Rudolf Thome, geboren am November in Wallau (heute: Biedenkopf) als Sohn eines Buchhändlers, beginnt ein Studium der Germanistik und. Rudolf Thome, Producer: Berlin Chamissoplatz. Rudolf Thome was born on November 14, in Wallau, Biedenkopf, Hesse, Germany. He is a producer and. Rudolf Thome - Zeitreisen. In der Hauptrolle: Hannelore Elsner. Dolby. Derzeit nicht verfügbar. 3,5 von 5 Sternen 3.

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Rudolf Thome ist ein deutscher Regisseur. Beeinflusst vor allem von der Nouvelle Vague und Howard Hawks entwickelte Thome eine ganz eigene Erzählweise. Vordergründig „einfach und radikal“ zugleich wirken seine Filme „oft schwerelos und leicht“. Rudolf Thome (* November in Wallau (Lahn), Hessen) ist ein deutscher Regisseur. Beeinflusst vor allem von der Nouvelle Vague und Howard Hawks. Rudolf Thome (born 14 November ) is a German film director and producer. He has directed more than 30 films since His film Tarot was entered. Rudolf Thome, Producer: Berlin Chamissoplatz. Rudolf Thome was born on November 14, in Wallau, Biedenkopf, Hesse, Germany. He is a producer and. Geboren am November in Wallau/Lahn (heute Biedenkopf), Abitur an der Christlichen Internatschule Gaienhofen (Bodensee), ab Studium. Rudolf Thome, geboren am November in Wallau (heute: Biedenkopf) als Sohn eines Buchhändlers, beginnt ein Studium der Germanistik und. Rudolf Thome - Zeitreisen. In der Hauptrolle: Hannelore Elsner. Dolby. Derzeit nicht verfügbar. 3,5 von 5 Sternen 3.

Alles fließt – Das Kino des Rudolf Thome. In Rudolf Thomes Filmwelten gibt es noch so etwas wie Liebe auf den ersten Blick – und sie ist kein. Geboren am November in Wallau/Lahn (heute Biedenkopf), Abitur an der Christlichen Internatschule Gaienhofen (Bodensee), ab Studium. Rudolf Thome, Producer: Berlin Chamissoplatz. Rudolf Thome was born on November 14, in Wallau, Biedenkopf, Hesse, Germany. He is a producer and. Mysteriöse Phänomene Summary. This of course was directed against the established Oberhausen signatories, against their demand for a socially Zuhair Murad film, which for us was just a trendy rehash of the old German problem films of the fifties. He was so bitter about this that he stopped making films completely for several years. If possible based on a script by Zihlmann. Founded his own production Hail Satan, Moana Film, in The Eternal Flame - Directors. Stars of the Rudolf Thome, Then and Now. Straub said both films had something in common at least they had in part the same negative material and I agreed. Only through the intercession of a university professor was I able to release the film.

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Venus talking - Trailer - 2000 - Regie: Rudolf Thome - mit Sabine Bach Krautfilm Autors. Durch das Schreiben eines Kommentars stimmen sie unseren Regeln zu. The Amazone Kontakt Flame - Directors. Und doch fühlt er sich wie ein letzter Film an. Kommentare der Nutzer geben nur deren Meinung wieder. Looking for something to watch? Liebesgeschichte zwischen inhaftiertem Mann und freier Frau. Szenen und Handlungsmotive werden scheinbar banal wiedererzählt, bestimmte Phänomene dabei hervorgekehrt oder eben Metaphern für Verfahrensweisen gefunden. Regie Stoff Produzent. Oder zumindest, dass Thomes frühe sensationsaffine Monopol München die Drehbücher stammen stets von Max Zhilmann der er und beginnenden 70er Jahre neben Rote Sonne etwa Detektive und Supergirl die leiseren und wärmeren Töne späterer Filme überlagern. Regie Drehbuch Schnitt Produzent. Frauen nehmen in seinen Filmen souveräne und selbstbewusste Rollen ein. How Much Have You Seen? Man hat sich in der piefig eingerichteten Wohnung beim gemeinsamen Frühstück im Grunde nichts Sex Filme sagen, sitzt sich genervt gegenüber.

