The new season starts with "Tatort: Pumps". Harald Krassnitzer reveals how filming has changed during the Corona crisis.
The "Tatort" summer break is finally over. The new season kicks off on September 6th at 8:15 p.m. in the first with a case from Vienna. In "Pumps", Harald Krassnitzer (59) alias Moritz Eisner and Adele Neuhauser (61) alias Bibi Fellner investigate in a fitness studio. The shooting of the new Austrokrimi took place before the coronavirus pandemic. "There was still something like normality," explains the lead actor. In an interview with the news agency spot on news, he reveals how the shooting has changed in the meantime and whether he voted for the desired "crime scene" during the summer break.
Was the filming of "Pumps" already affected by the Corona crisis?
Krassnitzer: No, "Pumpen" was shot in 2019. There was still such a thing as normality. At that time, you would never have dreamed that it would all turn out like this. If someone had told us that back then, we would probably have shown them the bird. And half a year later you suddenly find yourself in this situation.
How does filming in Corona times differ from before?
Krassnitzer: Just because of the preparation time, the permanent testing and the division into different zones. Usually we have the whole team around us. You are in constant contact with everyone who works on a film set. Suddenly that was no longer possible. It was always only the core zone on site. That means: camera, direction, lighting, security, script, mask, costume and assistant director. Otherwise, everyone else was left out.
This was the only way we could meet the requirements. You could already feel a certain tension. Fortunately, the tests that took place twice a week were always negative. But this oppressive feeling hung over the head the whole time. That was really exhausting.
This year the "Tatort" celebrates its 50th anniversary. How do you think crime has changed since the beginning?
Krassnitzer: I do believe that a lot has changed. That is also the quality of this brand. The film landscape at "Tatort" is very heterogeneous – very colorful, very different. There are many different approaches and incredibly good acting colleagues. The stories, narrative styles and the cinematic approach vary greatly. If that hadn't changed permanently in the 50 years, then the "crime scene" would probably be long gone. Sunday after Sunday we experience that people try something new and not rest on their success.
Do you sometimes see what the other teams are up to?
Krassnitzer: Definitely. I also like to watch a repetition. This way you learn a lot more than just looking at your own things. I also find the other teams more and more exciting. For me this is creative food. If you can be happy with someone else, send them a text message and say that you thought the "crime scene" was great, that's also the nicer exchange. Which interests me more than floating around in my own fields.
Do you have a favorite team or commissioner that you particularly like?
Krassnitzer: I can get something from almost everyone. Everyone has something unique about them. But I'm also happy that our colleagues sometimes feel like us and they don't always make a precision landing. But of course I am happy when they make extraordinary films. That I really catch my breath in front of the TV and think: "What a great story." The Munich team has been delivering something again and again lately where I thought: "Holy shit, that's good." I am pleased and at the same time an incentive.
Did you also vote on the desired "crime scene" during the summer break?
Krassnitzer: No, I didn't get around to it. But I always found out which one won. I looked at a few, for example the "Tatorte" from Dresden.