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EIGHTDAY

HOURSDON‘T MAKE A

Gottfried John plays the factory worker Jochen.2

Table of ConTenTsCast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4Restored Version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Notes by Juliane Maria Lorenz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8Günter Rohrbach on EIGHT HOURS DON’T MAKE A DAY . . . . . . . . . . . . . . . . . . . . . . . . . 10Unorganized thoughts by RWF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12Quotes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14News releases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16The RWFF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

InTroduCTIon In the five-part TV series produced by Westdeutscher Rundfunk (WDR) writer-director Rainer Werner Fassbinder explores working life of the time and asks how many hours of the day after working eight are left for social, family and political problems .

EIGHT HOURS DON‘T MAKE A DAY is a series about a working-class family combining socio-political and economic analysis with everyday stories . As an exciting and enter-taining television series it addresses such issues as workers‘ participation and solida-rity in the workplace, high rents and anti-authoritarian upbringing . Fassbinder creates an alternative to televsion‘s illusions of a perfect world that speaks directly to a class usually unrepresentative . Actors playing main roles in the series include Gottfried John, Hanna Schygulla, Luise Ullrich, Werner Finck, Irm Hermann, Wolfgang Schenck, and Hans Hirschmüller .

The series has now been meticulously restored by the Rainer Werner Fassbinder Founda-tion (RWFF), a project made possible by the support of the Museum of Modern Art, Film und Medienstiftung NRW, FFA, R .W .F Werkschau, ARRI and Verlag der Autoren . On 11 and 12 February the restored version will be premiered at the 67th Berlin International Film Festival in the Volksbühne on Rosa-Luxemburg- Platz .

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CasT Gottfried John Jochen Hanna Schygulla Marion Luise Ullrich Grandma Werner Finck Gregor Anita Bucher Käthe Wolfried Lier Wolf Christine Oesterlein Klara Renate Roland Monika Kurt Raab Harald Andrea Schober Sylvia Thorsten Massinger Manni Irm Hermann Irmgard Erlkönig Wolfgang Zerlett Manfred Wolfgang Schenck Franz Herb Andress Rüdiger Rudolf Waldemar Brem Rolf Hans Hirschmüller Jürgen Peter Gauhe Ernst Grigorios Karipidis Giuseppe Karl Scheydt Peter Victor Curland Foreman Kretschmer Rainer Hauer Workfloor Supervisor Gross

with: Margit Carstensen, Ruth Drexel, Helga Feddersen, Valeska Gert, Ulli Lommel, Klaus Löwitsch, Eva Mattes,

Heinz Meier, Brigitte Mira and Lilo Pempeit

TeamORIGINAL PRODUCTION 1972

Director Rainer Werner Fassbinder Screenplay Rainer Werner Fassbinder Director of Photography Dietrich Lohmann Music Jean Gepoint alias Fuzzy Editor Marie Anne Gerhardt Set Design Kurt Raab, Manfred Lütz, Gisela Röcken Producer WDR Peter Märthesheimer

PRODUCTION 2017 Producer and Artistic Director Juliane Maria Lorenz Production Management Frank Graf Administration Livia Anita Fiorio Color Grading Traudl Nicholson Film-Restoration Supervisor Matteo Lepore Producer ARRI Thilo Gottschling Audio-Transfer Michael Fürstenberg Sound Restoration Matthias Lempert

dIGITal resToraTIon EIGHT HOURS DON’T MAKE A DAY

EIGHT HOURS DON’T MAKE A DAY was shot between April and August 1972 for Westdeutscher Rundfunk (WDR) in a 1:1 .37 format . The series was preserved as an original 16 mm reverse positive, the colors of which had faded in parts after more than 40 years . Under the artistic direction of Juliane Maria Lorenz, this film ma-terial was digitized and restored by ARRI in a 2K resolution . In the process a scene was retained that was preserved in its entire length only in the original reverse positive: a short excerpt from the film LIEBELEI (director: Max Ophüls, 1933) featuring Luise Ullrich as Mizi Schlager – evidently an homage by Fassbinder to the actress . The soundtrack had been preserved on the original 16 mm mixed sound rolls and was replaced in a few places by an earlier transfer to DA88 where the mixed sound tape was damaged . Clearly audible clicks and static noise resulting from long-term storage were reduced, and the dynamics and tonal colors of the original mix were carefully adapted scene by scene to current listening habits .

speCIal Thanks To Christine Berg, Christina Bentlage, Antonio Exacoustos,

Peter Dinges, Gebhard Henke, Laurence Kadish, Markus Kirsch, Dieter Kosslick, Petra Müller, Bernd Neumann, Josef Reidinger,

Annette Reschke, Rajendra Roy, Achim Strack, Andreas Streitmüller, Frank Wienands and Günter Rohrbach

EPISODE RUNNING TIMES Part 1: 01:42:24 101 minutes Part 2: 01:40:10 101 minutes Part 3: 01:32:59 93 minutes Part 4: 01:30:29 91 minutes Part 5: 01:29:53 90 minutes

approx. 478 minutes in total

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FILM MUSIC„Jean Gepoint“ is the pseudonym of the

Danish composer FUZZY

EPISODE 1:DER ZAUBERWALDMusic: Harold M . Kirchstein

© Orlando MusikverlagUsed by kind permission of Orlando Musikverlag

Gartenmaier KG

EIN GLäSCHEN WEIN UND DUMusic: Werner Müller Lyrics: Ernst Verch

© Budde Music

RUE DES FOSSES SAINT JACQUESMusic: Georges Moustaki

Courtesy of Paille Musique, ParisPerformed by Georges Moustaki

UNIVERSAL MUSIC INTERNATIONAL A DIVISION OF UNIVERSAL MUSIC GMBH

JOAN OF ARCMusic & Lyrics: Leonard Cohen

Sony/ATV Songs LLC . Courtesy of Sony/ATV Music Publishing (Germany) GmbHPerformed by Leonard Cohen

