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 Katrin Gebbe is a writer/director from Germany. She is the lead director of the german Netflix series "Die Kaiserin" (2022). Before that, she directed "Pelikanblut" (2019), her second feature starring Nina Hoss. The film premiered in Venice and opened the prestigious section Orrizonti. The film won the M��li��s d'Or Award for the Best European Fantastic Film in Sitges and the main award at Bucheon International Film Festival in South Korea. Furthermore, Gebbe won Best Director at Fantastic Fest (Austin/USA). Her debut feature "Tore tanzt" (2013) premiered in Un Certain Regard at Cannes. The film won the german Film Critics Award, the Bavarian Film Award, and the New Auteurs Critics Award at AFI Fest (a.o.). Before her first feature, she attended the Hamburg Media School where she directed award-winning short films. Before this, she shot her first experimental films at the Academy of Visual Arts and Design in the Netherlands, and the School of the Museum of Fine Arts in Boston, USA.
Bio:
Katrin Gebbe is a writer/director from Germany. She is the lead director of the german Netflix series "Die Kaiserin" (2022). Before that, she directed "Pelikanblut" (2019), her second feature starring Nina Hoss. The film premiered in Venice and opened the prestigious section Orrizonti. The film won the M��li��s d'Or Award for the Best European Fantastic Film in Sitges and the main award at Bucheon International Film Festival in South Korea. Furthermore, Gebbe won Best Director at Fantastic Fest (Austin/USA). Her debut feature "Tore tanzt" (2013) premiered in Un Certain Regard at Cannes. The film won the german Film Critics Award, the Bavarian Film Award, and the New Auteurs Critics Award at AFI Fest (a.o.). Before her first feature, she attended the Hamburg Media School where she directed award-winning short films. Before this, she shot her first experimental films at the Academy of Visual Arts and Design in the Netherlands, and the School of the Museum of Fine Arts in Boston, USA.
Tivia:
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| Name: |
Katrin Gebbe |
Type: |
Director,Writer (IMDB) |
| Area: |
All World |
Platform: |
IMDB |
| Category: |
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Business scope: |
Director,Writer |
| Products for sale: |
Director,Writer |
| Last update: |
2024-07-02 03:27:42 |
| Biography: |
Katrin Gebbe is a writer/director from Germany. She is the lead director of the german Netflix series \"Die Kaiserin\" (2022). Before that, she directed \"Pelikanblut\" (2019), her second feature starring Nina Hoss. The film premiered |
| Quotes: |
[on working opportunities for female directors in German Film and TV industry] I don't know if the new focus on supporting more female directors and producers played a role in our financing. But when I compare myself and my female colleagues to male national and international directors who have a similarly successful first feature, women definitely have a harder time to win job proposals and financing. It is also more difficult to make a second feature at all and, if one does, it mostly takes longer, even though there is so much research that proves women are really smart with their budgets and their films win prizes more often. In Germany still only 4% of feature films are produced and directed by an all-female team, like Verena [Gr?fe-H?ft ] and I. I am a member of the women's networks Pro Quote Film and Women in Film and Television. I think Pro Quote in particular helped a lot to improve our conditions in Germany in the past years. There is an awareness of discrimination against women that has emerged among those responsible in broadcasting, film promotion and politics. Nobody any longer denies discrimination against female creatives in the film and television industry. Especially in the television business, producers and editors employ women more often now. The film industry has also woken up.
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[on Pelican Blood (2019) star Nina Hoss] To work with Nina Hoss was an amazing experience. She is a wonderful actress and gives every moment so much depth. As a person she is warm, fun, understanding and on the same wavelength as the rest of the team. It was truly a pleasure to work with her!
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[on directing the cast of Pelican Blood (2019) ] Nina Hoss and I started to dig into the character and script some months before the shoot and we had a rehearsal week with all the main actors. That was great, to embody the characters and to get to know each other more. The rehearsal week was particularly important for the child actors, especially because they are basically in every scene. I needed to learn about how best to approach them, what their strengths were, how long they could concentrate and what workflow worked best for the process of shooting, as well as how to best communicate during the actual shoot. Their German was basic so in the end I decided to work with Simona [children coach Simona Popova] and a translator always at my side, so they could give my instructions directly to the kids. Also we worked with a children's double for Raya. I also spoke a lot to Simona beforehand about the children's psychology and how you could work on scenes that were not so suitable for children. In the end she invented fake content to make particular scenes look fun. The horses were trained by special horse trainers. Our main horse, Top Gun, had doubles as well. And of course our actors had to take some riding lessons!
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[comparing her first two full-length films] The budget for Nothing Bad Can Happen (2013) was very small compared to Pelican Blood (2019) . because back than we still had to prove that we could actually pull it off. Entering Cannes 2013 with "Nothing Bad Can Happen", as the only German film that year, was of course a great opportunity for us. Its festival success meant we were taken seriously from then on and I am sure it helped a lot to finance this project. Having Nina Hoss starring also added a lot of creative value to the film and made the project very attractive. Although "Pelican Blood" had a real budget, it was still difficult to make it work, because the script has children as main characters, horses, SFX and because of the time span of the story we needed to cover. We had to set priorities. The number of shooting days was always the biggest priority, since we had so many scenes with kids. To portray Germany in Bulgaria was also quite demanding, especially to find an equestrian location that fitted the needs of our story. We were so lucky that we had Silke Fischer and Anna Boyanova as our art directors on board. They really built the entire place.
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[on working with Nina Hoss in Pelican Blood (2019)] She's amazing, right? I approached her agent with the script and it was a version where I really was comfortable that she might like it. But her agent was like, "Well, Nina is doing a lot of theater and she doesn't have so much time, so maybe in a month she'll be able to read it." Then the next day, I got a call saying that she read it and she wants to do it. And when you ask her, Nina would explain, the scene that comes early in the film where Raya is standing next to her bed, and [Wiebke's thinking], "Something with this kid is wrong", there was a moment where she couldn't stop reading and was really, really excited by the character and how she doesn't want to let go, how idealistic she is and how she gives everything to reach Raya, so Nina was full-on from the very beginning. |
| Job title: |
Director,Writer |
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