisch auseinanderzusetzen? Das ist, weil ich mich persönlich sehr mit diesen Themen auseinandersetze. Ich denke oft drüber nach und es ist auch so, dass ich einfach manchmal glaube, dass Menschen das einfach nicht immer bewusst ist, was in unserer Welt jetzt so vorgeht, was da jetzt nicht mehr so passt, was man ändern sollte. Und dann haben wir einfach gedacht, ich würde so gerne einen Film dran machen, wo ich das zum Ausdruck bringen kann, dass man was ändern sollte. Und dann bin ich auf die Idee gekommen, eben auf das Rote Erde. Und dann haben wir doch gepasst, einen Film zu machen und da würde ich sozusagen die Augen öffnen, dass wir was machen müssen. Super, das ist besonders cool, das ist ja bei vielen Filmen der Fall und ich finde es auch voll schön, dass das auch schon bei der jüngsten Alterskategorie ein Wunsch ist, da irgendwo inhaltstarke Filme zu machen. Und ein Film ist aber nicht nur inhaltlich stark, sondern auch irgendwo sehr symbolisch oder visuell, sehr kreativ. Und zwar gibt es einen sehr harten Cut. Am Anfang sind harmonische Mohnblumenfelder. Eine junge Frau, die auch du verkörperst, geht über ein Mohnblumenfeld und pflückt Blumen. Und dann gibt es einen harten Cut zu Nachrichtenberichterstattungen. Und ich würde dich gerne fragen, wie du auf diese Idee gekommen bist, das so umzusetzen? Den Cut wollte ich machen als, ich nenne es jetzt mal Schock mit Anführungszeichen, weil am Anfang schaut das alles so verträumt und schön aus, wenn man da Blumen sieht und ein Mädchen, das spazieren geht und beschützt die Blumen halt. Und dann wollte ich extra so einen Schock-Cut machen, der ein wenig flasht, nenne ich es jetzt einfach, wo es einem ein wenig schreckt. Wo man dann merkt, das passiert gar nicht, das passiert schnell und genauso schnell kann alles zerstört werden. Aber es kann alles gut werden und darum ist dann zum Schluss auch wieder diese beruhigende Musik und die Blumenwiese, um zu sorgen, dass nun nichts alles verloren ist und darum hat dieser Cut einfach, um das zu sorgen, dass es wichtig ist. Ja, danke vielmals und Glückwunsch zu deinem gelungenen Film und ich freue mich schon, dass der im Kino läuft. Danke, ich freue mich auch. Hi Leonie, it's very nice to meet you. Hi, nice freue mich auch. I would definitely say I didn't want to answer the question. So more exploring or raising the question. Because for me, I didn't want to make a Corona movie, but still since we're living in this time, I had to think like there are a lot of parallels between this isolation and just cutting off from the rest of the world to a general like social phenomenon that I have the feeling that they're everything we are actually doing is always just trying to separate from each other and to try to find differences between people and build walls and yeah that was just a connection and the feeling I had and I wanted to express it in the video and so did you like draw any conclusions from it or um what was like the most important thing why you wanted to raise it the question because um I feel like um social separation is a big topic, also in Austria. And I had the feeling like, especially like what was really sad in my opinion is that even though we had a global pandemic where the whole world was included, I didn't feel like we were holding together as one. It was still like every country had his own problems and if we're thinking about vaccination degrees or whatever I felt like even though we are all in this still we don't manage to just work together and still just separate each other from each other and that's what I wanted to show up because I found really sad oh yes it really is and you had like um very cool music like a very cool song in your um film and what came first like the music the idea like the concept of it or like the dancing part um first was the idea and um yeah the feelings and the things i wanted to express and then i met the musician and i talked with him about the topics i wanted to deal with and um the feelings i wanted to deal with and the feelings I wanted to show and then he created a music from what we were talking about it was very nice process oh very cool thank you so much for your answers and for your time bye bye I'm talking to Paul Hintreich right now and he created the film Switch so I have prepared a couple of questions for you Paul so was this your first film or have you been doing other films in in the past um yeah so technically yeah that was my first movie we did it in cooperation with and so we worked with shoot your shot with Stefan and Gregor so they supervised the whole project basically and kind of instructed us me and my class you you know just to how how are we going to proceed with this with this project um and we we discussed who is going to do what who's going to do the lighting who's going to do the camera work and because i've already expressed um the couple of days before that we were preparing basically that i was very interested in film and writing um and that i had already done you know just some you know just reading a lot of and watching a lot of youtube about the subject and about filmmaking in general um that i was going to do the directing um of course, under the supervision of the two guys that helped me with that. But I knew that I wanted to do it and everybody agreed on that. And yeah, that was that. That sounds like a great opportunity. So do you want to pursue becoming a filmmaker? Or was this just this one project because i feel like you're very passionate about it yeah so um i was really thankful for the opportunity and when my teacher first said that um we would do this project because i was already interested in it and if i get another opportunity and if in the future I can do it again, I would definitely do it. I'm still very interested, especially in writing movies, but also directing, of course. And I would really love to do it a second time or even more after that. So I would love it yeah okay so the last question i have for you is how did you come up with the idea because when i first saw your film i immediately thought of the movie it's a boy girl thing i don't know if you know this this movie? So before we started, the day before, we just, my entire class just brainstormed a couple of ideas that we wanted to do. And there was a lot of things floating around, but because we had also obviously a limited time, we needed to just figure out something that was comprehensible and that we could do actually in the limited time we had and that kind of we had another idea initially and we also of course needed to be like it had to be set in the school setting we had a couple of different ideas and ideas