Originally released 1970 All rights reserved by Sony Music Entertainment

With kind permission of Sony Music Entertainment Germany GmbH

MATRIMONYMusic & Lyrics: Raymond O’Sullivan

© EMI Songs Ltd .With kind permission of EMI Songs

Musikverlag GmbHPerformed by Gilbert O‘Sullivan

1971 Grand Upright Music Limited, under exclusive licence to

Union Square Music Limited, a BMG Company Courtesy of BMG Rights Management GmbH

ME AND BOBBY McGEEMusic & Lyrics: Fred Foster, Kris Kristofferson

© Combine Music Corp .With kind permission of EMI Songs

Musikverlag GmbHPerformed by: Janis Joplin

Originally released 1971 All rights reserved by Columbia Records . A division of Sony Music

Entertainment . Courtesy of Sony Music Entertainment Germany GmbH

AFTER THE GOLD RUSHMusic & Lyrics: Neil Young

© Broken Arrow Music Corp .Courtesy of Melodie der Welt GmbH & Co . KG, FrankfurtPerformed by Neil Young

1970 Reprise RecordsWith kind permission WARNER MUSIC Group

Germany Holding GmbH . A Warner Music Group Company

EPISODE 2:PER UN PUGNO DI DOLLARI

Music: Ennio MorriconePublishing & Master: Universal Music Publishing

Ricordi SrlCourtesy of Musik-Edition Discoton GmbH

EPISODE 3:LE METEQUE

Music & Lyrics: Georges Moustaki © EDITIONS CONTINENTAL, WARNER CHAPPELL

MUSIC FRANCE SACourtesy of NEUE WELT MUSIKVERLAG

GMBH & CO . KGPerformed by: Georges Moustaki

Universal Music International A Division of Universal Music GmbH

HANGMAN HANG MY SHELL ON A TREE

Written by Gary Wright© Published by Blue Mountain Music Ltd .

Administered by Kobalt Music Publishing LimitedPerformed by Spooky Tooth

UNIVERSAL MUSIC INTERNATIONAL A DIVISION OF UNIVERSAL MUSIC GMBH

SAVE THE LAST DANCE FOR MEBy Mort Shuman and Doc Pomus

© UNICHAPPELL MUSIC INC .Courtesy of WARNER/CHAPPELL MUSIC

GMBH & CO .KG GERMANYperformed by The Drifters

1960 Atlantic Recording Corp .Courtesy of WARNER MUSIC Group Germany Holding

GmbH . A Warner Music Group Company

EPISODE 4:WEAR MY RING AROUND

YOUR NECKMusic & Lyrics: Bert Carroll, Russell Moody,

Marilyn Shack© Elvis Presley Music

With kind permission of Budde MusicPerformed by Elvis Presley

1983 BMG Music . Courtesy of Sony Music Entertainment Germany GmbH

LUCILLEMusic & Lyrics: Albert Collins, Richard Penniman

© Sony/ATV Songs LLCSony/ATV Music Publishing (Germany) GmbH

performed by Little Richard Originally Released 1967 SONY BMG MUSIC ENTERTAINMENT . Courtesy of Sony Music

Entertainment Germany GmbH

LADY JANEMusic & Lyrics: Mick Jagger, Keith Richards© Abkco Music Inc ./Westminster Music Ltd .

Courtesy of Abkco Music Publishing / EMI Music Publishing Germany GmbH

Performed by The Rolling StonesPublished by ABKCO Music Inc .

Courtesy of ABKCO Music & Records, Inc .

LA MER M‘A DONNEMusic & Lyrics: Joel Covrigard, Joseph Mustacchi

© EMI Music Publishing France SACourtesy of EMI Music Publishing Germany GmbH

Performed by Georges Moustaki UNIVERSAL MUSIC INTERNATIONAL A DIVISION

OF UNIVERSAL MUSIC GMBH

HEIMWEHMusic: Terry Gilkyson * Richard Dehr * Frank Miller

Lyrics by Terry Gilkyson * Richard Dehr * Frank Miller * Ernst Bader (dt .) * Dieter Rasch (dt .)

© by CONNELY MUSIKVERLAG DR . HANS SIKORSKI GMBH & CO . KG, Hamburg

Performed by Freddy Polydor/ Island A Dividion of Universal Music GmbH

BLAUE NACHT AM HAFENOriginal: Jealous Heart

Music & Lyrics: Jenny Carson© Sony/Atv Acuff Rose Music . Courtesy of Sony/ATV

Music Publishing (Germany) GmbHPerformed by Lale Andersen

POLYDOR/ISLAND A DIVISION OF UNIVERSAL MUSIC GMBH

SMOKE GETS IN YOUR EYESMusic: Jerome Kern

Lyrics by Otto Harbach© by Universal PolyGram Int . Publishing, Inc .

Courtesy of Universal/MCA Music Publishing GmbHPerformed by The Platters

UNIVERSAL MUSIC INTERNATIONAL A DIVISION OF UNIVERSAL MUSIC GMBH

CAPRI FISCHERLyrics by R . M . Siegel / Music: G . Winkler

© 1943 by Musik-Edition Europaton/Peter Schaeffers

Performed by Rudi Schuricke POLYDOR/ISLAND A DIVISION OF

UNIVERSAL MUSIC GMBH

DREAM LOVERMusic & Lyrics: Bobby Darin

© Hill and Range Southwind Music / Screen Gems EMI Music Inc .

