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[Music]
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Rectal digital
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Yes, welcome to a new edition of Rektal Digital.
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And today we have a very special guest, dear Christian from the media whore. Hello there!
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Hello there!
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And, of course, Sarah.
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Hello there!
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Well, how are you?
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It's Sunday, I'm fine.
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Yeah, I can't complain either. We had a nice breakfast and that was my previous
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Highlight of the day.
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Wow, yes, the breakfast was really good. How did we come to be here in this
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Have a nice threesome? Yes, I've discovered you on YouTube because of, yes I've
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I've been watching videos with Frank Wattermann for a while. I want this right here from
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Bring a table, because Frank will certainly look at this. Frank, yeah, we both don't have beef
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It's not with each other, it's not the issue. I have, as I said, several times with Frank,
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which I know about mass taste, because I am also there in videos,
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And he just got to know. We have made a radio play podcast with him,
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For a while, until he put it down. He also appeared on the podcast as a guest.
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And at some point he broke up. So we really got into another
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direction is developed. In his direction, you know, that's what you're making the subject of. Mine
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Direction is still mainly movies, sometimes radio plays, ETC and that's why we are now going our separate ways.
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The subject of Frank. To say it with Peter Lustig, you can switch off now, now there's nothing left, you can go home now, that's it.
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But yes, I thought, I can then use my side, which I now, the side of me and
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Friends I've been running them with for over seven years, introduce me because I know
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Actually no one.
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Yeah, that would be a good start.
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Yes, yes.
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So, I dropped you the post here, like a community post, and I asked you,
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If you were interested, you would have contacted me, but I didn't even have it on my screen.
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I had and didn't see it. In the meantime, we had your reaction with
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A co-host on the video, seen the film by Frank Barthamann. And then I have
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Looked into the community post again and then saw you and then "ah, I'm writing
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Let's take a moment and that's how the contact came about. Yes, this is Playzocker Reviews. This is the
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good Clemens, with whom I have also been friends for years. This is his channel. So
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If you want to see that, Playzocker Reviews, we do the show Depp and Deppert.
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Yeah, she was so good. He is Austrian. What's that for? Where we have been weekly since now,
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We are in the 250 episodes without a break, so weekly one hour, podcast deliver on various film topics.
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And sometimes even audio comments on amateur films, like Frank's at the time.
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So, we had a great time.
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I didn't, I had to watch the movie. But that's also the case with my old movies, where I think,
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I did some of those things too. I think so, oh, it's hard to bear this today.
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We used to produce radio plays as children with a sandbox buddy and I listened to them 20 years ago and I thought it wouldn't work.
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That's not possible at all and later we had also made a few videos, so I immediately thought that, no, that's so real foreign shame.
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Yes, I also had radio plays with a buddy back then, but it was really mine.
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I had two micros and pressed cassettes to record and then we improvised.
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That was really bad.
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At that time I also had, at 14, 15, when we did this, still such a real child's voice.
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Exactly.
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It was awful natural.
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Any action stuff where I was the hero then.
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Child's voice.
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I know that, yes.
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That was bad.
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As a kid, we did something like a mini-playback show.
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And then it was filmed and we had really moderated that.
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And that's really embarrassing when you look at it from today's point of view.
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What annoys me is that these tapes no longer exist.
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They were lost at some point.
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I would really like to digitize this today and keep it with my neighbours.
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Which is really awful, but it doesn't exist anymore. Unfortunately, it's lost.
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Yes, with me that once a move also somehow got away. I don't know. Like these tapes
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Nowhere to show up at some point. Not without our knowledge, at least. So I can be there about me
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Laughing themselves. That's very important. Otherwise, I wouldn't be able to make this whole dream come true. But we
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Make fun of us too. So here we become the point of progression. As I said,
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We're doing 250 episodes. We thought about it during the pandemic.
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Come on, let's do something together.
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And then that's that we've been doing this for years now, which wasn't planned either.
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And we had hoped for it, but it works.
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And it's quite stressful, because I record it on Monday evening at around 11 p.m.,
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My alarm goes off at six in the morning.
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I'm always between five and seven.
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Yes, it's really crazy what you do for the hobby.
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Yes, I would have liked to do it full-time, but that's not something I can make money with now.
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So in my notoriety, but I like to do it.
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As I said, movies have been my life since childhood.
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I am Generation X, that is, I was born in 1975 and my parents were the ones who were very, very interested in movies at the time and got VCRs very early on.
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And in Lübeck was the very first video library. And I saw a lot of things that were definitely not meant for my eyes.
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Six, seven, eight years. So I really watched the Bruce Lee series up and down and Dirty Harry and all that stuff.
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But those were weird times. The first video library had the offer, you could borrow three films for five days.
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For 75 marks. That was 1981.
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75 marks, wow!
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And then I was allowed to choose a movie and that was total rubbish.
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I'm someone who goes to the movies every week at the age of nine.
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I got a separate pocket money from my grandpa and that always went exactly to a movie ticket, popcorn, cola.
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And that's what I did every Saturday, which was really nine years old, until I grew up, I was consistent every Saturday in the cinema.
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As a result, I became a film fan and that's why I write film reviews today,
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I make videos about film reviews. But all this was not planned at the time,
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I was just a movie there.
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Boah, I wasn't at the cinema at the time, because the cinema was almost on the other side of the city with us
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I had to take a bus and so on. And when I think about it all,
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No, I didn't get that much pocket money to be able to afford it all.
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Yes, as I said, my grandpa gave me 10 marks every week.
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And that was exactly that amount.
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I was even able to go one direction by bus, because that cost 90 pfennigs at that time.
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And a bank 50 the charcoal, a bank 50 the popcorn, 6 marks the cinema ticket.
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All I had to do was run back.
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That's right, six marks.
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Honey, how were you?
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Well, I'm a little younger than you. The first time I went to the cinema, I thought it was
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I'm in "Find Nemo" where I can remember. In 2000 I was six years old.
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Accordingly, I can hardly remember the Mark actually. In my head is
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It's just the price comparison with the Euro. So this is just another time.
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There were still video counters around until I think I'm almost grown up, neither did I.
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Until I was 14, 15, then most of the video counters in our city closed and the
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There was actually no more here. That's why I can't talk about it, unfortunately.
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As far as market times are concerned and when you go to the cinema so much. I've been to the cinema in some
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Movies, but not as often as you used to be. So I have to say that, think about it, I was
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nine years old and that was actually back then, so in 1984 I was nine years old and it was
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in fact, so that my parents have allowed me, you can go alone to the city, alone
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to the cinema. Unthinkable today, a nine-year-old. I was always in the 4 p.m. show.
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That is, at 6 p.m. I got out of the cinema, depending on how the movie went,
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Partially 6.30 p.m. In winter it was pitch dark. I had to walk half an hour
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back and this is so, when you come out of the station at the Dübeck, then you go,
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This is called the longitudinal stone wheel. It was a very, very dark street at the time.
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A few streets, that is to say on the right a church and a large cemetery.
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And then so on the left, that was right, so meanwhile they have street lights everywhere.
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At that time it was quite dark and this road I had to go to the main road always then
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Running along.
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When you're a kid, you're really "wow."
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And you must not forget, I was at nine, so you have at that time, you came at nine
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Years without problems in the film from twelve.
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That's right, that's right.
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And it all started for me with cinema and now capture because I'm watching Gremlins
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wanted.
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But there I am still with classmates, there are four of us in the cinema and wanted to see each other.
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Gremlit's Little Monsters, produced by Steven Spielberg.
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I saw this movie poster, where you can see this box, where these hands
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And those eyes could be seen.
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And I'm like, what's that?
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I have to look at it, it looks so exciting.
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I know that.
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I remember the poster, yeah.
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Then we all went to the cinema and that was the disappointment of my life.
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We arrived and the Capitol Cinema Center at that time, there was the box office on the first floor.
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That is, you first had to climb a staircase and then you came to the checkout area.
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The snake then, when Gremlin's little monsters ran on a Wednesday night day, went all the way to the street.
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They didn't want to imagine that anymore, that was at Pat Spencer, Terrence Hill Film, when people stood up to the street.
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And then we hired ourselves, bravely, and when they ask us about age, we say we're eleven.
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So because we were 12 as incredulity, it was also because we were just 9.
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And just before we reached the box office, the big exclamation came "Kino 1 is sold out!"
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And Cinema 1 was Gremlins.
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And I, totally disappointed, and then we went to the Police Academy.
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What I actually found funny at the time, but I was totally angry, I went home and said to my mother
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I want to watch Granblitz, if you give me another 10 marks for next week, then I want to go home.
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After a long begging I got 10 marks and then went to the cinema with friends and we got a card.
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And then it was clear to me with Granblitz, I have to look at everything in the cinema.
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And as I said, when I was 9, 10 years old, I was allowed to watch things like Ghostbusters and Beverly Hills Cop and everything in the cinema.
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Big Trouble in Little China, which ran from 12.
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I watched Top Gun at the movies when I was a kid.
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I've seen it all, and as I said, every week.
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But I also went into things like the beginners with Thomas Gottschalk and Mike Krüger,
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If nothing happened that matched my age rating.
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Boah, those super noses.
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Wow, that's awful.
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It's really unbearable.
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As a kid, as I said, I was just... funny.
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I also watched the Otto movies in the cinema.
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I can't look at it anymore and say it's good entertainment.
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As a child, you can see it with different eyes.
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Two years ago we looked at the "Nude Cannon".
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I thought it was so funny when I was a kid, and honestly, it wasn't even that funny.
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I have to disagree with you. In fact, I think the first "Naked Cannon" is an absolute milestone for comedy.
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And I still find these movies super funny. I didn't expect anything.
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But I recently discussed the 4K release of the movie and watched it.
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I thought I knew the movie, I don't need to watch it too much.
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I'm just looking at the quality.
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That was kind of midnight and at 1.30 a.m. the movie was over.
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So much too short.
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I still find it very, very funny.
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Much better than the new one.
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We haven't seen him yet.
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Yeah, that's okay.
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But I have to say that we are now, we would like to go to the cinema, but we haven't gotten that yet.
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In fact, that's because Sascha is in need of care and you have to organize the transport first, that has to be disabled-friendly, that's not so easy now.
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I was in the cinema now a few months ago in Lilo & Stitch.
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That was the first time, I think, after eight years or so, when I was in the cinema again.
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He was very nice, of course, as it is typical for Disney, well opened.
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But that wasn't a cinematic hit.
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It's also a movie you almost know.
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Disney makes it easy. In the end, she makes remakes of her own films and
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Yes, then call it real movies, although half of them are computer-animated. It's not … either.
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Cinema is not what it was then. When I went to the cinema,
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Then there was the popcorn from the pot, which was just popping out and not from these huge
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Bags that are actually day-old. So they are this year, they made the day,
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This is really industrial stuff.
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And they are really delivered in garbage bags, in such large chains.
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That looks awful when you see the blue garbage bags carrying in, which is popcorn.
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At the time, it was all a bit more personal.
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Well, it was also corrosive because as a child you were sitting in the cinema between noisy smokers.
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Yes, yes.
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That's what you have to say. So at that time there was quartzing in the cinemas without end. That was allowed.
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Thank God that's not the case anymore.
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I can still remember that you always saw the cone of light.
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So at the beginning of the performance not so, but in the course of the performance you have seen the light cone and how it then falls on the projection surface.
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Yes, but what annoyed me more and more was cinemas at the time were at ground level.
