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A. Kraszna-Krausz : You are talking of an initiative. Besides the aims, do you also see the paths over which the initiative could be led?
G. W. Pabst : Ways — no ! But rather distinct directions. It is understood that the artists and technicians of the film should claim the same social insurances as the workers of all the other industries. But it is of decisive importance to determine the relations between the film-author and his work. The rights of the poet and the composer have been legally settled long ago. But the social question of the film-worker remains unsolved as long as the film is the exclusive property, that is to say : " goods " in the hands of the manufacturer and his renters. Unsolved also the question of its responsibility towards the public critic and the art itself.
A. Kraszna-Krausz : What you have just said might perhaps be summarized as follows : the determination of the legal situation of the filmworkers must lead to a settled material position. That only can form the fundamental of a working system, conscious of responsibility.
G. W. Pabst : Indeed — there is already enough responsibility taken by the person who works on films. He is responsible to the audience that whistles after a failure. To the critics, who object only to him. To the manufacturer who will not employ him any more. Certainly the manufacturer may lose money, but the film-worker loses his existence. Behind that there is nothing for him. Who will be surprised to hear that the number of those who take a chance on an unusual film-production decreases daily ?
A. Kraszna-Krausz : It seems to me that the historv of an art can merely consist in taking chances. There is, however, a difference between chances and chances. One might risk a poem, a short story, perhaps a novel, also a drama, even a svmphonv. In the worst case they remain in the drawer of the writing-desk. One might die from hunger with that method, but even become immortal — in case the drawer is opened after several years.
G. W. Pabst : But we film-people cannot work for writing-desk-drawers. For we need money and machines already as supposition for our production. And if the money does not favour the Shakespeare of the film, his "Hamlet" remains unwritten. For studio and apparatus are locked for him.
A. Kraszna-Krausz : Dangerous system. Just in that moment that might decide the future of the film. And when it does not seem improbable that this future will be decided in the German studios.
G. W. Pabst : You are right. Once already, eight years ago, Germany was able to determine the development of the silent film. Then Germany like the whole rest of the world succumbed to the American film. Now for the second time the fate of the European film is lying in the hands of Germany. France, England have succumbed afresh to American money. Russia has not vet succeeded in finding a productive attitude to the soundfilm. America's production however has driven into a blind alley, out of which the way will scarcely be found alone, Germany is uncommonly enabled by its literary and musical past to determine the shape of the sound-film of to morrow, if . . .