"I have completely new experiences"
Karen (Katja Flint), of all only "Puppa" called, and Hendrik (Hannes Hellmann) actually lead a bad marriage. If Karen thought about it, she would have to call herself a "cuckoo in the nest" or a "bird in a golden cage". Hendrik, on the other hand, is the provincial Sun King, who likes the role of school principal as well as the husband of his attractive wife. He loves the little excesses of Karen; only where they make a bad impression on the public does he correct them quickly. Jeanne (Natalia Wörner) has a failed relationship with a colleague behind her. First of all, she does not want to know about love anymore. She starts as a teacher at Hendrik's school and looks for peace in the small town and a fresh start. At a school festival, the two women get to know each other. Soon "Puppa" will be magically attracted to unconventional Jeanne ...
"Love and desire", ZDF, 8:15 pm
Interview with Katja Flint
Katja Flint as "Puppa"
ChroniquesDuVasteMonde.com: About the movie "Love and Desire" is said to be seen from a different side. How would you describe this page?
Katja Flint: At the moment I'm interested in average, simple women, in contrast to the glamorous Überfrau roles in which I have been seen so far. Women who have come into crisis during the course of history, have to cope with it and outgrow it. If I had always portrayed such women, I would definitely like to play the Marlene and Pompadours, but since I've played them before and also usually financially secure, self-confident women, irritate me now just these other women.
ChroniquesDuVasteMonde.com: Women like Puppa ...
Yes. Originally, Puppa was also supposed to be a teacher at her husband's school, but I asked her to be just an assistant, an uneducated person from very humble backgrounds. The idea for her history as a stocking model came from me and that she secretly smokes at home, although the man does not allow it. Puppa comes from another world, but still has a lot of charisma, so is very adorable. I found it exciting that a woman who lives in a sort of gentle oppression, a fake disguise, with a man who earns the money and has the shots, suddenly something in itself and realizes that she might want to live differently.
ChroniquesDuVasteMonde.com: At first one thinks that Puppa is the weakest person in the movie.
Katja Flint: ... and in the end she is the brave one. The constellation in the story is very interesting. Sometimes there are offers, the role is great, but the story around it, the other characters, do not really suit you. They are only feeders. In this film, there are two equal big roles that work exactly opposite in the dramaturgy. In the beginning I am the weak and Natalia comes as a self-confident teacher to the school. In the course of the story I grow, become much more self-confident and courageous and Natalia gets something on the lid, sinks into herself and becomes a weak figure, which I then as the formerly weak at the end to support and rescue. I have seldom seen that in a film that two people are so contrary in their development and still find in love together.
ChroniquesDuVasteMonde.com: Keyword love: What was it like to shoot the love scenes with Natalia Wörner?
Katja Flint: At the center of the film is less homosexuality than love. Puppa could also fall in love with another man. But the fact that she falls in love with a woman really only upsets the society in this suburb, where a lesbian couple is just something special. We both play this couple as if it could be a love between a man and a woman. Since we are both heterosexual, we played it with great pleasure, but of course the way we usually fall in love with a man. It was exciting to move on this new terrain: how is it even possible to kiss a woman is that "ih" or not "ih", is it nice or not, what is it like when a woman touches a woman? , For Puppa, the film is also a whole new experience, and we did it together, so to speak.
Discover her love: "Puppa" (Katja Flint, l.) And Jeanne (Natalia Wörner)
ChroniquesDuVasteMonde.com: The team was mostly women. Did that make the shoot easier?
Katja Flint: Yes, in the love scene, the few men in the team were sent out? except for the dear, very timid Johnny, the camera assistant. At first he was outside, but then the camera woman noticed that there is a problem with the sharpness. That's why Johnny was allowed to be the only man in the room.But he was so busy with his sharpness that he did not have time to get interested in what we're doing together. So the shoot was very pleasant, very relaxed and very informal, which is especially due to the director Judith Kennel. She is a woman who is so sweet to everyone who radiates so much warmth and so shows a sacrifice to the project that you feel very secure.
ChroniquesDuVasteMonde.com: But you are not scrubbed in any scene, are you?
That was not necessary. You do not see much nudity? two tightly entwined bodies? and the camera is constantly moving. Often one can not keep the participants apart. Normally, I have a contract that I do not do nude scenes, but if a love scene supports and is necessary to tell the story to be told to tell the story of the characters, then I'm ready to be there too. Otherwise, I prefer not to shoot any love scenes, because I do not want to kiss other men or I do not want to lie down in front of the team with people, even if you have something else left. This is never pleasant and always strange.
ChroniquesDuVasteMonde.com: You are not different with a man ...
Katja Flint: On the contrary, with a man I find love scenes much more difficult. Actually, with Natalia I thought that was really easy, because we also liked each other since we shot "Die Sieger". When I read the script for Love and Desire, I was disturbed by the first scene with the man. At that point, I thought, "Oh, right at the beginning of the movie, a sex scene," but when I finished the script, I understood that this scene was important in the beginning. Since the woman later sexually removed, it is important to tell the everyday life, which also includes sexuality. When I do love scenes with men, I always think, what kind of profession is that? One dubbed the unpleasant situation with professionalism and humor, unless and with me it has been at most once or twice in all the years that I really had a crush on my partner and the very sweet. This is of course quite good, if you really feel like kissing.
ChroniquesDuVasteMonde.com: And with whom was that?
Katja Flint: I will not tell .... What makes the shooting of love scenes so difficult is not nudity, but that in a situation in which one feels inhibited, one has to open oneself inwardly. That was no problem in the scene with Natalia. Another advantage is that women do not have scratchy beards. Even when men are shaved, they scratch one's face so I blush, right under my eyes, around my nose and everywhere, and then I have to wait an hour to turn the next scene.
Jeanne (Natalia Wörner, l.) And "Puppa" (Katja Flint) can not get away from each other
ChroniquesDuVasteMonde.com: Can you imagine the love relationship with a woman in real life?
Katja Flint: Not at the moment, because I do not have the predisposition or feel this need, but I would not rule out that something like in the movie is possible, that suddenly you meet a woman who is so fascinating and with the you feel so comfortable that a relationship arises from it. In any case, I would not have any societal inhibitions and would not say that is out of the question for me, what should people think or I can not do that to my mother. But it's just like that: As great as it is to talk to women and do everything possible, I do not have the need for sexuality with a woman.
ChroniquesDuVasteMonde.com: Puppa has been a leg model in the past. You also worked as a model yourself ...
Katja Flint: Yes, in a similar way, often without a head.
ChroniquesDuVasteMonde.com: Do you still have posters at home from your model time?
Katja Flint: Of course, but not hung up. For example, I was the Triumph model for underpants. Since there was an ad, I squat and see only feet, legs and the panties. The rest of me is cut off. I wanted to bring this model story to the movie because I can feel that pride so well. Nobody knew me then, and then this ad was everywhere: in the mirror, in the star, and big in Horton's shop window. Of course, that was great when I saw it for the first time, with or without a head. The main thing is that you suddenly feel special when you were a nobody before. I also liked Puppa so much that she does not part with this poster and is proud of what she did there. That gives this character such a charm, such a charisma. So, I'm very happy that we all agreed to make a puppy out of her, but still not a cliché puppet. After all, she also shows a penchant for self-irony when she says, "Everyone calls me Puppa, still better than Barbie."