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So today you need cinemas downstairs, so that the people sitting in front of you do not block your view.
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At that time they were at ground level.
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Yeah, that's right.
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At nine.
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And now you had free space, because that means that cinemas were often full.
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There you often sat somewhere, where you then had such a two-meter guy in front of you and whom you only stretched so left, right, neck, so that you could watch the film.
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0:16:19 – 0:16:21
It wasn't all gold there was.
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0:16:21 – 0:16:23
At the time, the film industry was also more original.
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0:16:23 – 0:16:31
back then and it totally fascinated me because I was the spectacle wearer at school,
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0:16:31 – 0:16:37
So I was the one who didn't have a lot of friends and was bullied quite a lot, then it was
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0:16:37 – 0:16:42
I waited, and that was my escape. But today you don't even need cinema anymore,
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0:16:42 – 0:16:45
Because you have it all at home in five or six weeks.
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0:16:45 – 0:16:52
It's unbelievable how quickly the movies get from the screen to the streaming services.
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0:16:52 – 0:16:59
Yeah, it'll be even faster. The cinema is dying now. So the cinema is dying, we are witnessing it live.
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0:16:59 – 0:17:08
But that's actually due to the audience, because when you go to the cinema today … So earlier, there has always been someone in between who talks.
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0:17:08 – 0:17:17
Meanwhile, friends meet there to chat and make phone calls in the cinema hall. And that really takes the fun out of you.
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0:17:17 – 0:17:23
I also sometimes go to press screenings, people are quiet because people are criticizing me.
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0:17:23 – 0:17:28
You have to write about it. But the normal cinema, every now and then I do that. My children are
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0:17:28 – 0:17:32
Now 16, of course I go to the cinema with them often, but we are annoyed regularly.
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0:17:32 – 0:17:38
Yes, what I also noticed is that many people, who then also have themselves in the cinema only
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0:17:38 – 0:17:43
The cell phone in your hand. Don't forget that cinema is already here.
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0:17:43 – 0:17:49
The snacks are expensive, too. – Snacks are the most expensive, that is fierce,
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0:17:49 – 0:17:54
What do you pay for popcorn and a cola? – Yes, I was frightened and above all
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0:17:54 – 0:18:00
I'm also disappointed with cinema. I had such a nacho box when I was in the cinema
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0:18:00 – 0:18:06
Then you could choose three dips. I used cheese twice, and salsa once.
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0:18:06 – 0:18:13
I've never eaten such a disgusting cheese dip in my life and usually I like cheese
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0:18:13 – 0:18:17
Dip like in the cinema. So it really wasn't good.
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0:18:17 – 0:18:24
No, that stuff lasts for years. There really isn't any cheese in there. So there's really
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0:18:24 – 0:18:29
No cheese in there. And you can still eat them when you get them warm. But
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0:18:29 – 0:18:34
You don't want to eat it all right before the movie. And then the cheese dip will someday
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0:18:34 – 0:18:41
cold and becomes firmer and then it tastes really homey. So that's not wonderful. And
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0:18:41 – 0:18:50
And if you somehow pay twelve euros with a drink for it, then you also ask yourself "What? It just cost me the card.
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0:18:50 – 0:18:53
Okay, so that's your background now.
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0:18:53 – 0:18:58
That's how my passion came about.
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0:18:58 – 0:18:59
You're a movie nerd.
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0:18:59 – 0:19:09
Yes, first watch film and then at the age of 18 I met a companion to this day, from Lübeck, Kai Kinnert.
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0:19:09 – 0:19:16
With this I also make videos with me on the YouTube channel, i.e. on the channel of the media whores.
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0:19:16 – 0:19:22
And in addition to films, he was also a hobby filmmaker, i.e. amateur filmmaker.
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0:19:22 – 0:19:25
He has made films, has also participated in award ceremonies.
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0:19:25 – 0:19:29
So in Kiel there was then such an award ceremony, where he made the first and second place,
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0:19:29 – 0:19:33
where he got film funding, a few thousand marks back then and so on.
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0:19:33 – 0:19:38
And then I liked to help and at some point I said, you try it out
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0:19:38 – 0:19:45
And then I started making short films that went from bad to okay.
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0:19:45 – 0:19:48
Actually, I've been doing this for years.
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0:19:48 – 0:19:53
At some point I received an e-mail.
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0:19:53 – 0:19:57
That must have been 2016 by Dia Vesta Teicher.
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0:19:57 – 0:19:59
This is the Evil Ad website.
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0:19:59 – 0:20:01
This is Germany's oldest fanzine.
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0:20:01 – 0:20:04
And he realized I was making horror movies, too.
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0:20:04 – 0:20:07
He wanted to invite me to his podcast.
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0:20:07 – 0:20:09
I didn't know what a podcast was.
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0:20:09 – 0:20:13
I had made a buddy, Christian Benzel's name was, or still is.
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0:20:13 – 0:20:16
I wanted to tell you about the movies.
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0:20:16 – 0:20:19
Then we talked about it and at some point he said,
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0:20:19 – 0:20:23
You like movies so much, don't you want to be part of my team?
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0:20:23 – 0:20:26
Christian Benzel dropped it.
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0:20:26 – 0:20:29
Don't you want to do a podcast with me and don't you want to write movie reviews?
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0:20:29 – 0:20:34
I did that for a year and a half.
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0:20:34 – 0:20:39
He also met Viktor Gritschka, who was there. And we've always been a little bit
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0:20:39 – 0:20:43
dissatisfied. I was dissatisfied with one, it's just a horror site. I am a film fan and
|
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0:20:43 – 0:20:47
Not a horror fan. I am also a horror movie fan. I have loved horror movies since childhood. So
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0:20:47 – 0:20:52
When Michael Myers comes back to the movies, I'll be there. I love movies in general.
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0:20:52 – 0:20:56
I wanted to talk about more than just horror movies. And then there's this podcast,
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0:20:56 – 0:21:01
which the boss commissioned there, that was every two weeks and we had to each so six to
|
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0:21:01 – 0:21:09
Watch 8 or 10 movies. And then always on one topic, so watch 10 King Kong movies
|
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|
0:21:09 – 0:21:16
in two weeks. And compatible with the woman, we have to watch 10 King Kong movies now. This
|
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|
0:21:16 – 0:21:21
At some point it wasn't nice anymore and I didn't have any fun anymore and then I went with it.
|
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|
0:21:21 – 0:21:27
Victor decided, man, if we're only allowed to discuss horror movies about Evil Ed, then let's
|
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0:21:27 – 0:21:31
You can also make an offshoot of Evil Ed for the normal movies.
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|
0:21:31 – 0:21:34
And then we have, without really agreeing with the slide,
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0:21:34 – 0:21:37
We've just said we're opening up the media whores.
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0:21:37 – 0:21:40
By the way, media whores, so we were looking for names,
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0:21:40 – 0:21:43
And then I have an old interview with Thomas Gottschalk.
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0:21:43 – 0:21:45
came over his hands.
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0:21:45 – 0:21:47
And he had himself when he went to RTL,
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0:21:47 – 0:21:49
They asked why he did it.
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|
0:21:49 – 0:21:51
Yeah, he's a media whore.
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|
0:21:51 – 0:21:54
And I found that kind of concise as a name.
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0:21:54 – 0:21:57
I thought wow, that stands out because the name is a bit
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0:21:57 – 0:22:02
He's provocative.
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0:22:02 – 0:22:05
But it's also a name that people can remember.
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|
0:22:05 – 0:22:10
And when they realize that we're just doing normal stuff
|
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0:22:10 – 0:22:15
And if you really try to do that ambitiously, then maybe it will somehow establish itself.
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0:22:15 – 0:22:18
At least with the lenders, of course.
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|
0:22:18 – 0:22:24
But then when we went to Dia and said we're doing this page as a sublabel for Evil Ed
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0:22:24 – 0:22:30
And then we do podcasts. So we really wanted a Steve Martin podcast.
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|
0:22:30 – 0:22:34
We did it because we thought it was interesting and then it went off. And said
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0:22:34 – 0:22:41
We, so I would steal the idea from him and then immediately have my e-mail address, which he uses at Evil.
|
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|
0:22:41 – 0:22:47
Ad set up where I had the press contacts with all the distributors, blocked. There I am
|
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|
0:22:47 – 0:22:51
Not in the name of Evil Ad, bla bla. He didn't say a word to me either. me
|
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|
0:22:51 – 0:22:54
I have tried several times to make peace with him.
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0:22:54 – 0:22:55
It didn't work out.
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|
0:22:55 – 0:23:00
He then also weathered against me several times on his side, then formed new teams,
|
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|
0:23:00 – 0:23:02
But they kept breaking up.
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|
0:23:02 – 0:23:06
He doesn't do anything anymore.
|
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|
0:23:06 – 0:23:15
We then, as I said, founded the media residences and then in August 2017
|
|
|
0:23:15 – 0:23:16
The first criticism was published.
|
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|
0:23:16 – 0:23:20
There I was, actually in the name of Evil Ed for the press screening, but I could
|
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|
0:23:20 – 0:23:23
I don't know what to write. That was, wow, that was emojis.
|
|
|
0:23:23 – 0:23:25
Oh, the one for Rockham.
|
|
|
0:23:25 – 0:23:29
Yes, who was extremely torn at the time because it's about emojis.
|
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|
0:23:29 – 0:23:34
It wasn't that shit, I have to say. So it wasn't so bad.
|
|
|
0:23:34 – 0:23:37
That was my first criticism, but when I read it today, I thought, oh yeah, so,
|
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|
0:23:37 – 0:23:40
Uh, I wrote badly.
|
|
|
0:23:40 – 0:23:44
Can I ask you something in between, as a critic?
|
|
|
0:23:44 – 0:23:45
Yes, yes.
|
|
|
0:23:45 – 0:23:47
If you did that, right?
|
|
|
0:23:47 – 0:23:52
And you had to watch ten movies about King Kong, for example.
|
|
|
0:23:52 – 0:23:57
Isn't it the case that one day it hangs out to the neck
|
|
|
0:23:57 – 0:24:02
And secondly, if you've seen a movie now that would be your absolute favorite,
|
|
|
0:24:02 – 0:24:07
because he has great effects, good storytelling, good actors,
|
|
|
0:24:07 – 0:24:10
It's not that other movies are very, very difficult.
|
|
|
0:24:10 – 0:24:14
in the ranking then also get good reviews,
|
|
|
0:24:14 – 0:24:21
That you are almost as uninvolved, as you call it, impartial then, also towards the other films so?
|
|
|
0:24:21 – 0:24:29
Yeah, it's hanging from your neck. So just this King Kong theme, that was pretty much one of our last podcasts,
|
|
|
0:24:29 – 0:24:36
That really hung out on me because I was like that, ten movies on this topic and I didn't find King Kong so insanely exciting anyway.
|
|
|
0:24:36 – 0:24:40
Now as a character there was one or two films that I liked. That's hard.
|
|
|
0:24:40 – 0:24:47
Of course, if you have something that you like, then the other films have it harder.
|
|
|
0:24:47 – 0:24:51
But you have to put that down a bit. I have to learn that too, I say.
|
|
|
0:24:51 – 0:24:57
So if I go to press screenings now, for example, I do this very rarely,
|
|
|
0:24:57 – 0:25:00
because they do not take place in Lübeck, they take place in Hamburg.
