Your film "Shortlasting silence" is dark and morbid in style and content. How did you develop this character who looks after people who are at risk to commit suicide?
Developping the story, we started building the past of the characters which is not in the film. But it's the secret of the film: It's a love between brother and sister. One day, the mother dies and that's the point where the films starts. The double meanings in the film are quite interesting to me: Something wrong happened in the past, in the history in Hungary, and we started to talk about this situation because of the death of the mother...

I think the second level is really very well visualised. It all begins with the main character leaving his office, driving the car, arriving in these dark fairy tale forest, climbing through the trees and finally leaving this house.
Right, it seems unreal somehow. That is a dead house actually. There's no life in it which was really important for me concerning the set design. You only feel the reality in the city scenes. From then on, we're leaving reality. I like stylization because I'm from the theatre, maybe that's in my blood. I don't like films that are absolutely real because, as a matter of fact, film never is "true".

There are also some thriller elements embedded thanks to the music, the lighting and the camera.
The characters do nothing but talk to each other. But between them - it's again the double meaning - another story is going on. With the music and the camera movements, we tried to convey this double meaning. They have huge problems between them. But they're eating and talking - doing nothing, actually. And that's why I wanted to work with long shots using the steadycam and this orange-looking light, while the first part is very light with white coloured settings.

Interview: Oliver Baumgarten, Chief editor of the film magazine "SCHNITT".