Palermo Shooting (2008)

Director:

Wim Wenders

Writers:

Wim Wenders (writer) and
Norman Ohler ...
(more)

Release Date:

20 November 2008 (Germany)

Genre:

Drama

Plot:

After the wild life-style of a famous young German photographer almost gets him killed, he goes to Palermo, Sicily to take a break. Can the beautiful city and a beautiful local woman help him calm himself down? |

Plot Keywords:

Place Name In Title | City Name In Title | Fast Motion Sequence | Photographer | Death

Awards:

1 win & 2 nominations

Cast

Campino	...	Finn
Inga Busch	...	Karla
Axel Sichrovsky	...	Hans
Gerhard Gutberlet	...	Gerhard
Harry Blain	...	Harry
Sebastian Blomberg	...	Julian
Jana Pallaske	...	Student
Olivia Asiedu-Poku	...	Fan
Melika Foroutan	...	Anke
Anna Orso	...	Mother
Lou Reed	...	Himself
Udo Samel	...	Banker
Guiseppe Provinzano	...	Actor 1
Guiseppe Massa	...	Actor 2
Giovanna Mezzogiorno	...	Flavia
Patrizia Schiavone	...	Market Woman
Letizia Battaglia	...	Photographer
Alessandro Dieli	...	Doctor
Carmelo Billitteri	...	Doorman
Dennis Hopper	...	Frank
rest of cast listed alphabetically:
Andi	...	(uncredited)
Breiti	...	(uncredited)
Julia Domenica	...	Fan (uncredited)
Irina Gerdt	...	Dark-Haired Woman (uncredited)
Francesco Guzzo	...	Giovanni (uncredited)
Milla Jovovich	...	Herself (uncredited)
Kuddel	...	(uncredited)
Peter Lindbergh	...	(uncredited)
Wolfgang Michael	...	Erwin (uncredited)
Leoluca Orlando	...	(uncredited)
Giovanni Sollima	...	Himself (uncredited)

Directed by
Wim Wenders

Writing credits
Wim Wenders		writer and
Norman Ohler
Bernd Lange		(collaboration)

Produced by
Gianfranco Barbagallo	....	line producer: Italy
Felix Eisele	....	associate producer
Stephan Mallmann	....	associate producer
Marco Mehlitz	....	line producer
Gian-Piero Ringel	....	producer
Peter Schwartzkopff	....	executive producer
Jeremy Thomas	....	executive producer
Wim Wenders	....	producer
Paul Zischler	....	assistant producer

Original Music by
Irmin Schmidt

Cinematography by
Franz Lustig

Film Editing by
Peter Przygodda
Oli Weiss

Casting by
Sabine Schwedhelm

Production Design by
Sebastian Soukup

Costume Design by
Sabina Maglia

Makeup Department
Barbara Lamelza	....	hair designer
Barbara Lamelza	....	makeup designer
Marcus Michael	....	assistant hair stylist
Marcus Michael	....	makeup artist
Susan Redfern	....	special hair stylist
Nicole Stoewesand	....	assistant makeup artist: Germany

Production Management
Dominik Bollen	....	post-production supervisor
Susan Engels	....	production trainee
Mauro Maggioni	....	production manager: Italy
Georg Sarantoulakos	....	unit manager: Germany
Elke Sasserath	....	production manager: Germany
Francesco Trifirò	....	unit manager: Italy

Second Unit Director or Assistant Director
Patrick Durst	....	second assistant director: Germany
Karina Sparks	....	second assistant director: Italy
Martina Veltroni	....	third assistant director: Italy
Arndt Wiegering	....	first assistant director

Art Department
Serena Boccanegra	....	painter: Italy
Fabiola Cascio	....	art department intern: Italy
Ludovica Ferrario	....	art director: Italy
Ariane Haase	....	stand-by props: Germany
Nina Hirschberg	....	additional art direction: Germany
Nina Hirschberg	....	on-set props: Italy
Anna Kasten	....	art department intern: Italy
Oliver Koch	....	art director: Germany
Luca Lucchesi	....	on-set prop assistant: Italy
Caterina Margherita	....	painter: Italy
Wolfgang Mohrhenn	....	prop master: Germany
Frauke Nelißen	....	assistant property master: Germany
Massimo Pauletto	....	assistant art director: Italy
Elisabetta Pepino	....	art department intern: Italy
Martin Scheferhoff	....	on-set constructor: Germany
Bylyku Shpetim	....	on-set constructor: Italy