|
|
|
0:25:00 – 0:25:04
And they usually take place at 10 in the morning, at 12 at noon and at 3 in the afternoon.
|
|
|
0:25:04 – 0:25:09
I have to work until 5 p.m. I can only do it when I'm on vacation.
|
|
|
0:25:09 – 0:25:22
If you watch three movies and the first one is a thing where you say that it was a great movie and then you have two more movies in front of you and you think, oh, the next one is now a movie with, what do I know, Jan Josef Liefers, that can't be anything, then it's already hard.
|
|
|
0:25:22 – 0:25:28
But there you have to be, yes, in Suga. It's work.
|
|
|
0:25:28 – 0:25:41
I think so. So for me that would be very, very difficult, because if I watch a movie for example and he is now interested in Sascha, for example, but he is not interested in me from the topic and does not pick me up directly,
|
|
|
0:25:41 – 0:25:49
then I have the feeling that, so what does the feeling mean, I can no longer focus on the film and drift off so mentally.
|
|
|
0:25:49 – 0:25:59
And then the film actually has no chance with me, even if the then good comedian has in the course,
|
|
|
0:25:59 – 0:26:04
But then the film generally doesn't have a good ranking for me and then I don't look so closely anymore.
|
|
|
0:26:04 – 0:26:10
Yes, this is the fate of my wife, who does not criticize and does not make words in the first place.
|
|
|
0:26:10 – 0:26:17
But regularly, of course. So tonight, we love watching shows,
|
|
|
0:26:17 – 0:26:20
Meanwhile, series have a quality.
|
|
|
0:26:20 – 0:26:22
When I think of my youth,
|
|
|
0:26:22 – 0:26:24
It was all really rubbish.
|
|
|
0:26:24 – 0:26:26
And if you watch series by now,
|
|
|
0:26:26 – 0:26:28
They are better than the movies.
|
|
|
0:26:28 – 0:26:30
Especially when I imagine,
|
|
|
0:26:30 – 0:26:33
all the projects that are on Netflix or something,
|
|
|
0:26:33 – 0:26:36
You can cut off the intro and the outro.
|
|
|
0:26:36 – 0:26:38
Then you have a long movie.
|
|
|
0:26:38 – 0:26:40
Yes, that is indeed the case.
|
|
|
0:26:40 – 0:26:43
This is indeed the case,
|
|
|
0:26:43 – 0:26:49
Netflix or even Paramount just that, if the fabrics get offered,
|
|
|
0:26:49 – 0:26:53
They say that, as a film, they have a film material here, and then they say,
|
|
|
0:26:53 – 0:27:00
ey, we can also do this as a series, because series of course bind people to the streamer for longer.
|
|
|
0:27:00 – 0:27:07
If they produce a 2-hour movie now, you'll watch a maximum of 2 hours if you don't cancel it beforehand.
|
|
|
0:27:07 – 0:27:10
You have to stick with a series. And then they have that thing,
|
|
|
0:27:10 – 0:27:14
A lot of people are going to see this thing on TV, one episode a week.
|
|
|
0:27:14 – 0:27:18
Who used to say at the very beginning, let's gossip the whole season now,
|
|
|
0:27:18 – 0:27:24
Don't do that with your highlights anymore. This is one episode a week,
|
|
|
0:27:24 – 0:27:29
But also what I find reasonable, which doesn't bother me, because through all my movies,
|
|
|
0:27:29 – 0:27:34
I have to look at reviews anyway. If I can do it for a week,
|
|
|
0:27:34 – 0:27:37
That's a lot because there's always something in between.
|
|
|
0:27:37 – 0:27:42
That's why I'm fine with it. And the other is, it also shortens the
|
|
|
0:27:42 – 0:27:46
Waiting for the next season, which many people always find totally annoying,
|
|
|
0:27:46 – 0:27:50
It's when a season is over and you've screened that season one at a time.
|
|
|
0:27:50 – 0:27:52
Then you think why does it take so long for the next one to come? Yes,
|
|
|
0:27:52 – 0:27:55
Yes, because they have to have an idea first, then the scripts have to write,
|
|
|
0:27:55 – 0:27:58
then the actors have to commit everyone again, who then also all the time
|
|
|
0:27:58 – 0:28:01
must have. Then this has to be turned, then this has to be cut and if the
|
|
|
0:28:01 – 0:28:08
The next season, you'll have to wait a year. And if you have a series with 16 episodes,
|
|
|
0:28:08 – 0:28:12
You've had 16 weeks of this year. Then the waiting time is shorter.
|
|
|
0:28:12 – 0:28:18
I don't think it's bad that you don't necessarily want to wait, then you just have to wait until the
|
|
|
0:28:18 – 0:28:22
If it is streamed through, then it can be done in one piece. But I can't do it.
|
|
|
0:28:22 – 0:28:30
Yes, but the strategy behind it is that you want to bind people to the subscription. If I now
|
|
|
0:28:30 – 0:28:36
Thinking of Stranger Things, the last season, the first half came out and the
|
|
|
0:28:36 – 0:28:40
I don't think the second half will come out at the end of December, I don't know for sure.
|
|
|
0:28:40 – 0:28:41
Well, it's third.
|
|
|
0:28:41 – 0:28:43
Oh, third even.
|
|
|
0:28:43 – 0:28:45
Yes, it's the second day of Christmas.
|
|
|
0:28:45 – 0:28:47
Exactly, or on the 27th.
|
|
|
0:28:47 – 0:28:50
On the 26th
|
|
|
0:28:50 – 0:28:54
the next episode, but the last episode, which, by the way, has a duration of
|
|
|
0:28:54 – 0:29:00
It has a good two hours, which comes on the first of January morning at two. What a timing,
|
|
|
0:29:00 – 0:29:07
Because on January 1st, everyone is home. Yes, yes. No one says come on,
|
|
|
0:29:07 – 0:29:14
First of January, we're leaving tonight. Well, there's also a reason not to tie the bandages like that.
|
|
|
0:29:14 – 0:29:22
make. Yes, since I have another cat who is also an outdoorsman, we celebrate New Year's Eve anyway
|
|
|
0:29:22 – 0:29:27
Not so much cat care anymore. Because with us in the street every year is an inferno.
|
|
|
0:29:27 – 0:29:29
Yeah, it's with us in the neighborhood, too.
|
|
|
0:29:29 – 0:29:34
That's why we have to keep the cat all day, so we won't let it out in the morning.
|
|
|
0:29:34 – 0:29:37
And that's always the case for her in the morning, no, that's the mother, I'll finish it,
|
|
|
0:29:37 – 0:29:41
I want out, I want out, let me out. And at night, when the roaring goes off,
|
|
|
0:29:41 – 0:29:46
Then, oh, I'm hiding under the bed. And in the morning at two, but when the firecracker is half
|
|
|
0:29:46 – 0:29:49
It's over, I want out now, I want out now. And then you see, we have people here,
|
|
|
0:29:49 – 0:29:54
They're messing with polenbollers. I won't let them out. It was once on New Year's Eve
|
|
|
0:29:54 – 0:29:58
outside, came in at seven in the morning and then was three months, he didn't dare get out any more,
|
|
|
0:29:58 – 0:30:04
was completely disturbed. I had four cats, one of which was deaf. She sat at the window and
|
|
|
0:30:04 – 0:30:10
I looked at it all and the others were sitting under the bed. I know that. It's beautiful, isn't it?
|
|
|
0:30:10 – 0:30:16
What do you all have? One of the cats was sitting by the window with huge eyes and got these colorful
|
|
|
0:30:16 – 0:30:18
I looked at the lights and the others...
|
|
|
0:30:18 – 0:30:21
Yeah, that's the noise.
|
|
|
0:30:21 – 0:30:23
Yeah, just didn't even get out to eat.
|
|
|
0:30:23 – 0:30:26
Yes, that's why, yes
|
|
|
0:30:26 – 0:30:28
It's New Year, I think.
|
|
|
0:30:28 – 0:30:30
Pretty much everyone is watching a New Year's Day.
|
|
|
0:30:30 – 0:30:31
TV.
|
|
|
0:30:31 – 0:30:33
Some watch New Year's jumping, others
|
|
|
0:30:33 – 0:30:35
Look at this somehow
|
|
|
0:30:35 – 0:30:37
New Year's Concert
|
|
|
0:30:37 – 0:30:38
to.
|
|
|
0:30:38 – 0:30:40
Yes, there are also
|
|
|
0:30:40 – 0:30:42
People who have their
|
|
|
0:30:42 – 0:30:44
New Year's movies, their traditions.
|
|
|
0:30:44 – 0:30:46
That's exactly what Netflix does.
|
|
|
0:30:46 – 0:30:55
That's draffined by Netflix, of course, to choose this date for their biggest series, which is then over.
|
|
|
0:30:55 – 0:31:02
After all, the franchise is dead until they make some spin-offs.
|
|
|
0:31:02 – 0:31:04
Yeah, that's right.
|
|
|
0:31:04 – 0:31:10
We will continue with Squid Game. They also planned the outriggers.
|
|
|
0:31:10 – 0:31:14
But the hype in the second season hasn't been as great as in the first.
|
|
|
0:31:14 – 0:31:20
So this is something that has a hype of the time that is not so great.
|
|
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0:31:20 – 0:31:21
That's true.
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0:31:21 – 0:31:26
I think they're going to do more with K-Pop Demon Hunters.
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0:31:26 – 0:31:27
Yes, that's true.
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0:31:27 – 0:31:32
But that wasn't bad, even though I don't like anime.
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0:31:32 – 0:31:35
So I promised my daughter to look at it with her and actually have to
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0:31:35 – 0:31:37
I say this thing was entertaining.
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0:31:37 – 0:31:42
And although that's not my music, the music was completely catchy. So it's not an understanding that this is a huge hype.
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0:31:42 – 0:31:45
I thought it was okay.
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0:31:45 – 0:31:52
So yes, but back to the media, Bruno.
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0:31:52 – 0:31:56
Yeah, I was just trying to get it back.
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0:31:56 – 0:31:58
Yeah, then we'll get to it. What were you trying to say?
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0:31:58 – 0:32:04
How did that go on now? So you have now started your project, set up your page.
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0:32:04 – 0:32:06
How did you get on YouTube?
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0:32:06 – 0:32:21
How did I get on YouTube? It took years. For the first time we mainly took care of film reviews, which was really excruciating at the beginning, because nobody knew us.
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0:32:21 – 0:32:27
I had one or two press contacts who had fed us even further from the Evil Ed period.
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0:32:27 – 0:32:33
And otherwise most have always said, no, you have no reach, from us now you get nothing.
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0:32:33 – 0:32:37
Only if we have a lot of press samples, you'll get something.
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0:32:37 – 0:32:43
And so we really had to, according to Tiberius films, they have so much ejection stuff on films,
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0:32:43 – 0:32:48
Of these, we discussed everything that was not good either, because we were 90 years old.% Sent to them in tears.
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0:32:48 – 0:32:53
If you just yell, that doesn't make sense to send you press samples, you write everything, that's all shit.
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0:32:53 – 0:33:06
And I'm so, yeah, sorry, but if the movies aren't good, if you only release movies that are 3.5 to 3.9 points in the IMDb, out of 10, then don't be surprised that the criticism of bad ones is.
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0:33:06 – 0:33:12
And then we did a podcast, in audio form, which you could download on the website.
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0:33:12 – 0:33:17
And at some point, I had also made films for years,
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0:33:17 – 0:33:21
Somehow I have to show you the world.