Robert Mellin Musikverlag GmbH & Co . KGperformed by Bobby Darin

1958 ATCO Records A Division of Atlantic Recording Corp .

Courtesy of WARNER MUSIC Group Germany Holding GmbH . A Warner Music Group Company

LONELY BOYMusic & Lyrics: Paul Anka

© Chrysalis Standards Inc .Courtesy of BMG Rights Management GmbH

Performed by Paul Anka Originally released 1962 . All rights reserved by

RCA Records, a division of Sony MusicEntertainment . Courtesy of Sony Music

Entertainment Germany GmbH

JUST WALKING IN THE RAINMusic & Lyrics: Johnny Bragg –

Robert Stanley Riley, Sr .© Golden West Melodies Inc . (BMI) Administered by

Bluewater Music Services Corp .Performed by The Prisonaires

Courtesy of Sun Entertainment Corporation

PROBLEMSMusic & Lyrics: Felice Bryant, Boudleaux Bryant

© Sony/Atv Acuff Rose MusicCourtesy of Sony/ATV Music Publishing

(Germany) GmbHPerformed by The Everly Brothers

1958 Warner Bros Records Inc courtesy of Warner Music Group Germany Holding GmbH

A Warner Music Group

VAYA CON DIOSMusic & Lyrics: Inez James, Larry Russell,

Buddy Pepper© Beachaven Music Corp/Jarest Music Co .

(SV: Wixen Music Publishing Inc ./Ruminating Music)Courtesy of BMG Rights Management GmbH und

Melodie der Welt GmbH & Co KG/Global Musikverlag GmbH & Co KG

Performed by Les Paul, Mary Ford UNIVERSAL MUSIC INTERNATIONAL A DIVISION

OF UNIVERSAL MUSIC GMBH

EPISODE 5:SMOKE GETS IN YOUR EYES

Music: Jerome KernLyrics by Otto Harbach

© by Universal PolyGram Int . Publishing, Inc .Courtesy of Universal/MCA Music Publishing GmbH

Performed by The Platters UNIVERSAL MUSIC INTERNATIONAL A DIVISION

OF UNIVERSAL MUSIC GMBH

TWILIGHT TIMESMusic & Lyrics: Al Nevins, Buck Ram,

Artie Dunn, Morty Nevins© PORGIE MUSIC CORP ., WARNER/CHAPPELL MUSIC

INTERNATIONAL LTD .Courtesy of NEUE WELT MUSIKVERLAG

GMBH & CO . KG

ONLY YOUMusic: Buck Ram, Ande Rand

© Wildwood Music Inc .Robert Mellin Musikverlag GmbH & Co . KG

Performed by Paul Anka Originally released 1962 . All rights reserved by

RCA Records . A division of Sony Music Entertainment . Courtesy of Sony Music

Entertainment Germany GmbH

CANDY SAYSMusic & Lyrics: Lou Reed

© Oakfi eld Avenue Music Ltd .With kind permission of EMI Music

Publishing Germany GmbHPerformed by Velvet Underground

UNIVERSAL MUSIC INTERNATIONAL A DIVISION OF UNIVERSAL MUSIC GMBH

musIC

Funded with the kind support of

A digital restoration of the production by WDR – Westdeutscher Rundfunk 1972/1973 © WDR by the Rainer Werner Fassbinder Foundation © RWFF 2017

The original fi lm scripts were published by Verlag der Autoren, Frankfurt a .M . 1991 and are currently available in print

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EIGHT HOURS DON’T MAKE A DAY was filmed from April to August 1972 . Beginning in October 1972 on a Sunday evening at 8:15 p .m . the series was broadcast with intervals of several weeks . The series was a gigantic success with the audience, while reviews were more controversial . The five episodes have the individual titles “Jochen and Marion”, “Grandma and Gregor”, “Franz and Ernst”, “Harald and Monika” and “Irm-gard and Rolf” . Three more episodes were planned but not produced .

The series takes place in Cologne . Gottfried John plays the protagonist, the tool-maker Jochen Kröger, who works in a large factory .

In the first episode Jochen’s happy-go-lucky grandmother (Luise Ullrich) is celebrating her 60th birthday and there are a number of conflicts in the family circle . When the bubbly starts to run out Jochen leaves to buy more at a vending machine in Cologne‘s main railroad station . Here he first meets Marion (Hanna Schygulla) . Spontaneously he takes her to his grandmother‘s birth-day party and falls in love with her . Marion works in the advertising department of the local newspaper, the Cologne Stadt-Anzei-ger, and is a smart, modern young woman . In the fourth episode Jochen and Marion get married .

In EIGHT HOURS DON’T MAKE A DAY instead of separating the characters’ private and professional lives the two are woven together . Various family festivities are shown (birthday, wedding) and conflicts in rela-tionships and at work . It’s all about bonuses at work, changing jobs, worker participa-tion in management decisions, company interests, prejudice against immigrant workers, high rent, not enough child care, women’s double work burden, business fraud . There are 15 people around Jochen and Marion they are close to and have important parts: Käthe (Anita Bücher) is Jochen‘s mother, Jochen‘s father (Wolfried Lier), who enjoys his drinks, Klara (Christine

ConTenTsAfter an eight-hour workday, how much time is left that’s not full of problems with job, politics or family? Jochen (Gottfried John) is not the only one wondering.

Hanna Schygulla Irm Hermann Wolfgang Schenck Hans Hirschmüller

Grigorios Karipidis Herb Andress El Hedi Ben Salem Rudolf Waldemar Brem

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Oesterlein Jochen‘s spinterish aunt, who usually sees things negatively, Monika (Renate Roland), Jochen’s sister, who every-one likes, Harald (Kurt Raab), Monika’s authoritarian husband, who she divorces . Sylvia (Andrea Schober), Monika’s and Harald’s daughter, has problems with her father; Gregor, the widower who gets to know Grandma in the first episode and becomes her partner; Irmgard Erlkönig (Irm Hermann) is Marion’s conventional col-league from work, Manni (Thorsten Massinger) is Marion’s younger brother, Manfred (Wolfgang Zerlett), Jochen’s best friend, Franz (Wolfgang Schenck), Jochen’s co-worker who later becomes the foreman, Giuseppe (Grigorios Karipidis), Peter (Karl Scheydt), Rolf (Rudolf Waldemar Brem) and

Rüdiger (Herb Andress) are Jochen’s other colleagues from work .