Sound Department
Alexej Ashkenazy	....	assistant sound re-recording mixer
Florian Beck	....	sound re-recording mixer
Andreas Drost	....	adr editor
Robert Jäger	....	sound re-recording mixer
Florian Kaltenegger	....	sound designer
Florian Kaltenegger	....	supervising sound editor
Andrew Morgado	....	adr mixer
Martin Müller	....	boom operator: Germany
Martin Müller	....	sound
Carsten Richter	....	foley effects
Günther Röhn	....	foley artist
Decio Trani	....	boom operator: Italy
Roman Volkholz	....	foley editor
Daniel Weis	....	foley & adr recordist
Daniel Weis	....	sound designer
Daniel Weis	....	sound effects editor

Special Effects by
Benjamin Kotter	....	special effects technician

Visual Effects by
Wolf Bosse	....	visual effects producer
Julian Braun	....	digital compositor
Michael Brink	....	visual effects producer
Joerg Bruemmer	....	visual effects supervisor
Philipp Eckel	....	recording
Alexander Falk	....	system administrator
Philipp Fehling	....	digital effects artist
Nico Hauter	....	assistant colorist
Sven Heck	....	digital intermediate conform artist
Sven Heim	....	data wrangler
Kalle Max Hofmann	....	digital effects artist
Alex Janke	....	title designer
Lola Knoblach	....	assistant colorist
Mathias Knöfler	....	digital lab coordinator
Andreas Krieg	....	3D artist
Michael Krämer	....	digital compositor
Christian Meckel	....	system administrator
Sebastian Mietzner	....	junior digital compositor
Julia Mueller-Madaus	....	roto/prep
Rolf Muetze	....	matte painting
Frieda Oberlin	....	digital intermediate supervisor
Philipp Orgassa	....	digital colorist
Frank Richter	....	scanning
Lisa Riemer	....	scanning coordinator
Andreas Schellenberg	....	scanning coordinator
Johanna Sommer	....	digital intermediate assistant coordinator
Gerhard Spring	....	recording
Jonas Thorbrügge	....	scanning
Christian Tröger	....	digital intermediate finisher
Christian Wallmeier	....	3D artist

Stunts
David Ambrosi	....	stunt coordinator: Italy
Michael Bittinger	....	stunts
Jürgen Klein	....	stunts

Camera and Electrical Department
Amedeo Balestrieri	....	gaffer
Ulf Groote	....	video assist
Zora Hagedorn	....	assistant camera: second unit
Udo Heinz	....	electrician: Germany
Andres Lizana Prado	....	underwater cinematographer
Sebastian Meuschel	....	camera operator: Germany
Giorgio Perluigi	....	second assistant camera: pre-shoot Italy
Anne Pressler	....	still photographer assistant
Jürgen Steil	....	key grip
Ahmet Tan	....	second assistant camera
Orit Teply	....	first assistant camera
Jürgen Tomadini	....	best boy
Alberto Torrecilla	....	first assistant camera: pre-shoot, Italy
Irma Vecchio	....	camera operator: second unit
Donata Wenders	....	still photographer
David Wüst	....	electrician

Casting Department
Sabine Schwedhelm	....	casting: Germany
Tanja Schwichtenberg	....	extras casting: Germany
Karina Sparks	....	casting director: Italy

Costume and Wardrobe Department
Maria Cristina La Parola	....	wardrobe: Italy
Leda Li Pira	....	costume intern: Italy
Anna Luczak	....	wardrobe: Germany
Francisco Ranellucci	....	costume assistant
Cindy Spiekermann	....	costume trainee: Germany

Editorial Department
Francesca Hecht	....	post-production coordinator
Mirco Scheel	....	assistant editor

Music Department
Milena Fessmann	....	music consultant
Justus Köhnke	....	music programmer
René Tinner	....	music recordist

