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It's still painting. I'm not a copying machine.
I'm Götz Valien. I'm here at the cinema studio
of movie painting and I'm painting a poster
for the Berlin Film Festival.
It's for the Delphi cinema.
The Delphi is 9 metres long
and 6 metres high.
VALIEN IS GERMANY'S LAST
CINEMA BILLBOARD PAINTER
It's not so bad now with German films,
but they used to be terrible.
No idea what the cinematographers were doing.
Light from here and from there.
I have to think for a moment.
ONE PAINTING TAKES UP TO 60 HOURS OF WORK
Blonde curls are exhausting.
Because you have to paint every detail.
That's a fact. Black hair you can just paint black
and put highlights in, done.
I think this... The other day when I talked to a friend who was in India,
he told me it doesn't even exist
in India anymore.
I think this poster is cool. It's great.
I like the actor. It's got something.
That one wasn't too bad. A beard is always tiring.
Stubble is a lot of detail.
I came from the Academy.
I also studied the techniques of the old masters.
In the beginning it was a good opportunity.
to say can I paint here?
But that was 20 years ago.
Yes. In '81, Kippenberger
commissioned the paintings
of the Dear Painter, Paint For Me series here.
When I started in '92,
painting my first two posters,
he happened to come back.
And then I had the immense pleasure
of painting the Paris Bar painting.
It's here in a catalogue. It's a bad print.
That's what it looked like.
I put my signature in back then.
This caused a medium-sized scandal
three yeas ago at Christie's.
First they were so proud
to have sold it for 2.5 million.
One week later, Spiegel magazine prints:
Kippenberger didn't paint it.
Well, I'll paint for a few more hours
and then it'll be up at the Delphi
in time for the Film Festival.
Subtitles: Stephanie Geiges