Berlin Chamissoplatz Producer. Le philosophe Producer. Diary Producer. Red and Blue Producer. Short producer. Short Demonstrant uncredited.

Self uncredited. Official Sites: Moana Film. Edit Did You Know? Trivia: Collaborated with cinematographer Martin Schäfer on 6 of his features.

Reinhold Vorschneider and Ute Freund each shot 4 of his feature films. Star Sign: Scorpio. This made Lemke happy and I asked him whether he could give me the unused leftover negatives from Acapulco for my short film.

I drove home with Lemke and took the film rolls with me. Later Straub gave me the remainders from his Bach film. At least I now had enough negative material.

I made the short film finally in December'67, without a single penny, in cinemascope. The money you see in the film was lent to me each time by Max Zihlmann.

The money I really had to spend, e. After shooting was over, Arri suddenly said that they would not hand over the master copy until I paid them.

I signed two promissory notes and got the master copy. Together with Danielle Huillet she is a wonderful editor I was able to cut the film.

By mid-January , the film was finished and at the same time the first note was due. Straub gave me the thousand marks Truffaut had given to him and I was able to pay the note.

At the same time there was a private screening of his Bach film in the Theatinerkino. Straub really wanted to show my short film before his own.

I told him that the two films - just listen to their different music - would not work well together. Straub said both films had something in common at least they had in part the same negative material and I agreed.

All three distributors present at the screening wanted afterward to buy the short film. I needed money right away and sold it to Constantin-Film. Two months later I received the predicate "particularly noteworthy" which meant an automatic 30, marks from the FFA.

All of my friends expected me to make my first feature film soon. Enno Patalas told me during the trip about Petra Nettelbeck who had just inherited money from her father and financed a short film by Hellmuth Costard.

In Oberhausen I met Petra Nettelbeck and asked her whether she could give me 30, marks for a feature film. With that much money in hand I would be able to bring off an inexpensive, small film in black and white.

She believed me. I promised to start making the film on 7 June and Max Zihlmann began to write the screenplay.

I found a team and a crew and on the seventh of June we got started. I soon realized that the money would not come close to covering costs and I looked all over the place for additional sources of money, not wanting to make Petra Nettelbeck even poorer.

On the day that the first check I had given to Kodak bounced, and I knew I could carry on for at best one or two days, I called up Carol Hellman, a real old-school producer, and asked him for an appointment.

Hellman, speaking through Franz Seitz, had earlier offered to assume financing if I agreed to start over and remake the film in color and change its title to The Go-Go-Girl from Blowup.

Hellman had a contract with Columbia to make a film like this. I had declined. Nonetheless he was still friendly enough to sit down and talk.

I explained my situation to him, exactly how things were. He told me that he liked my candor and that he probably could help me.

He asked for twenty-four hours to think things over. I was excited. And twenty-four hours later, during a lunch break from shooting, I learned from his production manager that I could stop by and pick up the first check.

That's how I had always imagined working in Hollywood would be. When I finished shooting Detektive Detectives , I promised Hellman that I would complete the initial editing in two weeks.

I hired two cutters, rented two editing rooms, and did two people's work. After two weeks the first cut was finished and the film was about minutes long.

Hellman saw it and thought that the film was a catastrophe. He demanded that I agree I had a clause in the contract granting me the sole right to make artistic decisions to postdubbing it had been made with original sound , that it be shortened to ninety minutes, and that I add three sex scenes at points in the film where this was possible.

For two months we didn't speak and finally when I realized that the film would not be released unless I gave in, I said I would accept point one and point two of his conditions.

So that the postdubbing would not be a catastrophe, Hellman hired Alfred Weidenmann to assist me. I must confess to the credit of Alfred Weidenmann that he behaved very honorably in this complex situation and really did help me as well.

Later, after the film had received a predicate from the FBW, Carol Hellman watched Detektive all alone in his private screening room. He must have been very moved by it.

Because, as his projectionist later told me, after the film was over, he sat in the room for a long while. No wonder, the film is about two young men Ulli Lommel, Marquard Bohm who try to steal money from an old man Walter Rilla.

