When did you realised you wanted to be a Filmmaker\Actor\Writer?
In 1990, when I started taking acommunity TV training in Atlanta, GA. I am an interdisciplinary artist and storytelling with film was something I wanted to explore.
Do you remember your first time at the Movies?
I remember going to the "drive-in" theater to see double features when I was a kid. It was a highlight for our family to pile into the car, grab some food and the ice chest, a blanket and pillow and head out for the evening. I would run to the swingsets in front of the screen and play until the movie previews would start. It was a magical time.
If you should change country where would you like to work?
A country that supported the arts more, that cared about artists and recognised them for who we are.. culture makers and bearers, influencers, storytellers of life and visionaries.
Two films that have marked your life for better or for worse…
All of Carlos Saura's films, Specifically "Flamenco" part of a vibrant dance trilogy. Another Film is "Pina" directed by Win Wenders which is a beautiful documentary about Pina Bausch and her life's work as a choreographer.
What do you think about Acting/ filmmaking schools?
The same as dance schools. They are wonderful for learning your craft and a great jumping off point to develop your own style, techniques and point of view.
Have you ever hated your ambition?
No, maybe others around me have but I feel it is just part of who I am.
Francois Truffaut used to think that "Film Lovers are sick people”… was he right?
No, I believe that films help us to see life differently, to understand ourselves, our world better, another way to experience our emotions and inner world.
Close your eyes…if I say “Cinema” what do you see?
Life and all it's complexities projected on a big screen
Who’s the Director\Actor\Writer that taught you the most?
Carlos Saura
About your job, tell us your biggest dream and your worst nightmare…
My biggest dream is to have enough support, time and money to get the 10 films currently in my head out of my head and in the world
My worst nightmare is that it may not happen.
How important is to have a good Cinematographic Culture?
It is communal and personal to sit in a theater and take in a movie. Films open us to experience our own loves and losses, triumphs and struggles. It offers a cathartic experience that sometimes helps us feel connected and understood. Dance films create meaning beyond the stage performance giving us multiple layers that have emotional or psychological depth.
What would you like to improve as a Filmmaker\Actor\Writer?
Access to more dance for camera films and documentaries on choreographers including their works
A big producer give you the chance to direct\to play (in) the remake of
one of your favorite black and white Movie (if you have one)… what film
do you choose?
Loie Fuller's Serpentine dance
Film Industry it’s a tough place and sometimes is normal to feel lost
and discouraged… who’s the person that keeps you motivated?
I find motivation in my dreams and in the support of those close to me.
Alfred Hitchcock said: "To make a good film you need 3 things: The
script, the script and the script". Do you agree with him? What’s your
most ambitious project for the future?
Mine is the dance, the location and the best crew
Creating a series of dances across California showcasing the beauty of California with the beauty of my dances.
Do you think that sadness or at least melancholy let be more creative?
No, I create better when not under stress, when my imagination can soar.
What do you wish to yourself as a Filmmaker\Actor \Writer?
More time, more support, more money
Do you prefer Comedy or Drama?
Comedy
Life imitates Art or Art imitates Life?
Art imitates life
Which is the best Moment on set?
when production is just perfect
Did anyone ever tell you weren't good enough?
Yes, and that made me change to be good, even better.
How can you stay focused on your goal?
Just being myself and truthful to that
Have you ever had a breakdown because of your Job?
Yes, many.
Talent is a blessing or a curse?
Talent is a blessing, if you accept what you have to do and be an expert in that.
What would you like to improve about yourself as a director?
As Director I would like to improve the art of transmitting to the public the central focus of the movie message . Just being myself and be truthful to that.
What's the worst critic you have received?
Critics for me become a way of wisdom to improve some issues.
If you weren't an actor/director/screenplayer what would you like to be?
I am also a musician. And another profession would be a pilot
If Cinema was a color what would it be?
Gold
A day without a movie is...
A day without joy.
If someone offered you to direct a movie that you despice but that for sure will make you rich and famous...would you accept the job?
No.