that were in relation to the end product, basically. But then, yeah, the script in the beginning was also a lot more. But in the end, yeah, that was what we came up with and what we just wanted to do then. Okay, thank you for answering all of my questions. Thank you for taking time. Hi everyone and welcome. I'm Martina and here with me is Kelly Wang, the writer and animator of Blast Off. Hi Kelly. Hi. Blast Off is very short but it has it all. It has the action, drama and love and so I wondered if you could share with us how you came up with the story or maybe in general what is it that you look for in the stories you write? Great. So for the story I started off with two characters characters i was like on a walk one day and i thought of you know there's like two voices in my head it was like kind of like the left brain the right brain so the right brain will be like ruru and the left brain will be like love and love will be like really strict and being like you should do this do, do that. And then the other side of me would be like, oh no, I can take a break. You know, I can rest and do other things I like. So I thought, you know, these two characters who are completely different from each other, what if I put them in the same room? They're like roommates and they have to accept each other's differences and overcome a big obstacle together. And I wanted to make it sci-fi themed so that's how I came up with the story they look really cool by the way oh thank you oh sorry I also want to add that I guess I really like sci-fi and I really like video games so I wanted to incorporate both of them in there. So I guess Ruru is like a part of me that's like, oh, I want to, you know, chill out and play video games. And Lev is the part of me that's like, you can't do that. We got to get to work. I think we can also see your love for sci-fi in the spaceship and how you designed it. I think it looks really cool and we can see how carefully designed the rooms are and the infrastructure. And I wondered, how did you draw them on a more technical level? Well, I guess I started thinking about the design of the shapes. So when I think of Ruru, I wanted her to follow, when I think of both of them, I wanted them to follow a specific color palette, so that when you see them clash, you can really see like how different they are. So Ruru, I chose pink, and Lev, I chose like this light blue. And it's like, when you go into Ruru's room, you see all these round shapes. Everything is round. It's messy. And there's like a big screen. And so it's like more loose and like more fun. But when you go to Lev's spaceship, technically it's like both of their spaceships. But I feel like Lev takes the most control of the story. So I made the spaceship hers so that when Ruru comes in, she can like really kind of take over Lev's space. So for Lev's spaceship, I made it more like all straight lines and triangular because like Lev's shape is like a kind of trapezoid so I tried to follow that shape design for the spaceship. Thank you so much for sharing your thoughts and this beautiful film of yours with us and thank you for taking the time for the Q&A. Thank you as well. Hello my name is Daniel I'm part of the Yuki submission team. And with me is Megan Lim. She's the director of the cabbage statue. How are you doing? Hi, I'm Megan. I'm a filmmaker from Singapore. Could you explain to me how you found this idea and basically how did it come together? Right so first the idea of the cabbage statue really did come from a real cabbage statue that exists in Malaysia which is a country just across the course away from Singapore and they have it there because they it's like the produce of the region so that they have a giant statue to commemorate it and I saw it online and I was like oh I really would love to take a road trip to just see this giant cabbage statue and it kind of stuck with me for so long that it developed into a screenplay but obviously with COVID-19 and feelings of disappointment of border controls and restrictions I couldn't actually go see the statue itself, which was my plan when I was home. So I guess I made a film about trying to see it. Could you talk a bit about how you found the aesthetic for your film? I think, generally speaking, a lot of the films that I work with don't have a lot of camera movement. I somehow see things in a very sort of tableau style, and maybe it's inspired by films that I do like Edward Yang's films or whatnot, but infused with a bit more quirkiness as compared to like the Niue films. So I guess that's where it really came from especially when I was working with the director of photography I just kept telling him it's like Edward Young but it's like it's two girls and it's like it's meant to be funny and it's but I want everything to play out in front of the audience like on screen yeah how do you find comedy in these situations like how do you is this like a spontaneous process was it like improvising or was like all the comedy already written out basically i think that to begin with the screenplay or like the ideas are always meant to be funny they're never meant to be taken they don't i don't intend for them to be taken the film to take itself too seriously and when I convey or work with my actors or actresses in this case that's the sense that I always try to impart to them which is like have fun with it or like just imagine that you really are going on this journey with your best friend and there are many instances where like it's improvised or the comedy aspects it's just riffed off between my two actresses, which is Rachel and Clara. So, yeah, I think it's like a collaborative effort. What I find funny, as long as someone else also finds funny, then I know that at least the joke lands with another person. Yeah. Could you say, like, tell us a bit what your next projects are? Like, do you have anything that you're working on right now um yeah so there are some projects that are existing right now where they go i'm not sure yet but i do have a tv series in mind which is about a father-daughter duo who run a funeral home and the father is reluctant to give up the business but it's kind of time for him to retire and his type a personality daughter is just more than ready to take over and it's like the conflict between the family and each new client or each new body that they take and prepare for the afterlife yeah I think that's all the time we've got. Thank you very much, Megan, for your time and for all the great answers. Yeah, I hope to see you at Yuki. If not, I hope to see your films in the future. And I'm very excited. Thank you. Thank you for having me here. you