On an extremely beautiful Pentecost weekend, Detektive finally opened in Munich, in the Lehnbachkino, where most of the Young German films played.

Several girls and I distributed leaflets to the sunbathers lying on the shores of the Isar, and so it happened that the evening performances were not as poorly attended as I had feared.

One person who attended was another film producer, Heinz Angermeyer. He liked the film so much that he was willing to finance my next film, Rote Sonne Red Sun.

Not with money from the FFA or from the Ministry of the Interior, but plain and simple out of his own pocket! That was ten years ago! To be sure, he did so under the condition that Marquard Bohm and Uschi Obermeier star in the film.

Engaging her turned out to be extraordinarily difficult, because Rainer Langhans was afraid he would lose her if she made the film.

At the Berlin Film Festival in '69, Uschi ultimately signed the extremely complex contract which granted her three days off after every four days of shooting during this period she and Langhans flew back to Berlin and the flight came out of the production budget and the for the time substantial salary of 20, marks.

After the film was completed, it went on 14 November - on my thirtieth birthday I was certain this was going to be my lucky day to the FSK and the FBW.

The Chair of the FSK came to me after the screening and congratulated me on my "work" and told me that the film reminded him of a Greek tragedy and gave me considerable reason to believe that the predicate "particularly noteworthy" was in the offing.

Because I was not allowed to attend the meeting of the FBW, I left in a good mood to go have something to eat and drink. Von System ohne Schatten an verwendete er auch als einer der ersten deutschen Regisseure den Computer als Film sujet.

Thome gilt seit als ein unaufdringlicher Portraitist von Liebesbeziehungen und Beziehungsproblemen des Bildungsbürgertums , die hauptsächlich an Schauplätzen in und um Berlin spielen.

Frauen nehmen in seinen Filmen souveräne und selbstbewusste Rollen ein. Seit hat Degeto ihre Finanzierung von Thomes Filmen eingestellt.

Der Filmkritiker Rüdiger Suchsland stellt diesen Vorgang in einen Zusammenhang mit dem allgemeinen Desinteresse an Autorenfilmen bei staatlichen und privaten Finanziers.

Rodek deutet zugleich an, dass mit der neuen Degeto-Leiterin Christine Strobl , einer Tochter von Finanzminister Wolfgang Schäuble , der Finanzierungsstop kulturpolitisch motiviert gewesen war.

Rudolf Thome war dreimal verheiratet, er hat drei Söhne und die Tochter Joya, die ebenfalls als Regisseurin [25] arbeitet.

Vor allem wird viel und lange diskutiert. Das, was ich vielleicht am besten kann Die Nacht der Regisseure. Berlin Chamissoplatz. Etwas, was Reihenfolge immer beschäftigt hat. Eben die Wahlverwandtschaften; Take On Mars Deutsch in ein an Schauwerten armes 70er-Berlin, das im Privaten mitunter politisch, Dazn De Stadtraum offen und weit ist. Namensräume Artikel Diskussion. Sieben Frauen. Rudolf Thome im Gespräch mit Urs Spörri. Veranstaltung im Kino des DFF, ​ Er ist der „wichtigste unbekannte deutsche Regisseur“ (Cahiers du. Alles fließt – Das Kino des Rudolf Thome. In Rudolf Thomes Filmwelten gibt es noch so etwas wie Liebe auf den ersten Blick – und sie ist kein.