What's your greatest ambition?
That my music would be plaid on airplane programs.
What's your biggest fear?
When you are in love, there is no fear
Does music helps you to play/direct,write?
Completely, it translates emotions and the mood of the film!
You have the chance to make a Silent movie, what's your message to the audience?
Express yourself in silence.
Share your speech if you should win an Oscar.....
Thankful and grateful are not enough words to translate my gratitude to the universe and to my collaborators to bring us to this accomplishment. I hope that makes you feel the glory of your work and be honored by that! This is a beacon of hope and possibilities and we are ageless. We have the Age of the Stars. This is a proof that dreams come true, and ladies, don’t let anyone say to you that you are past your prime!
I said in a music festival in Cannes in France when filming in the event that I was training to be a director, and now I am a female director.
When did you decide you wanted to be an actor/director/ screenplayer?
10 years ago when I was attending SUNY Purchase and doing an internship at a digital arts school.
How did your family react?
They were pretty supportive, they wanted to make sure I had every opportunity I could get in this field.
Do you have a Muse or a Role Model?
I have a few role models, some of the biggest directors like Steven Spielberg, George Lucas, Francis Ford Coppola, Martin Scorsese, Sylvester Stallone because of how they go about making a film and telling a story.
Who's your biggest fan?
Definitely my parents, sister and my dog haha. I’m lucky to have a lot of supportive friends that want to see me succeed and vice versa.
What brings you inspiration the most?
There’s a lot of different things, of course other movies and stories, whether it be fantasy, sci-fi, documentaries, real world stories but also history and life experiences
Which actor or director would you like to work with?
There’s quite a few, of course George Lucas or Steven Spielberg, they made my childhood and inspired me to become a filmmaker and story teller. The other directors I mentioned above would also be pretty cool to work with. There’s so many other directors I admire that I would love to work with but there’s so many to name. Of course any sort of documentary filmmaker would great to work with since that’s my specialty.
Have you ever seen a film that was better than the book?
So far not really. A lot of films based on novels are great but it’s very difficult to make it almost exactly like the book.
What's the movie that taught you the most?
Star Wars, Rocky, Lord of the Rings, some of my favorite film franchises of all time because of course there’s a lot of life lessons they teach like realizing all things are possible, if something goes wrong in your life, you can either stay down or get up but also to have faith in all things. These kinds of films help me to keep moving forward. The stories of how these films were made is very inspiring too. Of course there’s Sly who was at such a low point that it looked like he had no future but once he had the spark to write Rocky and persuade the studio to play the role, his whole life turned around and the rest is history. George making Star Wars looked like it was going to be an absolute disaster but it ended up working out in the best way possible. I kind of tear up thinking about that because one, I’ve been in many situations where I was sure things were going to turn out catastrophic but ended up being miraculous but also it’s just beautiful how Star Wars turned out the way we know it today and it inspired me so much in so many different ways, I had the biggest imagination growing up because of it.
About your artistic career, have you ever had the desire to quit everything?
Yea, many times. Coming out of school and getting into the field was extremely hard. I came out thinking I knew everything I needed to know about film when I really had so much more to learn.
When I started working, I was very green in spite of some of the experience I had in film school. I made a lot of mistakes on set or sometimes didn’t understand certain things which got me reamed a lot. As time went on, I got better with cinematography, lighting, editing, storytelling and so fourth, but I didn’t feel like I had what it took to be successful in this field. Jobs were hard to come by. I began to question myself on whether or not I made a mistake going into this. It took years and many friends and meeting people to give me opportunities and pick me up where I was down. It does take one or few moments in your life for everything to change. New opportunities arose and they were the catalysts for “Our Triumphant Holy Day” and the new films I make today.
On set what excites you the most?
Having the camera and lights set up. It’s always cool to see the shot set up.
And what scares you the most?
Not having something set up correctly especially sound which is the most crucial. Or not having all the shots you need or if you’re doing an interview, not getting all the answers you need to make a compelling story.
What's your next project?