“It’s about solidarity between workers and how they stick together. Because the boss treats the workers as isolated persons, it’s hard for them to show solidarity. We tried to say, together we are strong. And we do-cumented that with different examples. We show it is possible for workers to defend themselves and the best way to do it is in the group. We took almost an entire year for our research, talked to union members and workers and looked at factories. It was important to us for the series to reflect the wishes of the workers and we always as-ked the workers, how do you want your situation to be shown? Based on these

concrete wishes and ideas I developed the film scripts and then I showed them to a group of workers we were in contact with. They made suggestions what should be left out and what should be added. It was a very long work process and due to the input of the workers the manuscripts had to be rewritten two or three times.” (Rainer Werner Fassbinder in “Fassbinder on Fassbinder”)

It’s Grandma’s birthday (Luise Ullrich, center, in the background,) and the whole family is celebrating – with a constant and generous flow of drinks and late in the evening Jochen brings a new guest.

Brigitte Mira Rainer Hauer Victor Curland Margit Carstensen

Helga Feddersen Peter Gauhe Peter Märthesheimer Klaus Löwitsch

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noTes by JulIane marIa lorenzPRESIDENT OF THE RAINER WERNER FASSBINDER FOUNDATION (RWFF)

“We wanted to encourage people” said Rainer Werner Fassbinder in 1972 . Because his characters are different from “what people usually expect workers to be” . In any case Fassbinder didn’t wanted to show workers the way their daily lives are, gray and dismal . That would have confirmed the status quo . Instead viewers should identify with his characters and find out the possi-bilities they have when they act in solidarity with a group . Fassbinder’s workers are in-tended to be active personalities who take themselves seriously, have fun after eight hours at work and are actively involved in family life and in relationships with friends . This perspective was completely new for the WDR - Westdeutscher Rundfunk (West German Broadcasting) . And brave . Which is what the young commissioning producers at Westdeutscher Rundfunk and the head of department Günter Rohrbach set out to prove .

In the Spring of 1970 Rainer Werner Fass-binder was 26 and living in Munich . His out-put was already eight movies, thirteen stage plays and three radio plays as well as having directed his own plays and other authors’

stage plays . This was when Peter Märthes-heimer contacted him to suggest he should write the scripts for a family series and take on the directing . Who would turn such a chance down? Not Fassbinder anyway . Peter Märthesheimer is very entertaining when he describes the first meeting in my book Chaos as Usual – Conversations about Rainer Werner Fassbinder: He had just seen the feature film KATZELMACHER and thought it showed Fassbinder had something going for him and so he got his telephone number, set up a meeting and drove over . In his gentle and charming way Fassbinder communica-ted that he was willing come on board for the series, but he asked for something in exchange . Mr . Märthesheimer was to ensure the WDR would contribute the missing funds for NIKLASHAUSER FART, a film he was plan-ning . In the end Fassbinder got the confir-mation from him on the same day .

The WDR took over responsibility for the entire production of EIGHT HOURS DON’T MAKE A DAY - instead of Fassbinder as usual . Peter Märthesheimer describes it vividly: “(…) I made sure Mr . Fassbinder understood he could have a complete pro-

duction set-up with all the frills as long as he said what he wanted in the first produc-tion meeting . Then he came with me and his Director of Photography, Dietrich Lohmann, into this windowless, air conditioned, neon-lit conference room where around twenty well-dressed gentlemen awaited him . All head of departments, lighting, set, pro-duction design, etc . all of them experts in their fields and all of them obviously skep-tical and expecting to be in for a long, con-fused afternoon with one of these artists . I began my speech introducing him and the project and Mr . Fassbinder interrupted me, saying he wanted to start as soon as possible, if it was all right with the gentle-men…” He then began with the details of the first day of shooting, where he planned a complicated tracking shot, and for that he needed a dolly and camera tracks and a lot of extra lighting . “How long do the camera tracks need to be, Dietrich?” he asked, and Dietrich Lohmann described exactly what was necessary . And that’s the way it went . The gentlemen were amazed . “A bird of paradise came into their conference room, but he knew what he was doing” . After the first weeks of shooting he had their complete

Team discussion during filming in Cologne 1972: Rainer Werner Fassbinder (second from the left) with cameraman Dietrich Lohmann (right) and others.

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respect: He followed the schedule on every day of shooting, sometimes even saved time . There was a total of 105 shooting days and the production budget of 1,375 million German Marks .

Shooting on EIGHT HOURS DON’T MAKE A DAY took place from April to August 1972 . The first episode was broadcast on Sunday October 29th in prime time at 8:15 p .m ., the next four also on Sundays at the same time - at large intervals, which was very unusual then as now: December 27, 1971, January 21, 1973, February 18, March 18, 1973 . The audience was enthusiastic, families got together for these TV events, switched on the television in West Germany and East Germany, wherever broadcasting frequen-cies reached the territory of the GDR . Vie-wer ratings were all around 60 percent, for the first episode alone twenty-five million people, without counting the East Germans . Many West German critics were irate but there were also some who praised the series .

What made me and others at RWFF want to restore a film that had not been seen for so long? The question is easy to answer: Our mission is to take care of Fassbinder’s entire artistic oeuvre and to make it available and distribute it . In the past years we succee-ded with Fassbinder’s movies and television productions, a .o . his opus magnus BERLIN

ALEXANDERPLATZ (1979/1980) - which was restored and presented at the Berlinale (Berlin Film Festival) in 2007 - followed by WORLD ON A WIRE at the Berlinale in 2010 and accompanied by high-quality DVD and Blu-Ray editions as well as analogue 35mm film prints .

High-quality restorations are only part of our work . The most complex and cost-intensive aspects contributing to success are finan-cing, and rights clearance - which is especi-ally wide-ranging for television productions - so-called “television-external rights clea-rance” . Which can generate high costs for copyright ownership, such as music rights that have to be cleared for all exploitation outside television (DVD, VOD, theatrical rights, a .o .) . This is a vast field to cover, as Theodore Fontane would say . But it is pos-sible - with persistence and patience we are able to convince funding institutions, com-mittees and sponsors how worthwhile it is to make our more recent German film heritage accessible to the ever-expanding communi-ty of cinephiles .