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0:33:21 – 0:33:27
And then we just opened a YouTube channel, which was relatively good at the beginning.
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0:33:27 – 0:33:33
And then sometime two years ago I said, okay, I have to worry more about YouTube now.
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0:33:33 – 0:33:37
Then instead of the audio podcast, we made the video cast.
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0:33:37 – 0:33:40
Yes, I know the difference between podcast and videocast.
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0:33:40 – 0:33:42
Not everyone is so familiar.
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0:33:42 – 0:33:46
No, I've also been told that not everyone knows that.
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0:33:46 – 0:33:49
But I know the difference. I said it back then,
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0:33:49 – 0:33:51
It's a podcast, but it's not.
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0:33:51 – 0:33:55
And then in the video of, because I did this at the Clayzocker Reviews,
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0:33:55 – 0:33:58
With which I do Dab and Dabbert, I almost looked,
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0:33:58 – 0:34:01
He has had his YouTube channel for years, so we can start.
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0:34:01 – 0:34:07
And so I uploaded my movies and the movies of friends.
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0:34:07 – 0:34:14
And I don't even know now, I actually have to see for myself what I really started with on my channel.
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0:34:14 – 0:34:16
So that, no, how do you think...
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0:34:16 – 0:34:19
Ah, something's ringing right now.
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0:34:19 – 0:34:23
So, how did my films get the first...
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0:34:23 – 0:34:26
Yeah, I... There are film specials and other things.
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0:34:26 – 0:34:29
I talked to a buddy about Clint Eastwood.
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0:34:29 – 0:34:34
So, because we're big... Kai, with whom I've been making films for years,
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0:34:34 – 0:34:38
We're huge Clint Eastwood fans and have said we'll go through the full filmography.
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0:34:38 – 0:34:45
That was three videos an hour and hardly anyone clicked that.
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0:34:45 – 0:34:50
Not until today. After two years, we still don't have 200 clicks of the videos.
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0:34:50 – 0:34:55
And then began to make so irregularly again and again new ones.
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0:34:55 – 0:35:01
Then I made an unboxing video when I got an exciting release from the distributor.
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0:35:01 – 0:35:15
And then it became a bit self-sufficient. At some point we made regular videocasts about actors and so on and about individual films, about genre.
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0:35:15 – 0:35:23
And now we have quite a lot of formats, because I want to do something together with a few people on the net who have written to me.
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0:35:23 – 0:35:27
Christian Bartsch, this is a film collector who always buys huge eBay packages,
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0:35:27 – 0:35:34
For example, with films where there are 200 films for 100 euros. And then we do unboxing.
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0:35:34 – 0:35:38
Well, then he'll get the movies out and I'll comment on what he bought,
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0:35:38 – 0:35:41
Which is usually a bit of rubbish. It's funny because I'm actually
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0:35:41 – 0:35:47
Always sitting there and thinking in the eye roll, "Oh, what is that? Throw it away!" Just,
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0:35:47 – 0:35:51
because there are a lot of cut things in there, which always annoys me as a film fan,
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0:35:51 – 0:35:58
When censored things come out. You don't put a smile on the Mona Lisa's face either.
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0:35:58 – 0:36:01
No, or cut it off somewhere. Or a little out.
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0:36:01 – 0:36:06
That's the problem that many people don't see movies as art. And good movies,
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0:36:06 – 0:36:12
This is an insane art. Especially in comedies, to make people laugh,
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0:36:12 – 0:36:12
It's the hardest thing.
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0:36:12 – 0:36:18
Yes, above all, I always think that movies or even series in the
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0:36:18 – 0:36:25
Time context is to be seen. I find this, for example, here with all the Otto-Sketches,
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0:36:25 – 0:36:31
I think that's totally legitimate if you say beforehand, watch out, here's a language that uses
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0:36:31 – 0:36:36
This is something that seems wrong in today's context. So you just have a classification
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0:36:36 – 0:36:42
And I think that's okay. For example, if here at the Miss Marple movies and series,
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0:36:42 – 0:36:47
There's something going on and then "yes, that's not okay" and so on. Yes, but then,
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0:36:47 – 0:36:51
At the time when this was being produced, it had been fine, and if you had
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0:36:51 – 0:36:58
Disclaimer sets, I find this totally legitimate, because this is a work of art or if you say
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0:36:58 – 0:37:03
In the James Bond movies, yes, this is a bit misogynistic and also misogynistic. Yes, well,
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0:37:03 – 0:37:10
make a disclaimer beforehand that the language stops or even the action in places disturbing
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0:37:10 – 0:37:15
That's and then that's okay. Because it's a bit of a work of art, I'm not starting either.
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0:37:15 – 0:37:22
Michelangelo, David, the Pullermann chop off, because you don't show it that way these days.
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0:37:22 – 0:37:27
Yes, but you are now very oversensitive. So this disclaimer, I mean honestly,
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0:37:27 – 0:37:31
When that started, yes, you can do that, this disclaimer. It started,
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0:37:31 – 0:37:36
The first movie to get this disclaimer was Clark Gable.
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0:37:36 – 0:37:41
Southerners, oh God, I'm not coming up here, Scarlett, where do we have this?
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0:37:41 – 0:37:42
Yes, from Bindeverweht.
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0:37:42 – 0:37:43
Tied up, exactly.
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0:37:43 – 0:37:48
Was the first where you thought, yes, where the suddenly removed from Amazon.
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0:37:48 – 0:37:50
Amazon took him out of the stream and all the "hahahaha?"
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0:37:50 – 0:37:51
Why?
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0:37:51 – 0:37:55
And then did it again weeks later, because they had to put a disclaimer before it,
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0:37:55 – 0:37:59
Because, hey, the way slaves are treated there, that wasn't realistic.
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0:37:59 – 0:38:02
In fact, everyone was aware of that.
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0:38:02 – 0:38:07
And I mean, James Bond only has these disclaimers, the old movies all.
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0:38:07 – 0:38:15
That's where you think, yes, dealing with women at James Bond, that's not what you're doing.
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0:38:15 – 0:38:17
It should be done, everyone is aware of that.
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0:38:17 – 0:38:23
I mean, he rapes Pussygalore in the hay, the gold finger, and then she's good.
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0:38:23 – 0:38:28
Hm, it hasn't aged well, but if you have to point it out to people, it's always the
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0:38:28 – 0:38:29
Question: Everyone notices this for themselves.
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0:38:29 – 0:38:39
And it's hard that people don't understand that, so they don't look at that and say, yes, that was 1965, that's been a bit of a while now, 60 years ago.
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0:38:39 – 0:38:45
The world was different, you have to point it out to the people, so until the 60s, the world was different.
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0:38:45 – 0:38:52
It's a pity we don't know. Oh, wait, here comes the cat. I have to close the door or the whole family will hear it.
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0:38:52 – 0:38:57
Yes, bad if the little animals can open the doors.
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0:38:57 – 0:39:02
So, I'm almost back. I just have to let the cat out once. I'm right here next to the patio door.
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0:39:02 – 0:39:04
Sorry about the interruption.
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0:39:04 – 0:39:06
And how out?
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0:39:06 – 0:39:09
Ah! So, I'm back.
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0:39:09 – 0:39:11
No, so I don't think this climate is bad.
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0:39:11 – 0:39:14
In the meantime, European radio play. I'm a big radio play fan too.
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0:39:14 – 0:39:16
I don't know how you... Do you listen to radio plays?
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0:39:16 – 0:39:18
Um, every now and then.
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0:39:18 – 0:39:20
So I had all the...
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0:39:20 – 0:39:25
I mean, the three question marks around the scary sea of Europe I grew up as a child.
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0:39:25 – 0:39:31
And also old three question marks, especially TKKG, I don't know, do you know TKKG?
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0:39:31 – 0:39:32
Yeah, sure.
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0:39:32 – 0:39:36
They were from Stefan Wolf, who was quite right.
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|
0:39:36 – 0:39:38
And that's something you've noticed in the old radio plays.
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|
0:39:38 – 0:39:43
Meanwhile, Europe has also said that we make disclaimers about what I am fine with.
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|
0:39:43 – 0:39:54
So there are sayings in there, so homeless people are generally bums and Italians are generally from the mafia.
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0:39:54 – 0:39:55
And I'm like that, okay …
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0:39:55 – 0:39:57
That's the stigma, isn't it?
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0:39:57 – 0:39:59
Yes, and there is also the …
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|
0:39:59 – 0:40:01
Now Karl wants to go back in there, like madness.
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|
0:40:01 – 0:40:05
And Tarzan, he has always threatened with beating,
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|
0:40:05 – 0:40:07
So he really fucked people up, so, uh,
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|
0:40:07 – 0:40:09
If you're not nice now, you'll get a mouthful.
|
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|
0:40:09 – 0:40:13
Okay, so it's not so good English either.
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|
0:40:13 – 0:40:16
But they even removed three episodes.
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0:40:16 – 0:40:18
I think that's hard.
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|
0:40:18 – 0:40:21
So there are three old TKKG episodes,
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|
0:40:21 – 0:40:27
They don't get any more because they don't correspond to the zeitgeist anymore. And I don't think the disclaimer would have been enough?
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|
0:40:27 – 0:40:39
Yeah, that's my opinion, too. It works the same way with books. So the language in the Vinituromanes, which is not exactly without.
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|
0:40:39 – 0:40:49
So I can understand it with "Pippi Longstocking", because this is intended for children, that you make censored versions with the South Sea King.
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|
0:40:49 – 0:40:56
I can understand this, because children, how should, otherwise children learn the language just as it should not be today more.
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0:40:56 – 0:41:00
Yeah, that's right, they think that's gonna normalize for them, right?
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|
0:41:00 – 0:41:01
That's right.
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|
0:41:01 – 0:41:15
However, of course, the joke is, when you watch the movies, it hasn't changed, because they have, so they still run on TV with "n...", but partly also cut, which I think again, so "ah, nja, ach, I don't know".
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|
0:41:15 – 0:41:18
Yeah, we're back to that point. I mean, they're all works of art.
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|
0:41:18 – 0:41:29
But this is often not understood at all and you can see that everywhere, whether these are now just novels, so belletristics, radio plays, audio books.
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|
0:41:29 – 0:41:35
This is all an art form and these are works that stand for themselves and for a certain time.
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|
0:41:35 – 0:41:42
You don't go and change all the cruel places in the Bible, just because that doesn't correspond to the zeitgeist.
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|
0:41:42 – 0:41:48
Yes, partly I have there, so my kids, they're in this generation, they're both 16,
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|
0:41:48 – 0:41:53
And if you're watching movies like that with them, so they've gotten it by now that it's old,
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|
0:41:53 – 0:41:55
But they also roll their eyes partially.
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0:41:55 – 0:41:56
Yes, yes.
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0:41:56 – 0:41:59
It was just like that back then.
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|
0:41:59 – 0:42:02
But they like to watch older movies, so I socialized them.
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0:42:02 – 0:42:05
We really started with a lot of old stuff.
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0:42:05 – 0:42:10
We also really started with Dr. No at James Bond, so with the very old times.
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|
0:42:10 – 0:42:12
They don't just know Pierce Brosnan and Daniel Craig.
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|
0:42:12 – 0:42:19
But far too few old things are being looked at by now.
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0:42:19 – 0:42:23
I have to say. Kids can't do that anymore.
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0:42:23 – 0:42:27
I had once tried to watch with Sarah in 2001.