I’m currently working on another documentary on another pilgrimage to Italy, what I’m doing with this story is that I’m connecting the stories of the saints and apostles in Italy to what we do in ministry back home. It’s titled “Eternal Saints.”
You can steal the career of an artist you really admire, who do you choose?
Haha I don’t think I’d want to steal anybody’s career. All of us go on different paths and have our own unique journeys.
An actor/director/screenplayer is made of....
Imagination, inspiration and even suffering in any form.
For you Cinema is....
A whole other world that opens our minds and imaginations, that teaches us.
Do you think Black and white movies have a powerful impact?
I think so, it’s good to remember where cinema came from and black and white does give a dramatic effect in modern movies like Oppenheimer.
Have you ever dreamed of winning an Oscar?
Many times.
Do you think you're gonna win it?
Absolutely.
International Gold Awards: Kristina, how is such a CV even possible?
Kristina: I actually invest a lot of time and energy in my career. The projects often overlap and it takes a lot of organisational talent and focusing of energy. I also think it really needs empathy and sensitivity, as every project has different requirements, I'm always working with different people and simultaneously familiarise myself with new topics every time.
International Gold Awards: In film alone you've produced, directed, done camera work, you've edited, written scripts and you've won awards in all categories. How did you become so multi-talented?
Kristina: When I started, I didn't have the financial means to make the films with professional film teams. I also came from an art college, not a film school. Here it is often the case that the artists first realise their video art on their own, you are not used to the classic division of tasks within a film team. During my art studies, I tried my hand at many areas of art and also realised my first attempts at film on my own. That's how I grew into it. Paying professionals from the industry for the camera, the editing and the script was out of the question. So I gradually familiarised myself with these professions. Otherwise, I wouldn't have been able to make my films at all. I edited "This is my Body" alone for the first time in 2010. I still had media studies students who wanted to try their hand at the camera without receiving any money. I was also able to motivate others from my independent theatre group at the time to take part. This was possible within the student framework. Later, the teams became smaller, and I took on most of the work myself so that the film productions were possible at all. I tried for a while to persuade cameramen to get involved in the projects without pay, but it wasn't possible, and I didn't really feel comfortable with it. So, for the music video "Breathe on" I did the camera myself for the first time. And that worked surprisingly well. Over the years, I continued to professionalise myself in various areas. Eventually, I got my first jobs. I then edited the trailers for festivals, and I also stepped in to save the day for my documentary feature film, because the producer knew that I could do the camera, that I could edit and that I had the energy to actually finish the film. I had already written before, even during my time in the theatre and my first degree at university. During my second degree at art college, I grew more and more into making projects. And so it came about, as I simply didn't have the money for a professional film crew at the beginning, that I professionalised myself in several areas of film over the years and at some point my projects were discovered and I can still make a living with film jobs today, which are mainly based on my technical knowledge, which I acquired autodidactically.
International Gold Awards: That's really incredible. Your themes are also so diverse. Do the works influence each other? Do you film your books or do you write your films? How should we imagine that?
Kristina: There is definitely a mutual influence. However, I haven't yet turned a book into a film or written a novel after a film project. I would say that I often revolve around similar themes. Sometimes, however, the topics come to me, and I'm bought in, so to speak, by a producer as a team member or director, or I'm asked by friends and colleagues if I'd like to take part in their project. It's all very different. I often do what feels right to my gut, what interests me, what fascinates me. I never actually repeat anything, at least not yet. Only once did I deal with the play "Spring Awakening" several times. I staged Frank Wedekind's play as an entire play in the first semester of my first degree at the independent theatre in Halle. And much later, in a seminar during my second degree, I picked out another scene from this play and worked on it with students and developed a dance improvisation from it, which, however, no longer contained any text from the actual play. The production was quite classical, you could say, and the dance scene was very modern and abstract. But apart from that, I can't remember doing the same thing again in a different medium.
International Gold Awards: And you as a scientist? Does science influence your art?
