How must we imagine your actual script to look like?

It’s a written book that is rather open and loose, a statement of intent that sometimes describes what we’re looking for, or a subtext. It can be very detailed in respect to dialogues. During the actual shoot, it is very important for me to put this script aside and only remember it. And then I tell the actors what I remember and together we then rehearse the dialogue. This then takes the form of trial and error, a process through which the characters make the lines of dialogue their own, and I find that works very well. I found it very inspiring to read an interview with Miloš Forman in which he explains that for his film Černý Petr (Black Peter, 1964) he gave the actors the script and then a week before shooting he demanded of them to return it. So they had a general notion of the story and the dialogue, but they were forced to work only with what they remembered – this process I found fascinating, so I stole it.

Valeska Grisebach, interviewed