Fassbinder’s television series EIGHT HOURS DON’T MAKE A DAY, first broad-cast in 1972/1973, made television history . This attempt to recast a popu-lar genre was an immediate success . For the first time a family series was set in a working-class milieu, combining socio-political and economic analysis with everyday stories that were exciting and entertaining . Today Fassbinder’s “colonization” of a trivial genre still seems audacious, setting a standard that has never again been achieved .Dust jacket text Fassbinders Filme ACHT STUNDEN SIND KEIN TAG, Verlag der Autoren, 1991

The factory workers are dissatisfied. On the way home Jochen talks openly to Foreman Kretzschmer (Victor Curland) about the situation.

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At the beginning was a weekend conference of the WDR television film department . To be more precise it was a weekend stroll through the green areas of Cologne, because at the time our department basically consisted of three people: Peter Märthesheimer, Günther Witte and me . It must have been in the Fall of 1969 or Spring 1970 . Our topic was, what to do about the increasing competitive pressure from ZDF (second public TV chan-nel in West-Germany, founded in 1963) . At first ZDF had been looked down on by the ARD (first public TV channel in West- Germany, founded in 1952), but they had a decisive advantage, that their program came from one source . The ARD on the other hand was made up of nine autono-mous regional broadcasters that planned and produced their films independently and then had a hard time coordinating to bring everything into one program . That made the production of series difficult, because no single broadcaster, not even WDR which

was very big, had enough slots to give their program effective placement . Nowadays it is different, broadcasters cooperate with each other from the very beginning of plan-ning and production stages .

In spite of our handicaps we decided on our weekend stroll that we would start two series: one a thriller and the other a family series . The latter was to be different than all other series of this genre by being enacted in the working class instead of the middle class .

A few days later Günther Witte got back to us with an idea that was decisive for ARD pro-gramming since then: the thriller TATORT . It allowed a new series to be installed without changing the principle of the ARD . Märthes-heimer had also come up with something, and suggested giving the worker series to Rainer Werner Fassbinder . That was just about the opposite to what I had been thin-

king of . We wanted to tie Fassbinder closer to WDR, but nothing of his that we had seen led us to expect a realistic film about wor-kers . In the end I let myself be persuaded, because Märthesheimer’s enthusiasm and Fassbinder’s drive were so convincing .

Looking at the results a realistic series probably would have gained us a more posi-tive reaction from the public and the press . It was different with EIGHT HOURS DON’T MAKE A DAY . Reactions were turbulent, con-troversial, boiling over with both rejection and approval .

EIGHT HOURS DON’T MAKE A DAY was not just a new series with slightly different characters . EIGHT HOURS DON’T MAKE A DAY was an event, far beyond the limits of television, a drum roll . No one was left cold by this piece of television, people discussed and fought about it in the media for weeks . Workers were interviewed, unions positioned

„reaCTIons were TurbulenT, ConTroversIal, boIlInG over In reJeCTIon and aGreemenT.“GüNTER ROHRBACH, FORMER HEAD OF WDR TELEVISION MOVIES,

ON EIGHT HOURS DON’T MAKE A DAY

Giuseppe (Grigorios Karipidis, front) reads the letter of a friend in Italy telling him, he and his friends should decide their work schedules themselves. That gives Jochen an idea.

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themselves . But it was also the dominant topic in all in the finest art columns . The best authors wrote on it, Karl Korn in the FAZ, Wolf Donner and Hellmuth Karasek in “Die Zeit”, Wolfgang Röhl in “Konkret”, Günter Wallraff in “Spiegel”, Günter Zehm in “Die Welt” .

What was the reason for all this uproar? For one thing it was of course because of Fassbinder’s image, the young genius with the provocative, anti-authoritarian style, whose melancholy films fascinated some people and disturbed others . At the time he was not yet the established artist he became years later . But he had already made a splash . And then this series, that was so completely different from the usual televi-sion, but also different from the Fassbinder we knew . All of a sudden someone who had preferred a small stage up to now, off-thea-ter, stepped out in front of the big audience and, the miracle was, he was having fun . He didn’t just motivate the masses to watch, he gave them courage to live . That was what it was, what shocked some critics, it was the surprise, that he wasn’t showing the drudgery of work, suffering and toil, dirt and sweat . Fassbinder’s workers were self- confident people taking life at face-value . They didn’t look like people that were not wor-kers think workers look like . His workers are

actors that play workers . He is not preten-ding to give us something else . He doesn’t want realism so we can identify with how hard and dismal it is . He keeps us at a dis-tance . He wants us to be free for the insight, that the world can be changed, that we, the audience, and the people acting in the film, can take our lives in our own hands .

In this respect EIGHT HOURS DON’T MAKE A DAY is a document of its time . The series is carried by the optimism of a movement that led our society out of the moldy, reactionary mood of the post-war period, pushed doors open, raised windows, gave us access to new freedoms . The series did not limit itself to the problems of the workers’ world, it also talks about women’s emanci-pation, all kinds of emancipation, for men too, about new education, new concepts of living together, including and especially for older people . The utopias of the time become visible, and its illusions . Although some of it may seem naïve to us today, we also under-stand how much we take as a matter of course that was fought hard for in those years .

“Proletarians in make-up” was one of the slogans that tried to discredit the series . It’s true, very few workers are as cool as Gottfried John and their girls are not often

as beautiful as Hanna Schygulla . Most grandmas are not as brash and carefree as Luise Ullrich . But the cowboys in the real Wild West were not as heroic as John Wayne either . That is one of the reasons we have films, so we experience the world as larger and more beautiful than reality . Fassbinder knew that, although most of his films try to prove the opposite .

EIGHT HOURS DON’T MAKE A DAY may not be a typical Fassbinder film, although in every scene, every image the master’s handwri-ting can be seen . But the series is, perhaps more than any other film, a testimony to an exciting point in time, to its time . It would be a great misfortune if the films were not saved for posterity .

Grandma and Gregor (Werner Finck, left) have moved into a new apartment together. Jochen and Marion (Hanna Schygulla, right) are a big help with the renovations.