Kristina: Yes, definitely, but also the other way round, that art has influenced my scientific texts. I have often taken scientific concepts and turned them into art. Especially in my very art-house orientated films, but also in my literary texts. I tried to portray the theme of "appearance and reality", which also appears in the Platonic dialogue Timaeus, in the music video "Breathe on". The woman is in a cemetery and obviously she cannot detach herself from something, cannot move away. She is repeatedly thrown back to the same place from which she is trying to get away inwardly. Finally, she finds a solution by putting on a social mask, so to speak, and leaving this place for appearances only. She puts on make-up, sunglasses and finally leaves as someone who leaves a part of her being behind in this cemetery. She could not detach herself from her authentic being, who she really is. She could only seemingly leave the place, but something remains. I often use film locations to show inner places. This is also the case in "Fear, that the Rats rise up", for example. Here, a love affair doesn't work. The lift is the metaphorical place for this relationship. It looks like a prison cell, it descends all the time. The lovers try to reach each other, get closer, but they talk past each other and can't really open up. But they can't let go either. So, this uncomfortable lift is a symbol of the relationship, of their inner world. “Cold Thoughts" is also about the inner world of a relationship. The relationship is at a crossroads. Is the couple splitting up, literally going in different directions, are the partners now going their separate ways? The protagonists are stuck against the wall of a house and flashbacks, memories of their time together keep coming up. But the relationship seems to have dried up, so I also applied dried up lips for playing the character. She literally stands still. The male lead "Time comes to a halt" also expresses this extremely well. The sentence is repeated like an echo. In this way, the meaning of the sentence is also reflected in the auditory form. It is the decisive moment in which a relationship between two people breaks up or remains intact. Precisely this moment is also captured in a still image in the final image.
My psychological vampire novel incorporates a lot of my psychology studies. I have contrasted the outside world with the inside world. A woman finds the opportunity to become a vampire through witchcraft. Suddenly, she is immortal, she is flawlessly beautiful, she can travel through time and has increased strength and superpowers as a result. But she is no longer socially acceptable at all, has a thirst for blood, hurts and kills other people as a result, she falls out of her social network and her family and can't cope psychologically at all. I found this contrast exciting. I also wanted to show that it's human bonds, family and friends that make people happy, not power and superpowers. Science often inspires me, and I come up with completely new ideas, which gives me a new perspective and this flows into my art. But I've also incorporated my experiences here and there in my academic work or conducted academic research on art and film, for example in my final thesis on Ernst Cassirer's symbolic forms "Semiotic Processes in Feature Film", but I also did research on film in my dissertation on Michel Foucault and discourse analysis "On the Mediation of Film in Schoolbooks".
International Gold Awards: Your works are sometimes arthouse art and sometimes genre art in very different genres. One gets the impression that anything is possible. "Inequal" is an experimental feature film in which you are one of five performers. Here you deal with the current art discourse of the time. In contrast, "Monster on a Plane", which will be released soon, is a classic genre film. Your documentary film "The Sound of Cologne" chooses a middle way. Broadly speaking, it is a classic narrative style that is orientated around a timeline and structured according to themes. In detail, however, it uses very art-influenced means, such as the moment when the birds are buzzing around Cologne Cathedral, where the recording is sped up and slowed down to match the music of Stockhausen's "Song of the Youths", or a special, musical film cut is used again and again. How does that come about?
Kristina: I'm actually open to everything. I am fascinated and influenced by artists from all genres, including arthouse. Every work of art has to be considered individually. I don't necessarily think in terms of genres. That would limit my imagination. It is precisely in the breaking up of genres that new things usually emerge, and a lot can develop. Sometimes I feel like using a genre completely, which can also be a form of rebellion when you come from an art academy that rejects all classical forms of narrative and classical working methods, but sometimes I want to break away from precisely this traditional form or do something completely different. When I founded my independent theatre group during my first degree at university, I initially staged more classical productions, then grew, discovered new things, became more and more abstract, then really made free art during my second degree at the art academy, performance, free dance, symbolic film, site-specific art, construct improvisation dance, so I was completely away from any genre, any classical form. But in the end, I had to free myself from that as well, because this rebellion has become old again. Marina Abramović is older now, too, Peter Handke's "Offending the Audience" is older, absurd theatre is older and I wanted to try things out, to really immerse myself in a genre for once, to really find my feet here in a stricter form, to use it and to leave art school behind me for once, even if it was a great time. They are never finished movements, I can be fascinated by anything and know no boundaries. I have a great desire to keep discovering new things, to keep exploring new themes in new ways.
