Günther Haller's Tribute to Rolf Mandolesi
The master with his Bolex - DS8 it was his format!
"Creating an original ending to a film is the most difficult thing", you used to tell me! "The ending must always be memorable", that was very important to you.
But you don't start a film with an ending! Mostly it's a little idea in your head or a little twist of fate.
Way back in 1983 I met you in Merano at the "Staffa d'oro". I had a small Super 8 camera without sound and wanted to know how to put sound on film. You invited me to the Passero club evening. I came and was really embarrassed. You told me umpteen times how to edit my first motocross film. Frame jumps, axis jumps, colour jumps, time jumps, intercuts – everything was wrong. Yes, the motocross film didn't work.
But then came the material from Falschauergeist (the man from the garbage dump), which excited you. Your first sentence was: "May I cut this material and set it to music for you?”
I was flabbergasted and gladly accepted your offer. For hours we sat in your kitchen at the Moviola and tinkered with every single scene. It was material without a script and I couldn't imagine that anything could come of it. The finished edited film lasted 23 minutes. But then came the dubbing.
I couldn't believe what you were doing. You worked like the chap in the dump in front of your sound recorder. You played the violin and counted steps. You built a fire and cooked soup for the sound. I never imagined that you could dub every single scene like that.
But you don't start a film with an ending! Mostly it's a little idea in your head or a little twist of fate.
Way back in 1983 I met you in Merano at the "Staffa d'oro". I had a small Super 8 camera without sound and wanted to know how to put sound on film. You invited me to the Passero club evening. I came and was really embarrassed. You told me umpteen times how to edit my first motocross film. Frame jumps, axis jumps, colour jumps, time jumps, intercuts – everything was wrong. Yes, the motocross film didn't work.
But then came the material from Falschauergeist (the man from the garbage dump), which excited you. Your first sentence was: "May I cut this material and set it to music for you?”
I was flabbergasted and gladly accepted your offer. For hours we sat in your kitchen at the Moviola and tinkered with every single scene. It was material without a script and I couldn't imagine that anything could come of it. The finished edited film lasted 23 minutes. But then came the dubbing.
I couldn't believe what you were doing. You worked like the chap in the dump in front of your sound recorder. You played the violin and counted steps. You built a fire and cooked soup for the sound. I never imagined that you could dub every single scene like that.
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When the film was finished, I no longer believed that I had shot these pictures. The editing and the dubbing created a masterpiece from the master. And that was not the end of the story!
You sent the film to many festivals, including "San Giovanni Valdarno Cinema Fedic". And naturally, the film won the first prize, the "Airone d'oro" (Golden Heron). I remember it well: "You have to go up now," you said, "to accept the prize, it's your film." My mind went blank and I didn't sleep all night because I was so happy. From then on I was always your pupil in the Fedic. (FEDIC - Italian Cineclub Federation).
From then on, we made countless films together: "Fighting", "Hybrid", "Bhikku" and many others. We attended numerous festivals together. You always took me with you in your Alfetta and – if sometimes money was tight – paid for my food or room. We went to San Giovanni Valdarno and Montecatini Festivals together countless times.
And because I loved cinema, I opened my film studio in 1990 and became a professional, i.e. from then on I financed my life with films. That's what happens with the scripts that life writes.
In the beginning, every film went through your hands and you always stood by me with advice and support. Frequently I despaired of all the material and often I wished I had your editing skills.
At some point the time comes when you have to walk alone. 40 years of friendship have united us. Yesterday there was a huge article about you in "Alto Adige" and I wanted to show it to you, but you were no longer there!
How do I write the end of the script now? Most of the time it writes itself!
You will always remain in my memory as a friend and a fantastic filmmaker.
God bless you Rolf
You sent the film to many festivals, including "San Giovanni Valdarno Cinema Fedic". And naturally, the film won the first prize, the "Airone d'oro" (Golden Heron). I remember it well: "You have to go up now," you said, "to accept the prize, it's your film." My mind went blank and I didn't sleep all night because I was so happy. From then on I was always your pupil in the Fedic. (FEDIC - Italian Cineclub Federation).
From then on, we made countless films together: "Fighting", "Hybrid", "Bhikku" and many others. We attended numerous festivals together. You always took me with you in your Alfetta and – if sometimes money was tight – paid for my food or room. We went to San Giovanni Valdarno and Montecatini Festivals together countless times.
And because I loved cinema, I opened my film studio in 1990 and became a professional, i.e. from then on I financed my life with films. That's what happens with the scripts that life writes.
In the beginning, every film went through your hands and you always stood by me with advice and support. Frequently I despaired of all the material and often I wished I had your editing skills.
At some point the time comes when you have to walk alone. 40 years of friendship have united us. Yesterday there was a huge article about you in "Alto Adige" and I wanted to show it to you, but you were no longer there!
How do I write the end of the script now? Most of the time it writes itself!
You will always remain in my memory as a friend and a fantastic filmmaker.
God bless you Rolf
The portrait and tribute first appeared in German on 'Facebook' and is reproduced by permission of the author.