Transportation Department
Giuseppe Di Benedetto	....	production driver: Italy
Alessandro Di Blasi	....	truck driver: Italy
Guido Farinella	....	additional production driver: Italy
Giuseppe Flandina	....	costume truck driver: Italy
Giuseppe Giarraffa	....	truck driver: Italy
Tim Großkurth	....	production driver: Germany
Ralf Jenne	....	production driver: Germany
Nunzio Lo Nardo	....	truck driver: Italy
Andrea Lo Presti	....	truck driver: Italy
Pietro Marocco	....	tricamper driver: Italy
Domenico Montesanto	....	truck driver: Italy
Gabriele Morcera	....	production driver: Italy
Dirk Pfennings	....	props driver: Germany
Giuseppe Plescia	....	production driver: Italy
Philipp Rempesz	....	production driver: Germany
Alessio Romeo	....	truck driver: Italy
Giuseppe Schillaci	....	production driver: Italy
Vincenzo Vitale	....	additional production driver: Italy

Other crew
Marta Anelli	....	production secretary: Italy
Stephan Bechem	....	set manager
Nicoletta Billi	....	unit publicist
Giovannella Brancato	....	unit publicist: Palermo
Satya De La Manitou	....	dialogue coach: Dennis Hopper
Boris Dillen	....	accountant: Germany
Georg Fröhlich	....	set runner: Germany
Darius Ghanai	....	title designer
Francesca Hecht	....	production secretary
Christian Heinz	....	location manager: Germany
Kirsten Huch	....	set runner: Germany
John Kaylin	....	dubbing producer
Pati Keilwerth	....	assistant to director
Pati Keilwerth	....	executive assistant: Wim Wenders
Pati Keilwerth	....	executive assistant: producers
Corinne Le Hong	....	co-translator: texts
Anja Marquardt	....	assistant: producer: pre-production
Sylvie Michel-Casey	....	continuity
Christina Münster	....	location manager: Germany
Roberto Ornaro	....	accountant: Italy
Volker Otte	....	filmfunding manager
Chrystelle Robin	....	production coordinator: Italy
Stefan Rüll	....	legal services (as Dr. Stefan Rüll)
Chiara Scardamaglia	....	location manager: Italy
Silke Sijmons	....	production coordinator: Germany
Armando Tortorici	....	guardian: Italy
Carolin von Roth	....	production coordinator

Thanks
Michelangelo Antonioni	....	in memory of
Ingmar Bergman	....	in memory of
Michael Schmid-Ospach	....	thanks

Production Companies

• Neue Road Movies
• P.O.R. Sicilia (co-production)
• arte France Cinéma (co-production)
• Zweites Deutsches Fernsehen (ZDF) (co-production)
• Pictorion Pictures GmbH (in association with)
• Rectangle Productions (in association with)
• Reverse Angle Production (in association with)

Distributors

• Axiom Films (2009) (UK) (theatrical)
• BIM Distribuzione (2008) (Italy) (theatrical)
• Boid (2011) (Japan) (theatrical)
• Filmes do Estação (2009) (Brazil) (theatrical)
• Océan Films (2008) (France) (theatrical)
• Senator Film (2008) (Germany) (theatrical)
• Axiom Films (2008) (UK) (all media)
• Front Row Filmed Entertainment (2008) (United Arab Emirates) (all media) (Middle East)
• Giangiacomo Feltrinelli Editore (2009) (Italy) (DVD)
• HBO Hungary (2009) (Hungary) (TV) (original airing)
• Hollywood Classic Entertainment Slovakia (2009) (Slovakia) (DVD)
• Hollywood Classic Entertainment (2009) (Czech Republic) (DVD)
• Odeon (2009) (Greece) (all media)

Special Effects

• Pictorion_das Werk

Other Companies

• SGO / Mistika  digital equipment
• Sonic Magic  adr recording

Also Known As:

"Rendez-vous à Palerme" - France
"Fotografies sto Palermo" - Greece (DVD title)
"Fotografizontas to Palermo" - Greece (TV title)
"Halál Palermóban" - Hungary (imdb display title)
"Imagens de Palermo" - Portugal
"Palermo'da yüzlesme" - Turkey (Turkish title)
"Prestrelka v Palerme" - Slovakia
"Prestrelka v Palermu" - Czech Republic
"Spotkanie w Palermo" - Poland (imdb display title)

Runtime:

France:124 min (Cannes Film Festival) | 108 min (re-cut version)

Country:

Germany | France | Italy

Language:

English | German | Italian

Color:

Color

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby Digital

Certification:

Germany:12 | Portugal:M/12 (Qualidade) | South Korea:15

Filming Locations:

Düsseldorf, North Rhine - Westphalia, Germany

Company:

Neue Road Movies

Trivia:

The film marks the first time that Director Wenders shot a movie in his hometown, Düsseldorf.