International Gold Awards: Dear Kristina, what you are saying sounds really fascinating. Your work is already incredibly rich and diverse and completely unique in its own way. It really takes time to grasp, read and look at everything. You haven't just done your usual academic research in one area either but are active in many different fields. Your doctoral thesis uses discourse analysis to analyse the topic of film in school textbooks and compares historical textbooks with current ones. Discourse analysis goes back to the philosopher Michel Foucault. Your final project deals with the topic of film as a symbolic form and has the theory of the philosopher Ernst Cassirer in the background. Then you wrote articles on Friedrich Nietzsche and the corona pandemic, for example, or on the artistic creative processes of the Swiss media artist and author Matthias Zimmermann. You delve into new topics again and again. Such knowledge in so many scientific fields is truly outstanding. What's coming up next?
Kristina: In spring, Matthias Zimmermann and I will be publishing a literary thriller that we wrote together. Then I'm working on a completely new topic: GDR philosophy. I'm writing a book on this topic together with Prof Harald Seubert and my mother. I'm also working on a feature film project, which is very genre orientated. It's going to be a mystery thriller. I've already written the script. I've also been working on a documentary film project about regretful mothers for a few years now. I'm not a mother myself, but I find the subject very exciting. A documentary short film is due to be released soon, which will later lead to a documentary feature film.
International Gold Awards: That sounds very, very exciting. We definitely wish you all the best for these great new projects. Thank you very much for the impressive interview.
Kristina: Thank you very much! I was really pleased about the interview as well.
Kristina Schippling on IMDB: https://www.imdb.com/name/nm5923371/
What's the absolutely necessary ingredient to be a good actor/director/screenplayer?
The necessary ingredient to be a director is passion. Without a deep love and dedication for the craft, it is nearly impossible to truly excel and create meaningful work. Passion fuels the creativity, the drive, and the perseverance needed to overcome challenges and bring stories to life.
How old were you when you decided you wanted to be an actor/director/screenplayer?
I was around 28 years old when I first discovered my passion for filmmaking.
For you, a film is...
For me, a film is a powerful medium of artistic expression. It is a platform to tell stories, explore emotions, and ignite conversations. A film has the ability to transport viewers to different worlds, challenge their perspectives, and leave a lasting impact. It is a collaborative art form that combines
visuals, sound, and storytelling to create a unique and immersive experience.
What do you feel when you're acting/directing/writing?
When I'm directing, I feel a deep sense of responsibility and excitement as I guide the creative vision and collaborate with my team to bring the story to life.
You can go to the movies with an actor/director/screenwriter that you love. What kind of movie do you choose, and with whom are you gonna watch it?
If I had the chance to go to the movies with an actor, director, or screenwriter that I love. I would love to watch “Django” with Quentin Tarantino, as his films consistently challenge conventions. The experience of watching a mind-bending and visually captivating film with someone who shares a passion for pushing the limits of cinema would be truly extraordinary.
Audrey Hepburn used to say, "Nothing is Impossible." What do you think about it?
I wholeheartedly agree with Audrey Hepburn's statement. In the realm of creativity and filmmaking, nothing should be seen as impossible. It is through embracing the unknown, taking risks, and pushing
boundaries that we create groundbreaking works of art. The film industry is constantly evolving, and by believing in the impossible, we open ourselves up to endless possibilities.
Can you live just off your passion?
Living solely off my passion for filmmaking is both a blessing and a challenge. The film industry can be unpredictable, and there are times when financial stability may be a challenge. However, my passion for
storytelling and the love I have for my craft keep me going, and I am grateful every day that I get to do what I love as a fulltime job.
