Mr Schröter, clay as protagonist - do you often experience this during filming?
At CeeStudio, we don't want to make pure commercials, but rather tell stories: sometimes in the form of documentaries, sometimes as commercials. I've shot everything from coffee to cars, but so close to the earth, to the building material, that was special. And very emotional. I was very touched by the sight of the brick-red mountains in the quarrying areas: Terracotta, clay, earth, blood, sun - everything is in this colour.
What can the medium of film do that images alone perhaps cannot?
Actually, brick is one thing you don't even think about. It's a thing you can only experience through film. We haven't told a classic story here, but connect the viewers emotionally with the product. With each clip, we want the viewer to be touched: We do that, for example, by playing with sound. You should be able to feel the feel of the wall. You want to stick your hands in the mud yourself. And when you see Gero, our actor from the first clip, you want to stick your spade into the earth yourself. Or you think: Wow, I feel like taking a walk in a biotope in the morning. This element is our "hook" to connect people with the earth. I think it's in all of us - and that's also the beauty of the building material.
How do you manage to connect emotionally with the viewer?
Sometimes you can tell advertising is advertising.Authenticity is perhaps a hackneyed term, but that's exactly what we achieved here.The result has become truly magical.Why?Because it was really so beautiful there. There are very different little things that make the result so magical and authentic: We had the right location, natural sunlight and great people.Because of our small but fine team of eight instead of 30 people, we had all the knowledge and creativity on location, but at the same time we had a lot of freedom to try things out.So the cameraman can decide for himself where to go next with the camera and film.
With so much freedom, what directing instructions do you give the actors?
We always work at eye level, both with the adults and with the children.A rule of thumb is: the more instructions you give, the more tense the atmosphere becomes.The boy was just honestly having fun, it wasn't staged.And that's why you as a spectator have the feeling that you yourself are playing around in the mud.
What criteria were used to cast the characters?
Why do people often look stupid in image films? Because people are cast from image films.We cast people who all have a connection with the region where the clay pit is.The wife, husband and child all came from Dresden.Otherwise everyone always comes from Berlin, no matter where you shoot.And we wanted people with rough edges:We could have retouched Gero's tattoos on his neck, for example, but we deliberately decided against it.
Would you build with bricks yourself after shooting the film?
I really would. It's really incredible: I had a guided tour of the factory before the shoot. It smelled so good of clay there and the brick is completely ecological, keeps you warm in winter and cool in summer.How can you build with anything other than a material like that?