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Marion, Grandma, Gregor and the others are different from workers as we expect them to be or as they are sold to us in television and elsewhere, because they are not such wrecks .

We would like to say, in other things that is exactly what is not shown - being a wreck, reality or whatever else is part of a milieu, and that is exactly what so many do not like or on the other hand find attractive .But there is a spark of utopia with Jochen and Marion and Grandma and a few others . This spark, that is missing in some things and is not a utopia in other things, but ins-tead is thoughtlessness or lies .

Jochen and Marion, they love each other - it can be wonderful to be in love, because the-re are chances, when love makes you think of something . It must be wonderful, to think of characters, who think of something and have chances and - I know it is wonderful!

And Grandma and Gregor are two peop-le who are doing something with their old age … I wish for my Grandma that I had thought of Grandma and Gregor twenty ye-ars ago or someone else and my Grandma would have seen it and wouldn’t vote for the German Conservative Party today and would be busy with something other than dying .

And a lot of solidarity . We all know the mo-ments where we’re “in the same boat” with a couple of others and suddenly we feel everybody is in it together and something can happen that’s good for everyone and no one is alone . It’s also about that .

Or about fighting . Fighting can be a good thing, I say, when the right is on your side, and you’re in the majority - and it can be exciting, fighting .

And boozing can be good, when it’s not used to be aggressive .

And aggressive can be good, because after-wards it’s more quiet and peaceful and ag-gression can be funny when it is compared to other things . Then it’s all right to laugh .

some unorGanIzed ThouGhTs on JoChen and marIon and…

BY RAINER WERNER FASSBINDER

Happy in love: Jochen and Marion enjoy being together. Marion encourages her boyfriend to be self-confident and follow new ideas in his job.

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There are so many people, I think, other than Jochen, Marion and Grandma - there are Mo-nika, Harald, Gregor, Wolf and Käthe, Manni and Sylvia, Franz and Peter and Jürgen and Rolf and Manfred and Irmgard and Rüdiger and … and they are all different, they are naïve and narrow-minded, tender-hearted and nasty and conventional and silly and clever, I hold them all in my heart . There’s that at least . And I don’t have to be asha-med of what they’re doing . Not at all, becau-se … I think they would be fine, if they were the way they are . Or at least a little fine .

And my Grandma - I mean, I didn’t say that out of coincidence, that about my Grandma . And that is it .

December 1972Written for the brochure of WDR, Department of Television and Film, July - December 1972, 5 . Page 88-89 .

“… because I made my films and stage plays for an intellectual audience and becau-se I can be pessimistic to intellectuals and the films can end without hope, because an intellectual always has the possibility to use his mind . With such a large audience as the television series has it would be reactionary, almost a crime, if the world was shown as so hopeless, because those people have to be given courage and told: In spite of it all you have possibilities, you have strength, that you have to use, because your oppressors depend on you . What is an employer without workers? Nothing . This stance was the reason that I made something positive the first time, something hope-ful . When you have an audience of twenty-five million totally average people you can’t allow yourself anything else .”

From “Fassbinder on Fassbinder”; Excerpt from a conversation between RWF and the Danish documentary film director Christian Braad Thomsen, 1973 in Berlin .

Rainer Werner Fassbinder did everything he could to win Luise Ullrich for the part of Grandma - and it worked!

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GOTTFRIED JOHN as Jochen († 2014)

“… even beforehand it got off on the wrong foot . I had long hair and I heard from other people, the workers in EIGHT HOURS DON’T MAKE A DAY all had short hair, Fassbinder said . So I say, not with me… You can tell Fassbinder, the worker Jochen, I’m playing, he wears his hair long . I remember how sur-prised I was that a group making a project on having the courage to stand up for your beliefs, on resistance against meaningless rules, was following the orders of their Meis-ter - which is how they were already calling him . Hanna Schygulla was the only one who didn’t join in this group behavior . Anyway the Meister accepted my long hair . But we didn’t really get along so well back then, didn’t talk much . Just sort of looked at each other…”

“…and then I said to him, they’re all say-ing you’re a genius . What do you think that is? And he says, genius is easy when it’s easy for you to do something that’s hard for other people . I thought that was a good sen-tence…”

“…I think the basic idea had to do with real anarchy in a positive sense, that everybody can be emancipated by using common sense . Free from authority, being self-determined and able to change society . Everyone, people in the audience, the theater director and the actor . And that was packed into a “normal” family series . In a certain sense a practical utopia - and that was the provocation . I re-member the bad reviews . They said the se-ries was unrealistic . Workers were asked and quoted: “What a lot of bunk, we don’t do that kind of thing, we are decent workers” . I re-member a photo of me in a TV magazine with the headline: “Ugly is the new beautiful!””

IRM HERMANN as Irmgard

“… and when the revolution began in ’68 it set us free from conventional ideas and chains . And of course EIGHT HOURS DON’T MAKE A DAY was a contribution to that .”

“He was ambitious enough and he was fast, in his ideas that he developed with Peter Märthesheimer . It was obvious that he was going to make it . We were on stage in Bremen at the time . Yes, and then he wrote EIGHT HOURS… That was not easy . He was completely stressed out . I didn’t see him like that very often . Because there was time pressure, there was a deadline . There were deadlines that had to be met and then he would get together with Märthesheimer . Anyway it was hard because he had to deli-ver what they wanted . It wasn’t his own film, with his own ideas, he’d been hired to do it . And that was difficult for him . And that really put even more demands on him .“ “It was a challenge for him . I think he really enjoyed it . At the time he also wan-ted to have me there with him . If I wasn’t acting, then I was an assistant or script girl . I stood next to Fassbinder behind the camera and we watched dozens of actors in front of the camera - in different genres - it was a special kind of acting school for me . Fassbinder and I, after a while we looked at each other and we knew who was good and who wasn’t .”

HANNA SCHYGULLA as Marion

“We talked about love through the lack of love or tolerance through intolerance etc . That was just the way we expressed our-selves, because of what had gone before . That we didn’t believe in . As a generation we were skeptical about all the values we had learned, and we asked ourselves, how it was possible that all these values didn’t prevent what had happened .”

