You had a lot of tasks while „microsleep“ was shot. What was your main?

My main task was the original sound. That means, to listen for disturbing sounds, not getting them on the track. And I was doing some script continuity too, to prevent following mistakes, what also can appear in sound.

How did you get the position of sounds head?

Sebastian, our expert for equipment from Dresden gave me an excellent introduction on this technique and I felt like a professional after it.

How was it working with the boys?

At the beginning it was pretty easy, because we had topics to talk about very fast. It was holiday time and we talked about their trips during the summer. Later on the boys naturally started to test their limits and knew how to get on somebody’s nerves or to annoy somebody. Their favourite behaviour between the scenes was to throw these ears around.

How do you think about the boys and their characters? What did they use for their parts?

For me Moritz seemed to be pretty mature for his part and he also knew how to deal with his part. And he naturally knows that he is a smart guy. In the film he is very present and he took full advantage of it.  Martin on the other hand is full of zip and was, when he was shooting, a very creative part of the scene.

You did a whole bunch of stuff on set. For example catering or script continuity. How was it to be on a set?

Before shooting I had doubts about my part at all, because I did not know what I would do all the time. So I focused on kids care and I was really amazed how active you can be on set and how important it is to build up a clear communication between all members of the crew. And there were these nice moments like baking this huge pizza together with my sound assistant Nora from Hamburg on the evening before the last day of shooting, and to know, that everybody was looking forward to eat this pizza.

You live together with Georg Mikulcak, who did the camera and editing, so you always were part of planning, shooting and post producing the film. How was that?

It always was fascinating and exciting. I always wanted to know what happens next. After the shooting we had some weeks hearing nothing about it, because Sebastian was doing the raw cut in Dresden. I lost it out of my mind. But some days later we got the first material. Mikes photos, what he made while shooting or Peters first version of the score and suddenly I was caught again and was full of expectations to the film.