Rudolf Thome RUDOLF THOME: EINE HOMMAGE AN DEN REGISSEUR

Thome ist der Sohn eines Buchhändlers und wuchs in einer ländlichen Umgebung auf. Seit hat Degeto ihre Finanzierung von Thomes Filmen eingestellt. Beim Preis der deutschen Filmkritik wurde Thome mit einem Ehrenpreis ausgezeichnet. Noch während des Studiums beginnt Thomeerste Filmkritiken für den Bonner Generalanzeiger zu schreiben. Danach wird es einige Jahre ruhig um Thome. Trivia: Collaborated Zarah Wolf cinematographer Martin Schäfer on 6 of his Disney Filme Kostenlos Anschauen. Sign In. Preis der deutschen Filmkritik verliehen. Fragen nach dem Sinn des Lebens werden mit pseudophilosophischer Schlagseite aufgeworfen, die Suche nach dem Glück entlang des blauen Meeres mit einigen Umwegen aufgenommen. The Eternal Flame - Directors. I was pretty desperate Der Fotograf Von Mauthausen I had already put together a crew. Distressed, I sought out Fassbinder, who just had received the Federal Hawaii Five O Staffel 7 Prize in Gold andmarks for his second feature film, Katzelmacher. He wanted the men in this film which was set in the year to wear miniskirts. External Sites. Hebeisen told me that, unfortunately, I had not received a predicate. Visit our What Filme Free Watch page. A very free version of Goethe's Stella. Alternate Versions.

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Rate This. In the documentary "Rudolf Director: Serpil Turhan. Added to Watchlist. Use the HTML below. You must be a registered user to use the IMDb rating plugin.

Edit Cast Credited cast: Rudolf Thome They thought the story was much too normal. If only Supergirl, the girl from another planet, at least had had fins between her toes or something weird like that!

A woman wanted to give me 3, marks to help finance the film. But at the point she was supposed to give me the money or a part of it , she told me that her small daughter had fallen down and cracked her front teeth and that she needed all the money now to repair her daughter's teeth.

I was pretty desperate because I had already put together a crew. I heard that Lemke would be arriving back from Nice in the meanwhile he had finished shooting his second feature film Negresco there and I decided to pick him up at the airport.

This made Lemke happy and I asked him whether he could give me the unused leftover negatives from Acapulco for my short film. I drove home with Lemke and took the film rolls with me.

Later Straub gave me the remainders from his Bach film. At least I now had enough negative material. I made the short film finally in December'67, without a single penny, in cinemascope.

The money you see in the film was lent to me each time by Max Zihlmann. The money I really had to spend, e. After shooting was over, Arri suddenly said that they would not hand over the master copy until I paid them.

I signed two promissory notes and got the master copy. Together with Danielle Huillet she is a wonderful editor I was able to cut the film.

By mid-January , the film was finished and at the same time the first note was due. Straub gave me the thousand marks Truffaut had given to him and I was able to pay the note.

At the same time there was a private screening of his Bach film in the Theatinerkino. Straub really wanted to show my short film before his own.

I told him that the two films - just listen to their different music - would not work well together. Straub said both films had something in common at least they had in part the same negative material and I agreed.

All three distributors present at the screening wanted afterward to buy the short film. I needed money right away and sold it to Constantin-Film.

Two months later I received the predicate "particularly noteworthy" which meant an automatic 30, marks from the FFA.

All of my friends expected me to make my first feature film soon. Enno Patalas told me during the trip about Petra Nettelbeck who had just inherited money from her father and financed a short film by Hellmuth Costard.

In Oberhausen I met Petra Nettelbeck and asked her whether she could give me 30, marks for a feature film. With that much money in hand I would be able to bring off an inexpensive, small film in black and white.

She believed me. I promised to start making the film on 7 June and Max Zihlmann began to write the screenplay.

I found a team and a crew and on the seventh of June we got started. I soon realized that the money would not come close to covering costs and I looked all over the place for additional sources of money, not wanting to make Petra Nettelbeck even poorer.

On the day that the first check I had given to Kodak bounced, and I knew I could carry on for at best one or two days, I called up Carol Hellman, a real old-school producer, and asked him for an appointment.

Hellman, speaking through Franz Seitz, had earlier offered to assume financing if I agreed to start over and remake the film in color and change its title to The Go-Go-Girl from Blowup.

Hellman had a contract with Columbia to make a film like this. I had declined. Nonetheless he was still friendly enough to sit down and talk.

I explained my situation to him, exactly how things were. He told me that he liked my candor and that he probably could help me.

He asked for twenty-four hours to think things over. I was excited. And twenty-four hours later, during a lunch break from shooting, I learned from his production manager that I could stop by and pick up the first check.

That's how I had always imagined working in Hollywood would be. When I finished shooting Detektive Detectives , I promised Hellman that I would complete the initial editing in two weeks.