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|
0:42:27 – 0:42:35
So at the latest on the flight to the space station Sarah had said,
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0:42:35 – 0:42:38
Sorry, I'm out. I can't do that.
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|
0:42:38 – 0:42:41
Now the question is, how do you look, so what do you look at? Do you look at a...
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|
0:42:41 – 0:42:43
What screen, how big is it?
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0:42:43 – 0:42:45
Uh, 55 inches.
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0:42:45 – 0:42:49
Joa, that's okay.
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|
0:42:49 – 0:42:53
Yes, that's standard today, but back then, as I bought it, it was just a bit big.
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0:42:53 – 0:42:58
Yeah, yeah, I know, I know, it doesn't matter. In my case, the TV has also increased.
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0:42:58 – 0:43:00
At that time I achieved the maximum that is possible with us,
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|
0:43:00 – 0:43:04
Because there's a chimney in the way. I now have 75 inches.
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|
0:43:04 – 0:43:13
And we sit two and a half meters away from the TV. Back then, at the higher TV time, that would have been, okay, that's going to break our eyes and we're going to get a headache.
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0:43:13 – 0:43:15
And X-rays on the wall, huh?
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|
0:43:15 – 0:43:22
Yes, and today you have, today you think so, wow, that's pleasant, insane, to watch so, because the TVs have a completely different technique.
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0:43:22 – 0:43:25
Yes, and a much higher resolution. You have to sit so hard.
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|
0:43:25 – 0:43:51
But there are still films, 2001 is one of them, which is actually something you would have to watch in the cinema or in a home cinema where you have a big one. It's like Avatar. Now the third avatar is coming and I'm going to the IMAX cinema with family and we're going to watch this and I know it's like the first and second part. I watch this in the IMAX cinema and then never again, because it doesn't have the effect at home and doesn't irritate me at home at all.
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0:43:51 – 0:43:55
Yes, IMAX cinema is impressive.
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|
0:43:55 – 0:44:07
But the point is, 2001, that had nothing to do with what you see, but with this length of the scene and the narrative where nothing happens.
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0:44:07 – 0:44:13
You almost fall asleep, that goes on for many long, endlessly long minutes.
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0:44:13 – 0:44:20
And films from today, in contrast to the films of that time, are kept a bit more entertaining.
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0:44:20 – 0:44:26
You also don't keep your camera on for five minutes when someone is smoking. You know what I mean?
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0:44:26 – 0:44:28
That's from history.
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0:44:28 – 0:44:33
That's not true. Helge Schneider, 00 Schneider, you see an old man smoking by the window for five minutes.
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0:44:33 – 0:44:35
Yes, for example, yes exactly.
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0:44:35 – 0:44:52
I had only thought, then and after the experience with 2001, the place where the star child is born, where you see the quarter of an hour felt almost only colors on the screen, Sarah could not have endured that.
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0:44:52 – 0:44:56
The question is, how does this work in the cinema?
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0:44:56 – 0:45:00
There you have this picture rush, so you don't give up the picture rush completely.
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0:45:00 – 0:45:03
This is becoming more and more difficult with television.
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0:45:03 – 0:45:10
2001 is a film that I wouldn't necessarily watch at home on 75 inches.
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0:45:10 – 0:45:12
So I'd have less bucks on it.
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0:45:12 – 0:45:16
This is a movie you watch in the cinema, just like you watch Rocky Horror Picture Show,
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|
0:45:16 – 0:45:20
I don't think the best example of this can be seen at home.
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0:45:20 – 0:45:29
Because either you're bored to death or you have to renovate afterward because you splashed around with water, threw rice, and threw toast.
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0:45:29 – 0:45:32
People go to the movies with Assas bars, so I know.
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|
0:45:32 – 0:45:40
That's right. You have to do it open-air. So open-air cinemas in the summer, Rocky Horror Picture Show I can recommend to everyone.
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0:45:40 – 0:45:47
The film cannot be watched at home. Really not watchable. That's deadly boring.
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0:45:47 – 0:45:54
Yeah, I saw him once. I thought it was okay. I didn't see him in the cinema.
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0:45:54 – 0:46:02
Yes, but in the cinema this is just an event, because everyone has fun. It's like a movie where no one does nonsense because everyone is waiting for those moments.
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0:46:02 – 0:46:07
That's something you can really watch in the cinema, like an avatar cinema.
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|
0:46:07 – 0:46:14
But these are things I know in the background. If I were to discuss Avatar now, I'd probably tell the movie theater, boah, he's going in.
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0:46:14 – 0:46:19
If he comes to the home cinema and I have to revise my criticism for the home cinema,
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0:46:19 – 0:46:23
I would also have to change the text as far as the recommendation is concerned.
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|
0:46:23 – 0:46:30
Because I say, in the home cinema you realize that the story of Avatar is really quite simple.
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|
0:46:30 – 0:46:38
Yes, these are great pictures, but the story has been seen a thousand times.
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0:46:38 – 0:46:41
And they go for three hours each.
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|
0:46:41 – 0:46:44
For me, for example, Lord of the Rings has also been an incredible seat meat.
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|
0:46:44 – 0:46:49
I know I'm hurting every Lord of the Rings fan with this, but I did it once in the cinema
|
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0:46:49 – 0:46:50
Looked at.
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0:46:50 – 0:46:52
That was work for me, that was no pleasure for me.
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0:46:52 – 0:46:58
I just saw the first one and I swore I wasn't looking at another one.
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0:46:58 – 0:47:00
Then you can understand what I mean.
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0:47:00 – 0:47:04
So you really have to differentiate.
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0:47:04 – 0:47:09
In the cinema you can indulge in the picture rush, at home it becomes more difficult, except
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0:47:09 – 0:47:14
You have the necessary home cinema system, but not everyone has a big screen now.
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0:47:14 – 0:47:20
That's right. And above all, the projectors, which then deliver the luminous intensity,
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0:47:20 – 0:47:23
You can also watch it well at home.
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0:47:23 – 0:47:25
You have to invest properly.
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0:47:25 – 0:47:32
That's right. And well, now with LED or laser technology, the lamps last a long time.
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0:47:32 – 0:47:36
Earlier with the mercury things, that went into the money.
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0:47:36 – 0:47:39
I mean, we only held him for a few thousand hours, and then he was gone.
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0:47:39 – 0:47:42
Yes, you were allowed to buy again after a year.
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0:47:42 – 0:47:44
Yeah, and that's $250 or so.
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0:47:44 – 0:47:49
I know that's such a thing, right?
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0:47:49 – 0:47:56
Yes, but as I said, we do a lot of formats.
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0:47:56 – 0:47:59
I think we have the unboxing videos, we have a movie match.
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0:47:59 – 0:48:03
It's always funny, we haven't done that in a while, but it's coming back soon.
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0:48:03 – 0:48:08
We're looking for a theme, such as Christmas movies.
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0:48:08 – 0:48:13
And then I make 100 lots with different Christmas movies
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0:48:13 – 0:48:16
Then invite three people to the show.
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0:48:16 – 0:48:21
And then I pull 36 films out of those 100 lots, always two.
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0:48:21 – 0:48:23
And they have to compete against each other.
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0:48:23 – 0:48:25
That means the three of them have to decide whether to move on or move on.
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0:48:25 – 0:48:28
With three people, logically, one always flies out,
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0:48:28 – 0:48:30
Because it can be a maximum of two to one.
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0:48:30 – 0:48:36
And the winners then compete against the next ones, until after that there are only two films left and then the last one wins.
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0:48:36 – 0:48:45
That's nice. This is a lot of fun and depending on how you watch one, of course, completely different films win.
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0:48:45 – 0:48:48
Yes, of course, this can develop in different directions.
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0:48:48 – 0:48:58
If you have the Zocki, he doesn't like such demanding movies at all, he likes to watch trash, then one or the other already slackens his ears when the stuff says so,
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0:48:58 – 0:49:01
Isn't life beautiful with James Stewart? No, get out of here!
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0:49:01 – 0:49:02
Oh, no!
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0:49:02 – 0:49:04
I can't stand it, it's boring!
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0:49:04 – 0:49:07
Oh, that's awful.
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0:49:07 – 0:49:11
Yes, of course the iniquity is, but that's what makes it so appealing.
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0:49:11 – 0:49:13
I can understand that.
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0:49:13 – 0:49:14
Yes, yes.
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0:49:14 – 0:49:18
Have you ever looked at my page or the YouTube page?
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0:49:18 – 0:49:20
Of course we had that.
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0:49:20 – 0:49:22
And what...
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0:49:22 – 0:49:31
So the funniest thing was the one with Depp and Depp. I mean, it doesn't work for you, it works for your colleagues.
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0:49:31 – 0:49:38
So we were all looked at. So we found this the funniest, because you two matched really well there.
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0:49:38 – 0:49:51
A lot of nasty comments are coming. We're not the big review friend now, but when we see a movie that interests us,
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0:49:51 – 0:49:58
You watch the trailers or you get something like that on TikTok or something. Then let's take a look at it.
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0:49:58 – 0:50:08
That's why I found you so interesting when you go into old movies.
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0:50:08 – 0:50:12
That's how you get your opinion. You've seen them yourself a few times.
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0:50:12 – 0:50:17
And if you just get an opinion from another side.
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0:50:17 – 0:50:21
I found that personally interesting.
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0:50:21 – 0:50:23
Yes, it is, of course, even if you now...
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0:50:23 – 0:50:26
I also have my favorite film critics.
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0:50:26 – 0:50:27
Which I look at on the net.
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0:50:27 – 0:50:30
So David Hain, Robert Hofmann and stuff like that.
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0:50:30 – 0:50:32
Yeah, the Hein, he's great.
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0:50:32 – 0:50:33
The Hein is fantastic.
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0:50:33 – 0:50:36
I would love to talk to him personally,
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0:50:36 – 0:50:38
But it's in Berlin.
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0:50:38 – 0:50:41
I would never see him at a press conference.
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0:50:41 – 0:50:44
But he's super critical, but he also has a great idea.
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0:50:44 – 0:50:46
I am not 100%ig his opinion,
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0:50:46 – 0:50:50
But I can assess that. That is, if he likes something, I know how to assess it.
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0:50:50 – 0:50:54
If he finds something bad, I can still judge whether it's for me or not.
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0:50:54 – 0:51:01
One has to look for one's firm critic in order to be able to estimate roughly,
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0:51:01 – 0:51:06
It will appeal to me or not. You don't always have to agree with this critic.
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0:51:06 – 0:51:08
You just need to know what your opinion is in general.
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0:51:08 – 0:51:16
Yes, and to one, if they just go one thing and tear up a movie or something,
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0:51:16 – 0:51:21
Without going into specific points, I always find such criticisms more than
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0:51:21 – 0:51:27
questionable. Yes, it's always a question of what you can talk about, because there are many
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0:51:27 – 0:51:33
People are silent, yes, spoilers, if you betray too much. That's for a lot of people, so it's
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0:51:33 – 0:51:37
That's what we have at "Partoffelkino", where I am often.
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0:51:37 – 0:51:44
There are free videos of it on YouTube.
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0:51:44 – 0:51:49
In fact, it is often the case that older film colleagues start spoiling extremely.
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0:51:49 – 0:51:51
Where I think, "Haha, haha."
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0:51:51 – 0:51:53
That's the way it is, yes, but everyone has to know it.
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0:51:53 – 0:51:55
No, not everyone knows.
