Does working with analog change your approach to filmmaking in any way?
TB: It's a different workflow on a technical level for sure, but I don't think that the filmmaking process is fundamentally different from working with a digital camera. I was fortunate enough to gain experience with 16 mm and 35 mm in film school, so I still feel most confident working with film.
Which camera, lenses, and film stocks did you choose?
TB: We had an ARRIFLEX 416 with ARRI/Zeiss Ultra 16 prime lenses, and Kodak Vision3 250D and 500T stock. The processing and scanning was done at Cinegrell in Zurich. Wolfgang and Markus at ARRI Rental Munich gave us a lot of their time and support in preproduction.
Even though the film conveys a very calm atmosphere, it is full of camera movement. What was your general visual concept?
TB: The juxtaposition of free camera movement and static characters in more precisely framed shots was important to us. Likewise, we wanted to convey a state alternating between real and dream-like, so we tried to move the camera in different ways depending on the mood.
FF: We had a precise plan for most scenes but were able to give ourselves enough freedom to come up with some shots on the spot, which I like doing.