Geister
The Art of Making It Work
Sometimes, Ann-Kristin Homann and Ann-Kristin Bardi finish each other's sentences, add details, and downplay their own contributions. The day after the world premiere of "Geister" ("Ghost Song"), the two producers came together at the Hotel María Cristina in San Sebastián. They oversaw the festival's opening film as their first joint project – bringing together different backgrounds but a very similar understanding of collaboration. Their routes to Fatih Akin's production company bombero international could hardly be more contrasting. Homann studied media culture in Hamburg and wrote her master's thesis on Akin's work. During an interview with the newly founded company Corazón International, she stated that basically, it was the only place she could possibly work. "They looked at each other and said, 'All right, then, just start'." That was 21 years ago. She stayed – working on everything from "Soul Kitchen" to "Amrum".
Bardi entered the industry via hands-on filmmaking. She worked her way up from runner to unit and production manager, eventually becoming a producer, and studied film production at Hamburg School of Media. After seeing "Aus dem Nichts" ("In the Fade") at the cinema, she declared, "that's the kind of film I want to make." Soon after, bombero was looking for a project producer for "Der goldene Handschuh" ("The Golden Glove"). Bardi accepted this "dream call", first working for the company on a project basis before becoming a permanent member of the team. "We fell into love pretty quickly," she says, referring to this duo of women who share their first name.
On "Geister" ("Ghost Song"), Homann's knowledge of Akin – cultivated over two decades – combined with Bardi's practical experience on set and in production. Homann had been involved with the material almost from the very beginning. What started in 2014 as an idea for a children's film evolved over the years – through a collaboration between Akin and Ruth Toma – into a drama about love, suicide, and grief; a project that, on many occasions, threatened to disappear entirely. Homann applied for and secured development funding from the FFA, which enabled work to continue on the screenplay as well as a fundamental rewrite. She describes her own contribution as "unwavering optimism and love for this project".
Homann and Bardi give a matter-of-fact answer about the role of a producer when working with a director who is also the writer, producer, and company owner. Akin bears the financial responsibility but "always makes his decisions in the interests of the art". They assemble the financing, liaise with funding bodies and partners, shield Akin from distractions, and translate his creative ideas into production reality. They do not view themselves as "creative producers", but there can be no doubt that their work is creative: every artistic challenge calls for a practical solution, and every additional expense necessitates savings elsewhere.
Water was one of the main challenges when working on "Geister" ("Ghost Song"). The producers scheduled five days of filming instead of three for one key underwater sequence – a costlier approach, but one ensuring better safety for the young actors. When Akin decided it needed to be raining in a scene where a car plunges into the harbour, the shoot expanded into the largest set in the company's history. They complement each other in situations like these. Homann has known Akin and the company for two decades but describes herself as sometimes being "too accommodating". Bardi loves schedules and pushes for quicker decisions. When Homann and Akin are weighing up various options, she will often say, "Let's get to the point." Conversely, Homann adds an essential "affectionate touch" to any blunt directive. Both work part-time and keep each other in the loop with constant communication.
They resist the narrative of being a self-contained "dream team", though. Bardi prefers to speak of the "bombero collective", which includes producer Lara Förtsch, production coordinator Mira Fellner, controller and production manager Ilonka Szokola, and Monique Akin – who, alongside her husband, co-runs bombero and handles casting. The team reconfigures depending on which project is currently being moved forward. After 21 years of working with Akin, Homann is giving her first interview for "Geister" ("Ghost Song"). It is fitting that a joint project is what brings the two of them into the spotlight; throughout the conversation, both consistently shift attention away from themselves – directing it towards one another and the team transforming an idea into a film.
Author: Thomas Abeltshauser