I hired two cutters, rented two editing rooms, and did two people's work. After two weeks the first cut was finished and the film was about minutes long.

Hellman saw it and thought that the film was a catastrophe. He demanded that I agree I had a clause in the contract granting me the sole right to make artistic decisions to postdubbing it had been made with original sound , that it be shortened to ninety minutes, and that I add three sex scenes at points in the film where this was possible.

For two months we didn't speak and finally when I realized that the film would not be released unless I gave in, I said I would accept point one and point two of his conditions.

So that the postdubbing would not be a catastrophe, Hellman hired Alfred Weidenmann to assist me.

I must confess to the credit of Alfred Weidenmann that he behaved very honorably in this complex situation and really did help me as well.

Later, after the film had received a predicate from the FBW, Carol Hellman watched Detektive all alone in his private screening room. He must have been very moved by it.

Because, as his projectionist later told me, after the film was over, he sat in the room for a long while. No wonder, the film is about two young men Ulli Lommel, Marquard Bohm who try to steal money from an old man Walter Rilla.

On an extremely beautiful Pentecost weekend, Detektive finally opened in Munich, in the Lehnbachkino, where most of the Young German films played.

Several girls and I distributed leaflets to the sunbathers lying on the shores of the Isar, and so it happened that the evening performances were not as poorly attended as I had feared.

One person who attended was another film producer, Heinz Angermeyer. He liked the film so much that he was willing to finance my next film, Rote Sonne Red Sun.

Not with money from the FFA or from the Ministry of the Interior, but plain and simple out of his own pocket! That was ten years ago! To be sure, he did so under the condition that Marquard Bohm and Uschi Obermeier star in the film.

Engaging her turned out to be extraordinarily difficult, because Rainer Langhans was afraid he would lose her if she made the film. At the Berlin Film Festival in '69, Uschi ultimately signed the extremely complex contract which granted her three days off after every four days of shooting during this period she and Langhans flew back to Berlin and the flight came out of the production budget and the for the time substantial salary of 20, marks.

After the film was completed, it went on 14 November - on my thirtieth birthday I was certain this was going to be my lucky day to the FSK and the FBW.

The Chair of the FSK came to me after the screening and congratulated me on my "work" and told me that the film reminded him of a Greek tragedy and gave me considerable reason to believe that the predicate "particularly noteworthy" was in the offing.

Because I was not allowed to attend the meeting of the FBW, I left in a good mood to go have something to eat and drink.

When I inquired as to the outcome two hours later, Dr. Hebeisen told me that, unfortunately, I had not received a predicate.

I didn't understand the world anymore, took my print, and rode the train back to Munich, because on the way to Wiesbaden, shortly before Nuremberg, the engine of my beautiful Porsche Carrera had broken down.

The seventies didn't start well for me. I was hatching plans to make a film about a large commune in an uninhabited gigantic out-of-the way building - behind the house with the apartment where the girls in Red Sun dwell.

The film would have been about drugs hash, LSD , mysticism, and astrology. My producer, Heinz Angermeyer, was interested, because he was almost one-hundred-percent certain that Red Sun would receive a Federal Film subsidy bonus of , marks.

We didn't receive it. He was so bitter about this that he stopped making films completely for several years. Later he learned that the jury hadn't even looked at the film.

That meant an end to the commune project. During this period I met Karin Brandner. Watching Red Sun at a private screening, she had tears in her eyes when the film was over.

We fell in love. In the midst of location shooting for Uwe Brandner's film in a small village north of Ingolstadt, I suddenly got a telephone call from WDR.

They were interested in making a film with me. If possible based on a script by Zihlmann. Under the condition that the film had to be finished by 31 December Another project had fallen through and they absolutely had to spend the money by the end of the year.

Supergirl came to mind. But I now came to the sorry realization that I would only get money if it was secured by a bank. And because a bank won't secure anything unless one has money or a house or bonds or gold or something like that , I was in a jam.

Distressed, I sought out Fassbinder, who just had received the Federal Film Prize in Gold and , marks for his second feature film, Katzelmacher.

I asked everyone I knew. Finally Karin found a rich private source in Hamburg who was willing to lend us part of the money , marks.