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0:51:55 – 0:52:00
That's the big problem, because there are so many movies, you can't know everything.
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0:52:00 – 0:52:05
I know everything. Just because it's a classic doesn't mean I know it.
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0:52:05 – 0:52:08
So, for example, I never looked at a "Lawrence of Arabia",
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0:52:08 – 0:52:11
Because I just have no interest in it. I also went to Pantoffelkino.
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0:52:11 – 0:52:16
Cancel the broadcast. I'm like, no, I got the bad watch. I gotta go there.
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0:52:16 – 0:52:17
Yes, yes.
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0:52:17 – 0:52:21
Yes, that's why, so great classic, I still don't know him. So you'd put me there
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0:52:21 – 0:52:26
You're still spoiling when you say that in the end, this and that happens. Therefore,
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0:52:26 – 0:52:27
So you can't go into everything.
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0:52:27 – 0:52:33
The problem is always when you don't have such a large collection of films at home.
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0:52:33 – 0:52:41
Certain movies that you find super rarely connected in streaming services. Silent in
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0:52:41 – 0:52:45
Take space, for example. I would love to watch with Sarah silently in space,
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0:52:45 – 0:52:49
This is the first science fiction movie I can remember.
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0:52:49 – 0:52:50
Is it on DVD?
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0:52:50 – 0:52:54
Yes, of course, but I don't have a DVD player anymore, honestly.
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0:52:54 – 0:53:05
I woke up at night, I was able to fall asleep and my mother watched the movie and then I got a quarter of an hour of the movie and I was so fascinated by the story.
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0:53:05 – 0:53:08
Is there no stream here?
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0:53:08 – 0:53:13
No, that's … I keep checking whether it's somewhere or something, but so far … ne.
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0:53:13 – 0:53:22
I mean, well, that's eco-science fiction in the '70s, it's not necessarily the topic that hits the masses right now.
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0:53:22 – 0:53:24
I hope we have Amazon Prime somehow.
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0:53:24 – 0:53:29
Yeah, she's probably aware of that. I also recommend again and again once a week
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0:53:29 – 0:53:36
the media libraries of public law, i.e. of ZDF. ZDF has a relatively large number of films every week.
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0:53:36 – 0:53:39
We are also looking forward to ZDF and Neo.
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0:53:39 – 0:53:43
Yeah, they're on ZDF. Neo runs on Saturday evenings, always running three Hollywood movies,
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0:53:43 – 0:53:48
in final loop until six in the morning. They're also in the media library for a week,
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0:53:48 – 0:53:55
partly longer, partly shorter, depending on how they have the rights. There are a lot of things to be found in Arte.
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0:53:55 – 0:53:57
That's right, Arte is like that too.
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0:53:57 – 0:54:00
There are a lot of films on Arte and some of them are in it for a whole year.
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0:54:00 – 0:54:08
You have a long time to pick up. So something like "leaf is space" I could imagine that the Arte-Mediathek maybe at some point also the thing times …
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0:54:08 – 0:54:15
You have to look. This is such a media library, where I can highly recommend, have a look there, find your film.
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0:54:15 – 0:54:23
You can watch it all day in the media library. This is the alternative for streaming services.
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0:54:23 – 0:54:28
Yes, I mean, we actually discovered the library for ourselves.
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0:54:28 – 0:54:38
And the entire offer of public law, as far as online streaming is concerned, is really very interesting.
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0:54:38 – 0:54:43
I can give you another tip. Studio Kanal, for example, is a great distributor.
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0:54:43 – 0:54:47
It was a movie and before that it was, I don't know.
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0:54:47 – 0:54:55
They have quite a few backlist titles on their YouTube channel that they offer for free streaming on YouTube.
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0:54:55 – 0:54:59
You have a lot of movies from them.
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0:54:59 – 0:55:01
That totally passed me by.
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0:55:01 – 0:55:03
Did you know that, Sarah?
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0:55:03 – 0:55:04
No.
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0:55:04 – 0:55:05
No, no.
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0:55:05 – 0:55:07
That goes past most of them.
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0:55:07 – 0:55:09
When you open the Studio channel, the YouTube channel,
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0:55:09 – 0:55:12
You'll get a lot of movie trailers from their releases.
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0:55:12 – 0:55:14
And in between always such a whole movie.
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0:55:14 – 0:55:15
What?
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0:55:15 – 0:55:17
That's tough.
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0:55:17 – 0:55:19
There's a lot of good stuff in there.
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0:55:19 – 0:55:21
Now the cat wants to invite again.
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0:55:21 – 0:55:23
He gets annoyed when he wants to eat.
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0:55:23 – 0:55:25
Don't be surprised.
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0:55:25 – 0:55:28
I know these animals starve to death several times a day.
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0:55:28 – 0:55:34
Yes, especially he knows exactly, when I pick up here, then he is immediately on the spot.
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0:55:34 – 0:55:37
He's out all day, but, uh, they don't come off the computer.
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0:55:37 – 0:55:41
Oh, you're here! Hello there! I would be hungry now?
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0:55:41 – 0:55:44
"Look at me!"
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0:55:44 – 0:55:48
Yeah, yeah, pay attention to me. He sits there and stays with his legs. "Hello!" he said.
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0:55:48 – 0:55:51
But that shouldn't stop us now.
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0:55:51 – 0:55:56
Studio channel, also to your listeners. So if you don't have a streaming service at hand right now and you say,
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0:55:56 – 0:56:02
I can't find anything right now, look there. They actually have a lot of movies. And who knows how to be,
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0:56:02 – 0:56:06
You can also download things to your hard drive in a matter of seconds with tools.
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0:56:06 – 0:56:10
So you don't have to have the advertising now. It's just like the media.
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0:56:10 – 0:56:16
I don't want to give a tip now, but that's possible to secure the stuff in the long run.
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0:56:16 – 0:56:34
[Siebert] The digital backup. [H] Exactly. It's crazy what you can see now. What a loss of value films have as a result. In the past, you had to pay for a lot of money, especially in the video libraries, that the films are costly.
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0:56:34 – 0:56:51
Especially in the first video libraries, especially, let's say, I grew up in a small town on the edge of the Ruhr area and the video libraries there were generally from 18, because of course they also had their home film department there.
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0:56:51 – 0:56:55
Yes, that was also with us, although the home film department was again separate.
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0:56:55 – 0:56:58
Yeah, it was hung up, in the curtain in front of it, and so on.
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0:56:58 – 0:57:03
Yes, and then there was the first video library, where there was no home film department.
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0:57:03 – 0:57:07
And then you were allowed in as a teenager, I think 14 or so.
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0:57:07 – 0:57:08
Yes, yes.
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0:57:08 – 0:57:11
And that thing was always full, wasn't it?
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0:57:11 – 0:57:12
Yeah, sure.
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0:57:12 – 0:57:14
At the time, there were no streaming services.
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0:57:14 – 0:57:16
No, there wasn't, no.
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0:57:16 – 0:57:17
I know, too.
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0:57:17 – 0:57:19
Sorry, I didn't want to interrupt you.
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0:57:19 – 0:57:24
I remember when I got out of school, I got out on the bus.
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0:57:24 – 0:57:29
so that I then go into the library and borrow a film, then in, then at home the
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0:57:29 – 0:57:34
I made backup copies and brought them back the same day so that I could
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0:57:34 – 0:57:39
You don't have to pay that much rent. Yes, the calendar days, I remember, we had to
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0:57:39 – 0:57:45
We will return the films by 8 a.m. It used to be stress. I am then out of my
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0:57:45 – 0:57:49
Education home, film borrowed, quickly copied and then quickly transferred to the library
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0:57:49 – 0:57:53
ran back here. Yeah, that's right. So that they had less.
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0:57:53 – 0:57:57
But I found it crass at that time with this, what does it mean with this,
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0:57:57 – 0:58:00
From 18, you were only allowed at 18 in the cinemas, in the video counters.
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0:58:00 – 0:58:04
It hit me hard in my childhood because I
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0:58:04 – 0:58:06
not allowed in, then sometime more, sometime came
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0:58:06 – 0:58:09
this limitation. There is, but that was also youth protection in the
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0:58:09 – 0:58:11
The wrong direction. My parents are in the evening.
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0:58:11 – 0:58:13
in the video store and I have to go out there alone in the
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0:58:13 – 0:58:16
There's a dark road. It was much safer for
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0:58:16 – 0:58:19
I feel like I'm at the forefront of the kids.
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0:58:19 – 0:58:24
The film could have stopped. No, I had to stand alone on the street outside. That was great.
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0:58:24 – 0:58:30
And above all, the paradox had been, at that time, in poster advertising or television advertising,
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0:58:30 – 0:58:35
You've seen so much naked skin. Yes, yes, especially in the 90s.
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0:58:35 – 0:58:41
Yes, or if you think about it, here such broadcasts as "Klimbim", how frivolous the in places
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0:58:41 – 0:58:49
was? Yes, that is hardly possible today. That's right. This is no longer repeated,
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0:58:49 – 0:58:54
I think so. Sometimes there are repetitions at night, they don't show that at all
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0:58:54 – 0:59:01
more. This is very unpleasant, as it was then, which is not incomprehensible. But it's already
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0:59:01 – 0:59:09
It's a pity that all this disappears. It's on any Betamax bands,
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0:59:09 – 0:59:18
Somewhere in the archives. Yeah, and what have you planned for the future now?
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0:59:18 – 0:59:23
What am I supposed to do? Go ahead, go ahead primarily. So I'm at Pantoffelkino,
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0:59:23 – 0:59:29
If I'm there every two to three weeks, I'll be there for the recording to make more home cinema.
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0:59:29 – 0:59:32
We talk about home cinema films, in the end mostly also about novelties, which is always very important to me.
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0:59:32 – 0:59:36
That's because those are the things I'm discussing on my side. That is,
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0:59:36 – 0:59:41
I order from the distributors in the press samples to everything that interests me,
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0:59:41 – 0:59:45
The things that seem new. It doesn't matter if it's new or old movies.
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0:59:45 – 0:59:49
The main thing is that the publication is new. Of course, what I prefer to discuss are also old ones.
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0:59:49 – 0:59:55
Movies from my time, which are now in 4K or something like dimensions. Of course I want it
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0:59:55 – 1:00:04
Continue to feed my stuff on YouTube channel and hope it grows a bit,
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1:00:04 – 1:00:10
so that no more people discover yes this is always the difficult yes this is
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1:00:10 – 1:00:13
That's probably not going to happen either, but as long as there are people who
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1:00:13 – 1:00:16
Take a look and read through my reviews, and most importantly,
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1:00:16 – 1:00:20
Watching the videos is also fun for me and I would like to take a quick look at them again.
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1:00:20 – 1:00:25
Filming but I'm still missing the time a question you serve too
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1:00:25 – 1:00:33
media like tiktok no actually not at all that you should do that is yes that
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1:00:33 – 1:00:38
The thing is that I have a 40-hour week in the office.
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1:00:38 – 1:00:45
And then every two weeks after work I have to go to Hamburg for the Wattehoffel cinema recording.
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1:00:45 – 1:00:50
I have to watch all the movies in the evening, which I then discuss the next day.
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1:00:50 – 1:00:52
Or write the critique late at night.
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1:00:52 – 1:00:55
And I know I'd have to serve TikTok and all that stuff.
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1:00:55 – 1:00:59
But I can barely do my things in time.