What's more important, talent or luck?
Both talent and luck play a role in the success of a filmmaker. Talent is the foundation, the raw ability to create, and to connect with audiences on an emotional level. Luck, on the other hand, can open doors,
present opportunities, and introduce us to the right people at the right time. However, talent alone is not enough, and luck alone is not sustainable. It is the combination of talent, hard work, and seizing
opportunities that ultimately leads to success.
You must go to a desert island, but you can bring with you just one movie...
If I could only bring one movie with me to a desert island, it would be "The Shawshank Redemption." This film is a masterpiece of storytelling, with its powerful themes of hope, resilience, and the
indomitable human spirit. It serves as a reminder of the power of cinema to inspire and uplift, and it would provide me with solace and inspiration in the solitude of the desert island.
Have you ever accepted a part/a movie to direct/a script to write even if you didn't like the project?
As a filmmaker, I believe in the importance of selecting projects that resonate with me and align with my artistic vision. While there may be instances where compromises need to be made, I strive to work on
projects that I genuinely believe in and feel passionate about. It is crucial for me to connect with the story and the characters in order to bring my best creative self to the project. That being said, I am
always open to exploring new genres and pushing my artistic boundaries, as long as the core essence of the project resonates with me.
What's the best compliment you have received about your job?
One of the best compliments I have received about my work is when someone tells me that my film touched them deeply and made them reflect on their own lives. To know that my storytelling has the
power to evoke emotions and provoke introspection in the audience is incredibly rewarding. It reaffirms my belief in the transformative power of cinema and motivates me to continue creating meaningful
stories.
Are you satisfied with your career?
I am grateful for the opportunities and experiences that my career has brought me thus far. However, as a filmmaker, I am constantly seeking growth and evolution. There is always room for improvement and
new challenges to tackle. I strive to push the boundaries of my creativity, take risks, and explore new storytelling techniques. While I am proud of my accomplishments, I am always hungry for more and
excited for what the future holds.
Do you have a good luck charm?
I don't have a specific good luck charm, but I do believe in the power of positive energy and mindset. Surrounding myself with supportive and talented collaborators, maintaining a strong work ethic, and
staying true to my artistic vision are what I consider to be my "good luck charm." I believe that by putting in the hard work and staying focused, opportunities and success will naturally follow.
Which is the worst moment on set?
The worst moment on set is when unforeseen challenges arise that disrupt the flow of production. It could be technical issues, extreme weather conditions, or unexpected changes in the script. These
moments can be stressful and demanding, requiring quick thinking and problem-solving skills. However, it is during these challenging moments that the true creativity and resilience of the cast and crew shine
through, leading to some of the most memorable and rewarding experiences.
How do you feel when a job you've been a part of is ending?
When a job I've been a part of is coming to an end, I experience a mix of emotions. On one hand, there is a sense of accomplishment and pride in what we have achieved as a team. It's a time to celebrate the
hard work and dedication that went into bringing the project to life. On the other hand, there is a bittersweet feeling of saying goodbye to the characters, the set, and the cast and crew who have become
like a second family. It's a reminder of the transient nature of filmmaking and the need to embrace the journey and cherish the memories.
Have you ever lied to get a part/job?
As a filmmaker, honesty and integrity are paramount to me. I believe in the importance of building trust and maintaining authenticity in the industry. I have never lied to get a part or a job. It is important for me
to be true to myself and my capabilities, and to let my work and talent speak for itself.
If you were to win an Oscar, your first thought would go to...
If I were to win an Oscar, my first thought would go to my incredible team of collaborators who have supported me throughout my career. It would be a testament to their hard work, dedication, and talent. I
would also think about the journey that led me to that moment, the sacrifices made, and the passion that fueled my pursuit of filmmaking. Winning an Oscar would be a humbling and awe-inspiring experience, and my first thought would be gratitude for the opportunity to tell stories and make a meaningful impact through cinema.