Nach der Einladung zum European Pitch Point auf der Berlinale 2002 wurde das Drehbuch aus 350 Einreichungen für den 18. Equinoxe scriptwriter’s workshop in Frankreich als erstes österreichisches Drehbuch überhaupt ausgewählt. Im Folgenden einige Bemerkungen der DramaturgInnen und BetreuerInnen.
Regisseur, Schauspieler, Produzent | USA (Out of Africa, Tootsie, The Interpreter)
This is my favourite script here, it’s everyone’s favourite script, you did a great job…I have no problems with the script, I really don’t. You could shoot it absolutely as it is and it could be a very powerful piece of work and a very disturbing look at what goes on in the world.
This is such a good script, honestly, that you don’t need any tricks…It’s a lovely, very moving piece. I think it’s about something important and it’s very challenging to imagine in my mind as a director trying to do it. I hope that this gets made because I think it is terrific.
Produzentin | USA (Get Bruce, Cool runnings, An ideal husband)
I love this script, it’s obviously very powerful, brilliant, shocking and fantastically dramatic. Scenes of devastation and shocking reality.
The world that you’ve created is the world of the men behind the desk, who can make the decision: this one lives and this one dies. This world is so compelling and powerful…
Drehbuchautor und Chefredakteur von Cinematographe | Frankreich (Les destinées sentimentales, Un cœur en hiver, Nelly et Mr. Arnaud)
It’s very difficult to criticise this script, because obviously it’s well written, efficient, very moving and precise. The narration is very good, the structure is very good… perfect the way they (the different stories) meet, and the way there are crossroads between their fates. All this is done very subtle and efficient. The balance (between tragic and humour) is very good, it’s not too much.
Once more, this script is very convincing, works fine and goes deep into the human complexity.