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1:00:59 – 1:01:01
That's why, well, that's the problem.
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1:01:01 – 1:01:09
You could go there, for example, because you regularly produce the episodes weekly.
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1:01:09 – 1:01:15
You could cut out a sneak peek, so basically, I don't know, take three minutes of it,
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1:01:15 – 1:01:20
It's exciting now that you're discussing such a topic.
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1:01:20 – 1:01:25
And you just upload it to TikTok. When people want to see more,
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1:01:25 – 1:01:29
You can go to YouTube and watch the entire video.
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1:01:29 – 1:01:39
that you almost get the interesting part out of an exception,
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1:01:39 – 1:01:41
Bring the people over.
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1:01:41 – 1:01:44
Thanks for the tip, I'll actually do it.
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1:01:44 – 1:01:49
I've never really dealt with TikTok, I have to admit.
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1:01:49 – 1:01:53
So TikTok is for me, yes I know that there is.
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1:01:53 – 1:01:56
Interesting patch.
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1:01:56 – 1:02:01
You have to pay attention, because TikTok runs mainly in portrait format,
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1:02:01 – 1:02:05
Of course, you can also adjust your videos accordingly.
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1:02:05 – 1:02:10
You can also watch some videos in full screen mode at TikTok.
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1:02:10 – 1:02:12
But that's where it always comes down to.
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1:02:12 – 1:02:17
In any case, that would be an excellent idea.
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1:02:17 – 1:02:22
Either you do it then that they see you there, then it would be a videocast,
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1:02:22 – 1:02:28
which is more exciting for most, like such a reaction in a game or something,
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1:02:28 – 1:02:31
Or just like all the live streamers do in a game.
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1:02:31 – 1:02:37
Or if you just take the audio track, I don't know what it's like with movie rights,
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1:02:37 – 1:02:42
If you show so many seconds whether you are allowed to do so or not.
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1:02:42 – 1:02:46
We do not show any excerpts of films on our YouTube channel.
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1:02:46 – 1:02:52
So for a while I actually put the distributors in the press mails,
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1:02:52 – 1:02:55
I have the trailers available for download,
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1:02:55 – 1:02:57
And then I uploaded them to YouTube.
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1:02:57 – 1:02:58
And you've got a pinch.
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1:02:58 – 1:02:59
On my channel.
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1:02:59 – 1:03:05
And then at the beginning of August came an e-mail, yes, they are no longer monetized,
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1:03:05 – 1:03:07
Because that's not your content.
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1:03:07 – 1:03:11
And then I was locked for three months, until the beginning of December actually,
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1:03:11 – 1:03:14
I had to take all the videos I had uploaded.
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1:03:14 – 1:03:17
As a service for people who like to watch trailers.
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1:03:17 – 1:03:18
That's not far away.
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1:03:18 – 1:03:21
And I can't make it, like a Robert Hofmann,
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1:03:21 – 1:03:24
Send me a comment on the trailer,
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1:03:24 – 1:03:26
Then turn it around and upload it.
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1:03:26 – 1:03:28
'Cause I'm in the office all day
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1:03:28 – 1:03:31
and do something other than take care of my things.
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1:03:31 – 1:03:34
That's why I'm leaving out trailers now, unfortunately, unfortunately,
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1:03:34 – 1:03:35
YouTube is annoying.
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1:03:35 – 1:03:37
Yeah, that's a big problem.
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1:03:37 – 1:03:38
That's annoying.
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1:03:38 – 1:03:43
So, that's, I thought, do you know how that fits?
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1:03:43 – 1:03:47
I really didn't know that this was a drama, that I was watching the trailers
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1:03:47 – 1:03:50
provided by the lender, upload.
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1:03:50 – 1:03:56
Not from the rental site, because they found that good, but actually from YouTube page.
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1:03:56 – 1:03:58
Because they didn't like it.
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1:03:58 – 1:04:02
Yes, these are automated algorithms that work.
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1:04:02 – 1:04:03
Content ID systems.
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1:04:03 – 1:04:06
Yeah, that's bad.
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1:04:06 – 1:04:13
The worst thing was when the lock had expired,
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1:04:13 – 1:04:20
I click up and think I've cleaned everything up and then I apply again and write to a buddy.
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1:04:20 – 1:04:23
So, yeah, there's a few more trailers on your channel.
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1:04:23 – 1:04:28
I so, haha, delete, delete, delete, delete.
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1:04:28 – 1:04:30
Snapping and deleting.
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1:04:30 – 1:04:33
There's really snapping breath and I'm like, no, if the now …
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1:04:33 – 1:04:37
But yes, I'm here on YouTube, it doesn't necessarily get any easier either.
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1:04:37 – 1:04:39
No, it won't be easier, no.
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1:04:39 – 1:04:43
But yes, TikTok, I like to take this with me.
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1:04:43 – 1:04:47
Yes, you should definitely do that, really, if you want reach.
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1:04:47 – 1:04:53
Or Instagram Reels, you have to take the new media with you.
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1:04:53 – 1:04:57
Yes, you have to look where your viewers are mainly.
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1:04:57 – 1:05:01
Instagram has served the Christopher Feldmann's seniority,
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1:05:01 – 1:05:07
He is now in maternity protection and has been lying idle for months.
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1:05:07 – 1:05:11
I'd have to deal with the whole thing, but as I said,
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1:05:11 – 1:05:17
There are a dozen more movies out there that I'll have to make in the next few weeks.
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1:05:17 – 1:05:18
The bad time.
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1:05:18 – 1:05:19
The bad time.
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1:05:19 – 1:05:22
Watching movies always takes a lot of time.
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1:05:22 – 1:05:23
Oh, yeah, that's real.
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1:05:23 – 1:05:26
In the meantime, the newer the films are, the norm is now,
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1:05:26 – 1:05:28
Films are two and a half hours long.
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1:05:28 – 1:05:31
And you have to react quickly, otherwise others will react.
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1:05:31 – 1:05:40
That's right. I need the 48-hour day. That would help me a lot.
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1:05:40 – 1:05:44
You may just be living on the wrong planet.
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1:05:44 – 1:05:45
That would also be possible.
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1:05:45 – 1:05:53
If you were on Pluto or something, you'd have 240 years or something.
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1:05:53 – 1:05:54
I mean, there's plenty of time.
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1:05:54 – 1:05:56
I have so few spectators.
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1:05:56 – 1:05:59
Yes, yes.
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1:05:59 – 1:06:00
The internet is supposed to be so good in the Audi.
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1:06:00 – 1:06:03
That's what I was told.
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1:06:03 – 1:06:10
Yes, so maybe change on a planet.
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1:06:10 – 1:06:14
The days are different.
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1:06:14 – 1:06:17
I think it's going to be difficult.
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1:06:17 – 1:06:20
But yes, as I said, my plan is to continue.
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1:06:20 – 1:06:27
Maybe to reach more people and my hobby as long as I can to go that.
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1:06:27 – 1:06:33
But I think to complement it again, especially when you're talking about newer movies,
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1:06:33 – 1:06:39
who are in the cinema or have been in the cinema in the last five years, there is also a younger
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1:06:39 – 1:06:45
Audience that is watching this and there it is already smart, because of course they are also interested in films.
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1:06:45 – 1:06:52
Interesting, but they're less on YouTube. – Yes, and neither on Facebook.
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1:06:52 – 1:07:01
I'm just realizing that. In the last few months, the followers actually went on Facebook, which is going down rapidly.
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1:07:01 – 1:07:10
I've been just before 7000 and I'm slowly approaching the 6000 because every day some fall away.
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1:07:10 – 1:07:12
Because people just fall away on Facebook.
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1:07:12 – 1:07:17
Yes, because people are leaving too. This is bad for politics.
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1:07:17 – 1:07:24
Facebook has also become cruel. I don't like going up there anymore.
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1:07:24 – 1:07:29
Yeah, I know what you mean. It's no different with us.
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1:07:29 – 1:07:34
But that was my main source. But that sleeps a little bit.
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1:07:34 – 1:07:39
Yeah, we've got the hour.
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1:07:39 – 1:07:41
Yeah, do you have any questions?
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1:07:41 – 1:07:51
No, we've got it all sorted out. Yes, I have a question. How do you actually go so
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1:07:51 – 1:07:59
Do you have hate or do you have hate? Little. In fact, I get more hate about it.
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1:07:59 – 1:08:05
Mass taste slippery lkino channel. There are a lot of people who don't like me. So,
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1:08:05 – 1:08:12
"Ey, he's back!" In the beginning, when this was new to me, I thought,
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1:08:12 – 1:08:17
"Oh, that's not …" It hurts you then, but now I don't care.
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1:08:17 – 1:08:23
So, the price of me has people who don't know me. And I know,
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1:08:23 – 1:08:27
People are reading my stuff and people are watching my stuff. I get it every now and then
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1:08:27 – 1:08:33
positive feedback. I'm in Hamburg on the film exchange every time she passed it with me,
|
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1:08:33 – 1:08:37
Because I have a lot of movies in my collection that I'm starting to see.
|
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1:08:37 – 1:08:40
Set up a place, then shoot out again and again. And there are people coming to themselves every now and then
|
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1:08:40 – 1:08:47
and say, "Hey, great YouTube videos, I really like to watch!" And I think, "Oh, that's nice."
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1:08:47 – 1:08:51
And of course I had it once when I was shopping. That's why I'm at the checkout when shopping
|
|
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1:08:51 – 1:08:56
And I spoke to someone. Aren't you from YouTube? You are a YouTube channel.
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1:08:56 – 1:09:01
Yeah, that's good. So you're the one looking at us.
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1:09:01 – 1:09:04
You are your spectator.
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1:09:04 – 1:09:07
Thank you for your loyalty.
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|
1:09:07 – 1:09:16
So what we're experiencing is that people just leave their hate there and
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1:09:16 – 1:09:22
Actually, they didn't really deal with it. The hate of the hate.
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1:09:22 – 1:09:30
Yes, you are also controversial, you have to say. Talk to people who have followers.
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1:09:30 – 1:09:35
Of course, they are also blindfolded and my star was attacked.
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|
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1:09:35 – 1:09:45
But there is only one format where this happens. The rest is completely worthless and it's so horny.
|
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1:09:45 – 1:09:47
We love it.
|
|
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1:09:47 – 1:09:51
Yeah, so I don't get much hate by now.
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1:09:51 – 1:09:59
The longer you do something like this, I don't do anything political or against others because I'm talking about movies,
|
|
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1:09:59 – 1:10:06
And there you have at most the film nerds, who call a film bad, who say "he has no idea!"
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|
1:10:06 – 1:10:08
Yeah, that's exactly what I could imagine.
|
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1:10:08 – 1:10:13
This is normal, this is ridiculous. Hardly anyone commented on that.
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1:10:13 – 1:10:17
I'm okay with that.
|
|
|
1:10:17 – 1:10:21
So before we started this certain firming,
|
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|
1:10:21 – 1:10:25
We also had the fact that there were almost no comments.
|
|
|
1:10:25 – 1:10:28
Well, yeah, that comes with it.
|
|
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1:10:28 – 1:10:35
Most people consume this and then comes the next movie, the next clip.
|
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|
1:10:35 – 1:10:45
So, but especially now on YouTube, if I think about it now, Rectal, Digital, the file Flattermann, which is running great on YouTube.
|
|
|
1:10:45 – 1:10:54
We also get new subscribers, but on other platforms it doesn't click so well.
|
|
|
1:10:54 – 1:10:58
There were other formats that clicked better.
|
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|
1:10:58 – 1:11:03
But if you just looked at it from YouTube,
|
|
|
1:11:03 – 1:11:10
Rektal Digital's Flattermann file is the most successful format on our YouTube channel.
|
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|
1:11:10 – 1:11:12
By far.
|
|
|
1:11:12 – 1:11:14
Yes, by far, exactly.
