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TIME: An Interview with Christina Hecke

Please tell us about the projects you worked on before making ‘TIME.’. How did you start, and how did you learn to make films?

I am actually working as an actress since 2006. First on stage and since 2009 on camera. After over 70 movies, always teaching and directing small things on the go, I developed all skills needed behind the camera and additionally went for a script writing class for one year in 2021.

Tell us about ‘TIME.’. How do you describe it?

TIME. is what its name calls: TIME. With the dot after the word it sets a statement. A statement that calls for a change. The movie is about the inevitable call from the soul to either bring a change or slowly die in the memory of past days. Living in the burden of the past or fear of the future will cause the lie of going somewhere. We are not going anywhere. So suicide, which is part of the story, is part of what needs a call for TIME. It leads nowhere.

How did you find Sylvia Mayer and please tell us about the process of developing character.

Actually, Sylvia found me! She had the initial impulse for the movie. Back then it had a completely different working title and content. She asked me if I would direct it. And the beauty of the process was, that from an insistence of glamour and identification we unfolded a work in truth and the space of what was truly needed to be told. The character that Sylvia played would not have been possible to be performed if it would have had any emotional attachment to the story or the topic of suicide. This we had to unfold. And once that was done, the way for the TIME. was free to walk.

Describe how you would ensure that production is on schedule. What steps would you take?

The most important aspect is space. To let things unfold while never drop the focus on what’s required to be done. That is in locations, crew, cast and all things equipment. A movie can only be birthed to its truth when self is out of the way. Ideals and projections of perfection need to go. It is a knowing, an absoluteness of what’s needed in any given moment. And that is a every day integrity. Not a swicht-on-and-off thing.


What was the hardest part of making ‘TIME.’.

The post-production, basically. Never underestimate the importance of sound and light in a movie. Color grading and sound design are fundamental pillars of a movie to unfold it’s fullness. The shooting process itself, the work with the cast, directing, the co-working with the camera - was a well-known natural flow of respect and joy to me.  


If possible, tell us about your next work. What plans do you have for your future work?

I did write the script for a long film, fictional but most of it based on authentic lived imprints, now waiting for the production to green light the way. It is again a piece on essentials: friendship. And what happens to it if all of the sudden an incisive event puts to test all that was normal and reveals the question: why are we?


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