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I wrote it down in almost one continuous flow, in a few hours. I had the direction for the monologue in my head for a while, but I actually just wrote it two days before the shooting. How did you approach the process of writing the dialogue for Dr. And of course the quality of the visual effects is another critical aspect for the believability. This reflects another important aspect of the film: How much we trust in images and media. I was very surprised, because to me and to other media professionals it’s an obvious fake, but many “normal” people in the audience think it is true. I think Leslie’s great performance is the reason why a shocking percentage of people actually believe that it is a true documentary. That was the breakthrough moment – when he stopped acting and started lying. But after a few takes I asked him to ignore the text and tell me about the ideas that he remembers from the text as if he would lie to me, try to convince me as his interview partner. At first he used the exact words that I had written for him, which didn’t sound natural. We had two days of filming, one day in the laboratory and one day at the amusement park. Leslie Barany was perfect for the role, because he turned out to be a very good liar. I think the most important aspect is the believability of the character. Which were for you the most important elements to accomplish this? You went to great lengths to build a convincing façade for the film.

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And since 15 years I worked for many real TV documentaries, which probably had an influence on me as well. Films like “District 9” or “Children of Men” were a big inspiration for me. It was never my intention to make people really believe that this was real, I just wanted the audience to feel as if they were eye witnesses, to enhance the impact of the idea. So if you choose the most realistic style for a fictional film you automatically get close to a mockumentary. I never was a fan of heavy stylization, I always loved a realistic approach. How did you end up choosing a fake documentary approach? This means, that besides the extended content of the project, it was also an experiment for me to create an absolute art-film-hybrid. Usually my projects are either focusing on the artistic or the cinematic aspect, but this project really lives in both of these worlds. The film world exists at film festivals, in the cinema, the internet and TV and the art world exists in galleries, museums, art fairs, auctions and collections. The art world and film world are very different and usually there is not much intersection between the two of them. Once I had the realistic video clips of the amusement rides I wanted to create an even stronger clash between realism and absurdity. For this project I started with the artistic work, with no specific goal, no purpose, just an idea. Art is about creation, freedom, the imagination and a lack of purpose, while film is storytelling, character and the illusion of an alternate reality.

After you finished the CG rides for “The Experience of Fliehkraft” exhibition, what prompted you to push the idea further and create a film integrating these rides?

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