We Are Modeselektor Page #5

Synopsis: "An odd duo that raises international mass hysteria and has been creating a credible sound for years now - Modeselektor seems to be a phenomenon in itself. The search for the origin of this phenomenon leads us into the depths of the biographies of two kids born and raised in East Germany, whose creativity, enthusiasm and idea of a collective brought them from the Berlin suburbs to the city itself and the stages of the world. To consistently retrace this path the documentary offers a rich variety of archive material, extensive behind the scenes tour footage and the travels to important places of the past and present. As a result there are very private insights into Sebastian Szary's and Gernot Bronsert's life as subversive artists who are - despite their broad success - authentic and who over the years stayed true to where they came from."
 
IMDB:
7.1
Year:
2013
13 Views


promoters from the start

who wanted the music of Modeselektor,

who wanted to book Modeselektor.

There was a small world tour in May 2006,

four weeks long.

With an Around the World Ticket.

I would not be allowed

to book that anymore now,

but back then it was my first big thing

and for Modeselektor it was also the first big thing.

I would almost argue that

the success of Modeselektor

was based first and foremost

on the live shows,

because they got

so big at some stage.

Of course the life on tour

is a great motivation.

It's still great

to say on Friday: 'Bye!

Daddy is back on Sunday,

or Monday, depending. '

And then you are

in a parallel universe,

on the tourbus, on the plane...

There's the crew, it's really fun.

I really like knowing nobody

can see me through the dark glass

and it's comfortable,

you really get mad with all this flying.

All those airports, you don't have that here.

You can go directly from your bed into the club.

It's great.

The only thing missing is chicken

flying directly into your mouth.

Hubi! Get up!

I get woken up by this person,

me being a nice guy

who has bloody fingers

from scratching on all the doors

making it possible for you to play.

Nobody wants to hear you really,

I always have to beg:

'Please let them play.

I know it's not your taste,

and people don't really like it either. '

Nobody needs to know.

Here we go again.

I have to go along with it.

When Szary always wears such sh*t

I have to go along.

Else I am just being labeled as a nerd.

You have to ask Szary.

I think round about 450 or 500.

During our career.

It doesn't sound like a lot,

Gernot would probably say it's the 700th.

What, 850?

I guess it was 850.

What?

I won't tell what.

I thought it was great today.

I knew it somehow.

You know the feeling, when you open

an old book and you find something

that you used as

a page marker a long time ago,

and it reminds you of so many things,

and you get the smell from that time?

That's what it's like with

a good gig in a club,

at some point you

get that feeling again,

only that today Szary

is jumping in the crowd.

You always have

to look at the ways as well,

because there are so many bars and I thought:

Dear god, if I stumble over that...

And I was really scared that

they would carry me into it.

It was really euphoric.

And it's so cool

how it tickles on your back.

The hands.

It's really cool.

And on your arse.

Nice scandinavian rock.

The ice age brought those here.

Szary and I are

a very well-balanced couple,

this is so to speak my second marriage

that I have parallel here.

And he has this inner calm

and I always say he has a lot of steadiness

to listen to the things that come out of me

and to process them and then

he has a proposal for solution.

I often know very quickly how things work,

but its often more superficial.

Even if it sounds ridiculous,

but this old Ying-Yang game,

one can do something the other can't

and we complement each other.

In the studio for example,

technical things.

Or our taste in music.

We both search

in relatively different areas

and with the result

we influence each other, so to speak.

We do have a plan for Modeselektor,

where we definitely want to be

in the next five years,

or if you can talk

of the next ten years even.

That is based on our live shows

on the one hand.

How many things we want to produce

and how will our labels do in ten years.

Nobody knows

how things will develop.

But we want to continue on

with the music.

That is important.

Not dissapear.

And keep the monkey up.

A very good day

ladies and gentlemen.

We are here at a historical place,

the Germany Valley

as you can read here and see there.

In the beautiful state of West Virginia,

in the United States of America.

We are from Germany, too.

And we are searching for the only place

on this planet that is called Monkeytown,

and it's a historical fact that it exists,

or existed.

And now we are going to look at it.

We have just been to Monkeytown

and have just talked to what are basically

the last inhabitants of Monkeytown.

We are a little bit speechless now

and will drive back for now.

Monkeytown exists.

We started our label Monkeytown parallel

to our involvement with BPitch Control,

and we wanted to be fair

and put the deck on the table.

We said to Ellen:

'That is a label that is purely for Siriusmo. '

That was the plan, originally,

just to keep the coolest musician

in Berlin in the family

and to get this family thing back

because we are really close friends with Moritz

and that was really important to us.

I knew in advance, because

we had talked about it quite often,

that they had the idea to found a label

and asked me if BPitch would help them with that.

And I thought about it for a while

and then said:

'No, if you want to create a label, then go do it. '

And I knew from looking at Gernot

that he is a man of action,

he likes to do things himself.

He knows so many people, has friends

and the guys can do a lot themselves.

When I see now what they are doing,

it's right like that, I find it wonderful,

I play a lot of their stuff and there is energy in it

and it's also good for Berlin.

That is important.

There are not that many labels

that only started in recent years

and are so successful

and have so much energy.

And they share their success with others,

like I did too,

and still do.

That is music.

And then everything developed

really quickly and it still does.

It is still a process and

that is what's so exciting.

The process within the band

wasn't enough for us anymore,

we wanted to release

other people's music, too.

I always had the feeling that in this whole

environment of Modeselektor and Pfadfinderei,

and in the past also BPitch,

into which I came,

that the whole family thing

was really important

and I was received with

a lot of warmth and really liked that.

I think it is like this until today,

it's kind of all amongst friends.

When you need someone to work with you,

that is usually a person that you trust,

and the only thing that comes in

from the outside as a new impulse

is music from the outside,

since that is important.

It would be wrong just

to muddle with your buddies.

We do that too, and it's great,

but to do it exclusively would be a big mistake,

because where would you get your influences from.

I wanted to introduce my dog now.

Our dog!

That's Ilnchen.

Ilnchen, say Hello.

Ah, great.

Ilona is both our girl.

Right?

We actually wanted

to have a doggy as our logo.

Then somehow

the monkey came into play.

Martin from Pfadfinderei invented that.

I had the idea with the three monkeys,

I wanted to change that idea a little,

since the EP was called 'Turn Deaf!'.

And the monkey in the middle

was supposed to block his ears

and the monkeys left and right

where supposed to shout in his ears.

Since I didn't want to sketch so exactly

I just made the head rectangular

Rate this script:0.0 / 0 votes

Romi Agel

All Romi Agel scripts | Romi Agel Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "We Are Modeselektor" Scripts.com. STANDS4 LLC, 2024. Web. 13 Nov. 2024. <https://www.scripts.com/script/we_are_modeselektor_23148>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    We Are Modeselektor

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    Who wrote the screenplay for "Schindler’s List"?
    A Eric Roth
    B Aaron Sorkin
    C Quentin Tarantino
    D Steven Zaillian