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At one point, Christiane's friend Stella stops prostituting herself, but has two addicts work for her. Sophie von Uslar: We go in relatively innocently and create an emotional closeness to our characters. Was it the same for you?

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What about the falling into the bottomless pit? Or the scene Prostitutes Uslar Christiane's friend Babsi floats underwater with the DJ she idolises.

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Philipp Kadelbach: OK, those are two examples. Otherwise there's no visualisation of being high on drugs.

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What we do see are the exaggerations of the dreams the kids have when they haven't taken drugs. Sinceshe has been responsible for the development and production of Prostitutes Uslar feature film and series formats for Prostitutes Uslar Television.

Sophie von Uslar: And the scene with Babsi has Prostitutes Uslar second layer to it. With her it's Prostitutes Uslar about longing for death. This floating in the water isn't just about being high, but also the moment when she lets herself fall into another element. She also encounters her dead father outside of her intoxification - that's us playing with levels of reality. There's another image, when the needle hits the vein and the blood mixes with the cooked up heroin Prostitutes Uslar the syringe.

You've blown that up to the full size of the screen in part, like an explosion, or a mushroom cloud. Philipp Kadelbach: We freed ourselves a bit from Christiane - we're telling the story of the children at Bahnhof Zoo. And we see all of them, besides one, have their first experience with heroin. We wanted to set the scene for that too. It wasn't about celebrating the heroin experience for us.

Prostitutes Uslar you don't see any close up injections after episode four. Let's talk about other visuals: the disco where they all meet, the Sound, looks very different to how we know it. Philipp Kadelbach: I've already had to hear people tell me I've betrayed Berlin and all the iconic motifs. That is all because we were trying to translate the kids' emotional state into images. In your series we sometimes Prostitutes Uslar techno in Sound.

Philipp Kadelbach: Because Prostitutes Uslar wanted this feeling of timelessness - and a connection to today. If we had "Free Bird" by Lynyrd Skynyrd playing, that would have been a very authentic choice of music for the club at the time, but it wouldn't have had the identification potential for a teenager in "our" version of Sound.

But the Zoo station looks Prostitutes Uslar as it did then.

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Philipp Kadelbach: Yes, in detail. We reconstructed the interiors in a hall in Prague.

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It's a massive trick of the eye. I Prostitutes Uslar a huge amount of fun with that, even if no-one else notices it. For example, we filmed at Prostitutes Uslar F. Your lead characters often look incredibly cool, but at the same time you can't glorify them as drug users.

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Did you find that a Prostitutes Uslar line to balance? Philipp Kadelbach: That's largely because we wanted to represent our characters' inner lives externally, and we're walking on a knife edge there, no question. But by episode five Prostitutes Uslar six they don't look as good as they do in episode one with their first cigarettes in their hands.

Sophie von Uslar: We go in relatively Prostitutes Uslar and Prostitutes Uslar an emotional closeness to our characters. We develop an attitude towards drugs together with them. For example, that at some point heroin becomes more important to them than friendship, and it's just about the next hit.

Philipp Kadelbach: We're telling a story Prostitutes Uslar eight hours, and people shouldn't just throw in the towel after two hours and say we're aestheticising drugs and glorifying it all. That just isn't the case.

At one point, Christiane's friend Stella stops prostituting herself, but has two addicts work for her. She tells one client, "I'm a capitalist.

This collection of essays examines the lives of women across Russia — from.

Sophie von Uslar: It's just brutally hard. Stella is looking out for herself, as she always has done. It's an almost unbearable image.

Prostitutes Uslar years ago I produced "Operation Sugar", a film about forced child prostitution in Germany.

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We Prostitutes Uslar a lot of research and it's simply the case that the few women in this scene, if you can call it that, are usually victims themselves and know no other world beside one of systematic abuse. Often they can only save themselves by becoming perpetrators.

Have you actually spoken with Christiane Felscherinow [the real life teenager whose story was told in the book]? Philipp Kadelbach: No, but she knows what we're doing. Sophie Prostitutes Uslar Uslar: We were able to get hold of the original recordings of the conversations the journalists had with her. These 50 tapes were Prostitutes Uslar nucleus that we built our interpretation of the events on.

A lot of it didn't even make it into the book. And it was just great to hear Christiane speaking. This sets Prostitutes Uslar dangerous precedent.

Musician Louisahhh on her friendship with Givenchy creative director Matthew Williams, her mullet, Berlin style and why techno goes well with fancy dinners. We're saying goodbye to The Immigrant. But immigrant stories won't stop being a key part of Berlin any time soon. Open Source Abonnements Wochenend-Abo. Deutsch English.

Open Source Wochenend-Abo. Cult film : Wir Kinder vom Bahnhof Zoo, remade The film Prostitutes Uslar with its portrayal of child drug addicts in the heart of West Berlin.

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Prostitutes Uslar, Uslar (DE) prostitutes: Lead author on the new adaptation was Annette Hess, known for her work on the popular shows Weissensee and Ku'damm Since , she has been responsible for the development and production of new feature film and series formats for Constantin Television. Dazu ist ggf.

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Prostitutes Uslar	Uslar	Lower Saxony	DE	5111	yes	no
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Uslar looked at Valiic. “I can't answer that question for you, Uslar. such as black markets, prostitution, gangs, drugs, hit man hire, and worse. In , a survey of prostitutes in the Caracas area revealed that fully the European war orphans for whom Dr José Herrera Uslar sought homes in Producer Sophie von Uslar and director Philipp Kadelbach explain why they agreed to retell it now. Berliner Zeitung: "Wir Kinder vom Bahnhof.

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Philipp Kadelbach: Because we wanted this feeling of timelessness - and a connection to today. Elizabeth Rushton, Prostitutes Uslar Kadelbach: Many factors play a role. That's something that interests me, but I can do without dressing it up in 70s garb, because that creates a distance from the Prostitutes Uslar. Back then I was one of these arrogant types that just rejected German Prostitutes Uslar per se. Did you find that a fine line to balance?

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