“She (Marion) already knew, in a lighthear-ted way, what direction to go in - and mo-tivated him (Jochen) too . He was the one who had to dare . But she encouraged him to think it would be worth it and it would work out .”

“I saw Luise Ullrich in LIEBELEI . Fantastic, she was just fantastic . But Finck, he was at home in the absurd . Because he was so strange . That was a good idea, the two of them .”

QuoTes

14Irm Hermann (left) and Hanna Schygulla (right)

The quotes from Gottfried John and Peter Märthes-heimer were taken from the volume of interviews Das ganz normale Chaos - Gespräche über Rainer Werner Fassbinder (Henschel Verlag 2. Edition, 2012); the quotes from conversations with Hanna Schygulla, Irm Hermann, Hans Hirschmüller and Martin Wiebel were ta-ken from EIGHT HOURS DON’T MAKE A DAY - THE SERIES AND FAMILY OCCASION, the film documentary by Juliane Maria Lorenz, 2017; published in the DVD/Blu-Ray edition EIGHT HOURS DON’T MAKE A DAY, published by Arthaus

WOLFGANG SCHENCK as Franz

“Today the work world reflects exactly what Rainer wrote back then . In an even harsher form .”

“And he always said: Together we are strong . That was a fundamental principle for him . To say: If they stick together, when workers stick together, they can stand up against a boss . Because the boss needs the workers . But the workers don’t need a boss .”

“… that is the great thing, that with Fass-binder these dialogues, that were written, were not in the language of workers . It was a different form . It was placed a little higher, so that the audience didn’t see their daily lives, but something that made them curious .”

HANS HIRSCHMüLLERas Jürgen

“I really thought we would change things a little . It would change, the time, the people, the workers, would change . Things could be set in motion .”

“In the series it was about shifts in pow-er . That means, raise consciousness for the workers and take a look at how they could start fulfilling their interests, I think that was at the center of the whole story . It was very political, today I would almost say re-volutionary, when you hear how he wrote his texts… a kind of guideline not just for consciousness, but for revolution . To re-ally stand up to those people, against the company bosses .”

“It isn’t a coincidence that Fassbinder was the one to do a series on workers for the first time .”

PETER MäRTHESHEIMER, Commissioning Producer at WDR († 2004)

“Well, some characters were my invention, he added the Grandma and Grandpa . But a character is nothing without its own par-ticular aspects . It was just thought up . A concept is just something theoretical at first and even a character is just a kind of func-tion, something very cold and unphysical . Of course all the characters in the series only came alive because he gave them their par-ticular idiosyncrasies . That was his great art, to create human figures .”

“…He wanted Luise Ullrich for the part of Grandma, but Luise Ullrich didn’t really want to . She probably thought the whole project was strange and especially this wild young man in his leather jacket . The first contacts all went over the agency and I had already given up, but not Fassbinder .

So we made an appointment for a visit to her house in Munich-Grünwald, but before we got to her mansion, we had to stop at the flower shop in Grünwald and ask what the favorite flowers of Miss Ullrich were? And then we arrived at the villa . Fassbinder had squeezed himself into a dark suit - he looked like a choir boy in it - and he gave Miss Ullrich the bouquet . Miss Ullrich said, ‘But they’re my favorite flowers!’ And Fass-binder actually made some kind of bow and said: ‘Someone who knows your films, dear lady, also knows your favorite flowers’ . Then it turned out that he not only knew all the films Luise Ullrich had ever been in, but all the camera shots in them . He was very well prepared .”

MARTIN WIEBEL, Commissioning Producer of the show Glashaus: TV Intern

“EIGHT HOURS DON’T MAKE A DAY was the most exciting, unusual, controversial show being shown in ARD television at the time . The fact it was so controversial made it widely acknowledged and significant . There were powers for it and powers against . And we dedicated an entire Glashaus: TV Intern show to it, with a title we didn’t come up with ourselves, but got from the magazine ‘Konkret’: The Proletarians in Make-Up .”

“Every series in those days played in middle-class, bourgeois family circles . A worker series was something - it was almost unimaginable . It was his idea (Peter Märthesheimers) . And he made Fassbinder enthusiastic about it .”

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Hans Hirschmüller (left) and Wolfgang Schneck (right)

news releases

Daisies and Finches‘ SongEight Hours Don’t Make a DayGünter Zehm, DIE WELT Oktober 31, 1972

AmongworkersEight Hours Don’t Make a Day by Rainer Werner Fassbinder.Helmut Karasek, DIE ZEIT, November 3, 1972

Up for discussionMaking the case for Fassbinder and his family series

Redaktion, Frankfurter Rundschau, February 16, 1973

From the treasure chests of boulevard magazinesThe Women in Fassbinder’s Family Series

Heidrun Bleeck, Süddeutsche Zeitung, March 17, 1973

“The beginning of a proletarian wave?”

(Konkret)

“Idyll of a TV leftie”(Die Zeit)

“Goodbye to the sugar-coated proletariat”

(Frankfurter Rundschau)

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Daisies and Finches‘ SongEight Hours Don’t Make a DayGünter Zehm, DIE WELT Oktober 31, 1972

Wonderfully popularAfter cinema films, TV productions, radio plays and stage plays the young filmmaker Rainer Werner Fassbinder debuts as author and director of a family series.DER SPIEGEL, Nr. 44/1972

From the treasure chests of boulevard magazinesThe Women in Fassbinder’s Family Series

Heidrun Bleeck, Süddeutsche Zeitung, March 17, 1973

“Denunciation of a class” (Süddeutsche Zeitung)

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The raIner werner fassbInder foundaTIon (rwff)Rainer Werner Fassbinder Foundation Giesebrechtstrasse 7 D-10629 Berlin Germany Phone +49 -30-887249-0 info@fassbinderfoundation .de www .fassbinderfoundation .de

World salesR.W.F. Werkschau Giesebrechtstrasse 7 D-10629 Berlin Germany Phone +49 -30-887249-0 info@fassbinderfoundation .de www .fassbinderfoundation .de

PRESS AND PUBLIC RELATIONS Grabner|Beeck|KommunikatonChristiane Beeck Danckelmannstrasse 9b 14059 Berlin Tel .: +49-30-3030630 cb@gb-kommunikation .com www .gb-kommunikation .com

What is so fascinating about Rainer Werner Fassbinder? The French say he was a great cineast and a rigorous philosopher . The Americans say Fassbinder was a great Ger-man . Above all Fassbinder was charismatic, full of strength and energy; in the very short time span of 16 years he produced 44 movies and television films . At the basis of his entire artistic production was a profound sense of humanity while he was capable of creating a portrait of German society . He polarized at the same time what meant not everyone loved him for it - but those who did loved him all the more .

