Whether the film adaptation of Sarah Kuttner’s novel “Mängelexemplar”, episodes of the series “Blochin” with Jürgen Vogel and currently the comedy “Caveman”, author and director Laura Lackmann can now refer to a number of successful projects. She pays attention to the greatest possible variety, and so the series “Luden”, which is now starting on Prime Video and which she directed alongside colleague Stefan Lukacs, is once again very different.
The 43-year-old Berliner spoke to ntv.de about the project, which is dedicated to the busy Hamburg pimp clique Nutella Gang in the 1980s, including about the neighborhood, its exciting characters and special women’s roles.
ntv.de: Laura, at what point did you join the “Luden” project?
Laura Lackmann: I came on relatively late, about four months before shooting started. For such a large project, that’s pretty short notice. But for me it was very lucky, because my whole life I always have nightmares that I’m on the set and I don’t know which one. I always try to find the script so I know what film I’m actually shooting. That has now stopped because I noticed that I can do my job so well that I was able to work through everything and catch up with the others even in this short time.
So a case of cured imposter syndrome?
Before this interview, I actually read three articles about it. I really have quite a bit to look back on professionally, and yet I often feel like the biggest scammer. Whatever the reason. (laughs)
So this late arrival had only advantages?
Already. First of all, it was unusual that the team was already occupied, because the director usually brings that with him. But that was also very fortunate, because I came into contact with people who I might not have chosen, but who have been very good for my work. Like my cameraman Tim Kuhn, for example, without whom I no longer want to work.
Does that also apply to the cast?
Aaron Hilmer was already cast, I chose Jeanette Hain.
What criteria did you use to cast this extraordinary and powerful role?
When I joined, the others had already seen a lot of women in the casting. I loved that there was this super role for someone a little bit older than the normal love interest. For me, Jutta had to be someone who stands out from this neighborhood, doesn’t really belong there. One that gives you the feeling that it actually comes from a completely different world. It was already clear to me while reading that Jutta has something extraterrestrial. And Jeanette is practically from another planet.
Did you have a completely free hand with the staging? How did you prepare for that, what did you know about the Nutella gang in advance?
I knew a whole bunch of stories about it when I got on. Then I read a lot, watched and talked to people from back then. The story is based on reality. So we took inspiration from real people and places to create a coherent narrative. For example, the real Klaus (Barkowsky) is softer in physiognomy than Aaron Hilmer. To translate that, we then agreed on a kind of Mick Jagger-like physicality, which is very sexy and feminine. Aaron was able to do that really well because he’s very physical.
At least at the beginning you think it’s all a bit over the top. Then you watch documentaries about Klaus Barkowsky and realize that he still comes across as very similar to this day…
Aaron is from Hamburg himself, so he brought the knack with him, but we also had a polisher for the script who went over the dialogues again. What may initially seem a bit much when you look at it is the special tone that prevails, the language. But that benefits the whole thing, because it firmly locates this world and also shows that even the language was about show. You can see that from names like “Lamborghini-Klaus” or “Karate-Tommy”.
Did your on-site research somehow change your view of Hamburg’s Kiez, which was probably also more of a touristy nature?
Rather not. The time that we depict in “Luden” is so different from today. Back then, people really lived in the red light district, which is maybe five percent today. The rest are food stalls, strip clubs, gambling … I think things are different in the neighborhood today than they were back then.
“Luden” stands out from many other German series in terms of image design, equipment, storytelling and the characters themselves. It’s a lot bolder. In your opinion, why is it that a lot of things in this country are still so stuffy?
I think that’s because of the phantom “spectator” or what’s being interpreted into it. The spectator as client, something is made bite-sized. You focus on something that just went well. This means repeating what worked instead of breaking new ground and accepting the possibility of failure. Of course there is fear of taking money into your hands and doing something wrong. Filmmakers are willing to tell the borderline, I think. We tried to make as many mistakes as possible. Which isn’t that easy. For example the wall colors. We chose colors that one would normally never choose because they emphasize the badness of the skin.
You are currently in the cinemas with the comedy “Caveman”, a film for which you are also responsible for the screenplay. Do you prefer to direct things that you have written yourself or scripts from other authors?
With “Luden” I enjoyed being able to work on the screenplays without authorship. It was nice for me to stage something by someone else, because I feel more freedom to interpret things. Unlike when you think it up yourself and have it in your head. Then it is difficult to change the thoughts again. In the best case, this only happens again because of the motifs or the cameraman.
There is currently an initiative by actresses or women over 47 who find themselves underrepresented in film and television. “Let’s change the picture” is the motto. Do you also see a need for action here?
Absolutely, thank God our industry always responds to such nudges, I think. In terms of diversity, a lot has changed. I already have the feeling that there are now significantly more women in certain positions who see things the same way.
When assembling your team for a film, do you consider gender balance?
Actually not, because it’s hard enough to find people you can chemically hook up with as it is. But I think it’s something different to work with women. Somehow there is more peace in it.
You also published a novel in 2016. “The points after the final line”. Is there a follow-up to be expected here or are you so absorbed by the film that you don’t have time for it?
I wrote the book between two productions and had very little time. I think it would have been better if I had had more time. It was still a very good experience and at the moment writing another book would definitely be the best thing for me. So a bit outside the rules that a screenplay entails.
And it’s less of a team effort like a series or a film, just a solo project…
But after Corona, I think writing is even more difficult than before. Before that it was always nice to retire for a few weeks, but right now I’m finding it difficult to sit at home alone and hold myself up.
“Luden” will be available on Prime Video from March 3rd. Nicole Ankelmann spoke to Laura Lackmann.