Goofs:

Anachronisms: In the scene, when Finn talks with lady photographer, they discuss the age of their cameras. He tells that his Plaubel is twenty years old and she tells that her Leica is 40 years old. Actually she has Leica M7, which slightly differs from older Leica cameras. This camera marketed only in 2002.

Movie Connections:

References Blowup (1966)

Soundtrack:

Ever Loving

the German friend

Wenders' supreme quality as an author, to my view, is that he knows that his films are not so much about what images show, but about images themselves. This is his magic, and his curse. This is why i have a shelter in his films, and why so many increasingly misunderstand them (first reviews on this one show it will go to the same package). Wenders knows this, whenever he is making a film, he is reflecting on the nature of image, and how that affects vision, and how vision affects understanding, and how understanding affects meaning, and essence.

Not few times, he addresses directly the theme, and embeds it in the plot of the film. This is such a case. Film about images. People who are about image. People who become the images they fetch. The very first scene makes it clear. It "frames" (how meaningful this word is with Wenders) a landscape, through a window of a building which is in itself all about framing. A pure volume full of square holes, all of them corresponding to a different frame, depending on moment you look, position, distance to the window. This building reflects the personality of the photographer, it is in itself a succession of frames, a closed capsule interlaced with partial views to the outside.

Than we have a story about creating images. A character photographer who loses his soul because he becomes a faker, he forgets the essence, he no longer searches for a truth in the image, instead he creates his own fake truth. Fake Australian skies reflected on S.Paulo's windows, that kind of stuff. The introduction of Milla stands for this, as she is photographed 'artificially', and than transported to the "true" environment. Than the photographer retires, isolated, to a place he feels to be 'true' (a big port, Palermo means).

Now the big things happen in Palermo.

The woman. Her work is to recover images, it is to find the "truth" of images, it is to interpret the vision of somebody else. Those eyes of the painter, starring at the "camera", what he was seeing is what she wants to see. Check the oppositions, check how that fresco is worked on the film: detail versus global sight, understanding versus loosing the essence, long versus short. Check how the time of an image is understood. The woman takes years working on one image, the photographer produces thousands without understanding a single one.

The Death. It's not the death, it's Dennis Hopper, and this matters. To see how Hopper was inserted in this project made the whole thing come clear to me, and it completed a portion of my film life that i now know was incomplete. Hopper is here the designated master framer, the man who observes life, who pulls strings (even though he is only doing his job). He is a superior agent, someone who is beyond and above all that we see. When people look at him, he looks back. He makes the record of all that, we see that, that metaphor of arrows, of "shooting" with a double meaning. So he is framed as much as he is a framer. Now, remember The American Friend. See that film before seeing this one if you can, it may strike you as 2 halves of the same idea, as it stroke me. Check how similar are the characters Hopper performs. There he was also the master framer, the manipulator behind the actions that we had. In fact he was manipulating a "framer" (literaly, a man who created frames for paintings). He used the framer as he provided the main "image". That film, which i consider essential, was all about the same game of images. Now we have an update, on how times changed (and with it changed deeply our relation to images) and how Wenders himself changed. Dennis Hopper is the connection, and his role is pivotal.

Now, i believe that if you want to establish a successful relation to a creator you have to take his works for what they are. It's like loving beyond infatuation, like friendship beyond day to day chat. You have to enjoy the qualities and most important, acknowledge the flaws, and you have to live with that. That's my kind of relation with Wenders. His films in the last 10 years or so have become more and more on the verge of being an intellectual monologue, something you are supposed to sit and listen, and nod affirmatively with you head. That's something i won't tolerate with other filmmakers (Stone, Tarantino), but that i'm willing to put up with Wenders, because it matters to me what he has to say. If, like i did, you are able to put up with discursive dialogs, and the sensation that the man beyond the scenes is leading you to believe that he has the Truth, you may let this change your life. I did.

A side quality you might appreciate is how music shapes the environment, regardless of the scenery. Wenders was also great in understanding this, now he does it with the aid of portable music. The music editing is great

My opinion: 5/5

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