The history of the Rainer Werner Fassbin-der Foundation, a non-profit estate admi-nistration GmbH (RWFF), founded in 1986, is un usual and sad because it began with the sudden death of Fassbinder on June 10, 1982 . Liselotte Eder, Fassbinder’s mother, realized early on that her son’s legacy should be brought together and some rights had to be cleared . In 1992 Juliane Maria Lorenz, Fassbinder’s editor and life companion became sole managing director and shareholder and is now the Foun-dation’s president .

With the commitment of its excellent team the RWFF has been able to realize a num-ber of important projects in the past three decades . High points were the first integra-ted Fassbinder retrospective and exhibition in the Berlin Television Tower at Alexan-derplatz in 1992, followed by a premiere in the Museum of Modern Art in New York with an ensuing tour across North America (1997/1998) . Further retrospectives took place a .o . at the British Film Institute (1999) and Centre Pompidou (2005) . Pioneering restorations were realized: BERLIN ALEXAN-DERPLATZ: REMASTERED (2007), WORLD ON A WIRE (2010) and now EIGHT HOURS DON’T MAKE A DAY . Today we are involved in world-wide cooperations, a .o . with the Goethe-In-stitutes . We also work on exhibitions, such

as Fassbinder: Alexanderplatz with Klaus Biesenbach and Kunst-Werke Berlin (KW) in 2007 and MoMA/PS1 (2007/2008) . More recently we cooperated with the Deutsches Filminstitut, Frankfurt am Main (DIF), on the exhibition Fassbinder NOW, which was pre-sented in the Gropiusbau in Berlin on Fass-binder’s 70th birthday in 2015 . As an expan-ded exhibition it will continue on tour, a .o . to Mexico City . Not to be forgotten are our numerous cooperations with current theater and film projects such as the documentary film FASSBINDER (2015) - a fascinating portrait of the artist by Annekatrin Hendel, or Falk Richter’s impressive stage play Je suis Fassbinder, which created a furore in France in 2016 .

There are also other areas that RWFF has entered in the last few years . With the digi-talization and restoration of our Fassbinder films since the early 2000s new paths of distribution and exploitation have opened up . RWFF has made a name for itself in film restoration, pioneering the highest stan-dards .Fassbinder’s legacy, his films, stage plays and literary work are established elements in the international cultural landscape . This fills us with pride and gratitude towards our partners, our audience, which is now in the third generation and young once again, and the other numerous fans, filmmakers, thea-ter people, who continue telling Fassbinder film stories and take him as a motor for their own film and theater work . Fassbinder lives on . . .

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Original color stills are taken from the 2K-restoration of Eight Hours Don’t Make A Day © RWFF; b/w stills: Peter Gauhe Collection / Deutsches Filminstitut, Frankfurt am Main © DIF / Peter Gauhe

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RAINER WERNER FASSBINDER FOUNDATION PRESENTS “EIGHT HOURS DON’T MAKE A DAY” GOTTFRIED JOHN HANNA SCHYGULLA LUISE ULLRICH WERNER FINCK ANITA BUCHER WOLFRIED LIER CHRISTINE OESTERLEIN RENATE ROLAND KURT RAAB ANDREA SCHOBER THORSTEN MASSINGER IRM HERRMANN WOLFGANG ZERLETT WOLFGANG SCHENCK HERB ANDRESS RUDOLF WALDEMAR BREM HANS HIRSCHMÜLLER PETER GAUHE GRIGORIOS KARIPIDIS KARL SCHEYDT VICTOR CURLAND RAINER HAUER

SET DESIGN KURT RAAB MANFRED LÜTZ GISELA RÖCKEN MUSIC JEAN GEPOINT ALIAS FUZZY EDITOR MARIE ANNE GERHARD DIRECTOR OF PHOTOGRAPHY DIETRICH LOHMANN WRITTEN AND DIRECTED BY RAINER WERNER FASSBINDER A DIGITAL RESTORATION OF THE 1972/1973 PRODUCTION BY WESTDEUTSCHER RUNDFUNK PRODUCTION RAINER WERNER FASSBINDER FOUNDATION PRODUCER AND ARTISTIC DIRECTOR JULIANE MARIA LORENZ PRODUCTION MANAGEMENT FRANK GRAF ADMINISTRATION LIVIA ANITA FIORIO COLOR GRADING TRAUDL NICHOLSON FILM-RESTORATION SUPERVISOR MATTEO LEPORE

PRODUCER ARRI THILO GOTTSCHLING AUDIO-TRANSFER MICHAEL FÜRSTENBERG SOUND RESTORATION MATTHIAS LEMPERT © 1972 WDR / © 2017 RAINER WERNER FASSBINDER FOUNDATION OF THE RESTORED VERSION WWW.FASSBINDERFOUNDATION.DE A NEW AND METICULOUS RESTORATION BY THE RAINER WERNER FASSBINDER FOUNDATION ( RWFF) WITH THE SUPPORT OF THE MUSEUM OF MODERN ART, FILM-UND MEDIENSTIFTUNG NRW, FFA, R.W.F. WERKSCHAU, ARRI AND VERLAG DER AUTOREN.

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