A music film with a soprano, a deaf Angel, a worker, 2 horses and a Central Station. A bride running in deep despair along the industrial waterside of a river, when a deaf angel arises. A workman discovers miracles during his daily duty of garbage.
Music Film by Andreas Rochholl
A bride running in deep despair along the industrial waterside of a river, when a deaf angel arises.
A workman discovers miracles during his daily duty of dumping garbage.
A song being born out of a metropolitan navel into realms of the soul.
What is the mystery of this moment, when in daily life a melody is fathered in one’s mind? Where does music start to live in a new form? The public adores a brilliant musician or orchestra on a stage or in a highfidelity aesthetical recording, but far from all these professional venues and virtuosic materializations there is always a certain beginning of what we call a piece of music. A moment in a biography far from the state of a public performance.
In Half the Heart cutting-edge sound design techniques was applied by recording and mixing both on-location sounds and studio recordings. The idea was to extend the relationship between the visual and acoustic spaces and to blur and oscillate the boundaries in-between. How does it sound e.g., when a melody is just in your mind, not yet on the lips – the moment before it is materialized as an acoustic expression?
In order to transfer the song to the structure of a filmic, the music itself went through a transformation process during the production. The musicians, who perform as actors in the film, found new forms fusing sounds arising from their acting with the musical material of the composition, thus extending the range of their interpretation and their improvisational skills.
Wanko, a Worker
Half the Angel, deaf
Script, Director and Editor
Director of Photography
Production Assistant Camera Assistant and Gaffer
Sign Language Interpreter
Sign Language Coach
Lisa Tjalve, Soprano
Jan Gerdes, Piano
Simone Leona Hueber
Jörn Evers, Dagmar Usadel
Year of production
Sidney Corbett’s composition is taken from his song cycle „Lieder aus der Bettlerschale“ (1998) for Soprano and Piano, after a poem by Christine Lavant (1915-1973)
Sony PMW F3
16:9 letterbox (looks 2,35 : 1)
Stereo, Digital 5.1 available
with Support from DB Station & Service AG and DB Services GmbH
Thanks to: Sandra Beckervordersandforth and Sophia Kreller
Special Thanks to: Eva Niemand Schmuck