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1:11:14 – 1:11:22
I think so. I have also found you about it, but as I said, I keep myself covered.
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1:11:22 – 1:11:24
You can do that too.
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|
1:11:24 – 1:11:32
That's what I do. Of course, I don't get such clicks because we are not controversial.
|
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1:11:32 – 1:11:35
So if a video has 200 clicks, I'm happy.
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|
1:11:35 – 1:11:40
That's great, too. Then you can also assume that
|
|
|
1:11:40 – 1:11:46
that 200 people really looked at it because of the content and it also
|
|
|
1:11:46 – 1:11:53
I'm really interested in what you're looking at. I hope so. But the fewest comment
|
|
|
1:11:53 – 1:11:55
So you get three comments under the video.
|
|
|
1:11:55 – 1:11:59
Yeah, but that's standard.
|
|
|
1:11:59 – 1:12:01
And 10 likes.
|
|
|
1:12:01 – 1:12:03
Okay.
|
|
|
1:12:03 – 1:12:05
But that makes you happy.
|
|
|
1:12:05 – 1:12:07
As long as someone looks at it and someone reads it,
|
|
|
1:12:07 – 1:12:10
What I'm doing, I'm definitely going to continue with it.
|
|
|
1:12:10 – 1:12:12
And of course you should do the same with your things.
|
|
|
1:12:12 – 1:12:16
Yeah, there's no question about that.
|
|
|
1:12:16 – 1:12:20
And even if it doesn't stop now
|
|
|
1:12:20 – 1:12:25
The one topic goes on, because that's just a nice hobby if you
|
|
|
1:12:25 – 1:12:31
Create your own content, whether it's in written form, in audio or video form,
|
|
|
1:12:31 – 1:12:36
It's just a nice hobby, where you put a lot of love and time in.
|
|
|
1:12:36 – 1:12:38
Exactly, I see it that way.
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|
1:12:38 – 1:12:41
Nice, that was a nice closing word.
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|
1:12:41 – 1:12:45
Then I thank you very much.
|
|
|
1:12:45 – 1:12:49
No, I thank you very much for giving me the opportunity to
|
|
|
1:12:49 – 1:12:54
Let me introduce you to you. Thank you is on my side.
|
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|
1:12:54 – 1:13:00
We thank you because you were an exciting guest who had a lot to tell and we
|
|
|
1:13:00 – 1:13:05
They were able to deviate nicely. Yeah, I'm glad, I enjoyed it.
|
|
|
1:13:05 – 1:13:15
All right, do you have anything else, Sarah? No, not really, except when you're talking about something.
|
|
|
1:13:15 – 1:13:20
behind bars? Or have already?
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|
1:13:20 – 1:13:30
No, no, I never saw that. I don't think I'll ever watch that either. This is not my world.
|
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|
1:13:30 – 1:13:37
And I rarely do anything about series anyway, because you have to watch whole seasons.
|
|
|
1:13:37 – 1:13:38
Yes, yes.
|
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|
1:13:38 – 1:13:41
And I need to go through all the movies I'm watching,
|
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|
1:13:41 – 1:13:43
I need half a year for a series relay.
|
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|
1:13:43 – 1:13:45
Yeah, all right.
|
|
|
1:13:45 – 1:13:49
And then it doesn't matter if I write something about it, because then the next season is almost out.
|
|
|
1:13:49 – 1:13:51
That doesn't make sense.
|
|
|
1:13:51 – 1:13:53
Let's stick with movies.
|
|
|
1:13:53 – 1:13:57
I'm more into movies. Like I said, I'm going to make another short film.
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|
1:13:57 – 1:14:02
I do podcasts and film reviews.
|
|
|
1:14:02 – 1:14:06
Okay, then I wouldn't have anything else.
|
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|
1:14:06 – 1:14:10
But I also thought it was nice to have you as a guest, because I think that's nice,
|
|
|
1:14:10 – 1:14:16
When you meet new people who also make content, but in a completely different direction.
|
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|
1:14:16 – 1:14:22
Yes, I hope I will get many more guests who will introduce themselves to you with exciting topics.
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1:14:22 – 1:14:24
We hope so too.
|
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|
1:14:24 – 1:14:26
Then we make the bells press.
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|
1:14:26 – 1:14:28
Yes, I do.
|
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|
1:14:28 – 1:14:33
Well, I'll say thank you and see you next time.
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|
1:14:33 – 1:14:35
See you then.
|
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|
1:14:35 – 1:14:36
Bye bye.
|
|
|
1:14:36 – 1:14:37
Bye bye.
|
|
|
1:14:38 – 1:14:40
Farewell to you!
|
|
|
1:14:40 – 1:14:57
It shall be our king, parumpumpumpum,
|
|
|
1:14:57 – 1:15:02
Our most beautiful gift, which we bring to him,
|
|
|
1:15:02 – 1:15:09
parumpumpumpum, parumpumpumpum, I have no wealth,
|
|
|
1:15:09 – 1:15:14
Parum pum pum pum Just my drums around
|
|
|
1:15:14 – 1:15:18
Parum pum pum pum Should I play for him?
|
|
|
1:15:18 – 1:15:22
So I quietly ask him Parum pum pum pum
|
|
|
1:15:22 – 1:15:24
Parum pum pum pum
|
|
|
1:15:24 – 1:15:37
Come, let's go to the little child Parum pum pum pum
|
|
|
1:15:37 – 1:15:46
It's supposed to be our king, parumpumpumpum
|
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|
1:15:46 – 1:15:54
Our most beautiful fork that we bring to him, parumpumpum, parumpumpum
|
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|
1:15:54 – 1:16:03
I have no wealth, parumpumpumpum Just my drums around, parumpumpumpum
|
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|
1:16:03 – 1:16:08
If I'm supposed to play for him, I'll quietly ask him
|
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|
1:16:08 – 1:16:13
Parum pum pum pum, parum pum pum pum
|
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1:16:13 – 1:16:20
[Music]
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|
1:16:20 – 1:16:28
[Music]
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|
1:16:28 – 1:16:33
[Music]
|
|
|
1:16:33 – 1:16:52
Maria nods me tenderly, parumpumpumpum
|
|
|
1:16:52 – 1:17:01
I play from my heart, parumpumpumpum
|
|
|
1:17:01 – 1:17:05
The children's show is quiet and smiling to me
|
|
|
1:17:05 – 1:17:10
Pam pam pam pam pam, pam pam pam pam pam
|
|
|
1:17:10 – 1:17:14
The stars shine bright, pam pam pam pam pam
|
|
|
1:17:14 – 1:17:18
The nights sound so fast, pam pam pam pam pam
|
|
|
1:17:18 – 1:17:23
My drummer sounds as soft as winds leis and warm
|
|
|
1:17:23 – 1:17:27
Pam pam pam pam pam, pam pam pam pam pam
|
|
|
1:17:27 – 1:17:50
So we stand before the child, parumpumpumpum, with hope like the wind, parumpumpumpum,
|
|
|
1:17:50 – 1:17:54
A song full of peace, I give it to him
|
|
|
1:17:54 – 1:17:57
Parum pum pum pum
|
|
|
1:17:57 – 1:18:01
Parum pum pum pum
|
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|
1:18:01 – 1:18:04
[Music]
|
In this episode, we talk to Christian from the media whores about his personal journey through the world of films – from the first cinema experience to video counters, children’s room listening games and amateur films to professional film critics.
He tells how his passion for movies came about, how cinema and video libraries have changed, and why streaming is convenient but often loses its magic.
We discuss why film criticism is more work than many think, how press patterns and trailers work, how YouTube reacts with content ID strikes, and what strategies are needed to remain visible as a small channel.
In addition, it is about nostalgia, the future of cinema, the question of whether films can have the same effect in home cinema, and why classics are not always unproblematic, but still important.
The episode offers insights into:
– Film culture yesterday and today
– Video counters vs. streaming
– Everyday life of critics & Press samples
– YouTube reality and algorithm
– Hate comments and community
– Tips for libraries and Studio Kanal
An honest conversation about passion, criticism and media change – with anecdotes, reflections and clear classifications for film fans and content creators.
📚 thematic breakdown
1) Entry & introduction
- Who is Christian from the media whores?
- Short presentation of his channel & Team
- How the contact with us came about
2) Origin of the passion for film
- first cinematic experiences
- Video counters & VHS culture
- The Role of Your Family and Friendships
- Nostalgic anecdotes: Gremlins, Bruce Lee and King Kong
3) From spectator to doer
- first radio play and amateur film projects
- Collaboration with friends
- Early Criticism Experiences
- The Road to Film and Criticism
4) Media whores - creation & development
- Why the name ‘media whores’
- Conflicts & demarcations
- Building the Platform and Community
- Formats & Content
5) Film criticism as a calling
- Press patterns, work & reality behind reviews
- Challenges: Neutrality, spoiler, expectation pressure
- Why Criticism is Work and Passion
- Hate comments: How to deal with it
6) Cinema earlier vs. today
- Personal cinema experiences
- Price development, atmosphere, smoke culture
- IMAX and Home Cinema Comparison
- Displacement through streaming
7) Streaming, media libraries & rights
- YouTube & Content-ID-Strikes
- Problems uploading trailers
- Why Small Channels Take More Risk
- Media Library Tips & Studio Channel Pearls
8) Changing Film Culture
- Loss of video counters & physical media
- Streaming comfort vs. experience quality
- Nostalgia vs. modern viewing habits
- Classics, problem films & Disclaimer
9) YouTube & Visibility
- Challenges for Small Channels
- Why TikTok and Reels are important
- Community building & Realism
- Reach vs. authenticity
10) Personal reflection
- Why does he keep doing it despite the effort?
- Passion vs. monetisation
- Future plans & Visions for media whores
11) Completion & Conclusion
- What's left of cinema?
- Why Film Culture Continues
- Inspiration for film fans & Creator
- Thanks to & View
Links to the issue:
-
The media whores – your specialists in films, series, radio plays and more
-
The media whores - YouTube
Advertising:
Related episodes:
- The Flattermann 11 file – The self-chosen decay in megalomania!
- The file Flattermann 13 - between stage and sensitivities
Contributors to this episode
Christian
Sascha
Sarah
Playing time: 1:18:04
Date of admission: 14.12.25
This episode is from season 4, there are a total of 4 seasons.
One According to Funk Publication Cartel Production - Where stories are transmitted unmistakably.
Podcast license:
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License
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Author: Sascha Markmann
Sascha Markmann is a creative mind with a moving biography – and a person who has rediscovered life after a stroke. After working as a paramedic and elderly caregiver, Sascha found his way into creative expression. As a blogger, podcaster, musician and visual storyteller, he brings together things that just don't fit at first glance: He combines his keen enthusiasm for technology – from self-hosted servers to electronic music production – with emotional depth and an oblique sense of humor. His contributions are somewhere between borderline, acid basslines and assistance – honestly, directly and with a wink. Guiding principle: “Audio-visual dullness with no usefulness – but perhaps that's why it's so valuable.” View all posts by Sascha Markmann
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