“We Are the Night” And He Is Dennis Gansel

“We Are the Night” And He Is Dennis Gansel (photo)

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There have been a lot of vampire movies on the market lately, but few like “We Are the Night.” It’s about a petty criminal named Lena (Karoline Herfurth) who is spotted by a beautiful, ageless vampire (a ferociously menacing Nina Hoss) and inducted against her will into an all-girl crew of badass vamps. There’s a little bit of lesbian intrigue, some smart world-building around the idea of an all-female vampire society, and an appealing blend of genres: horror, action, and even a little social commentary. The material might seem like a departure for German filmmaker Dennis Gansel, whose two previous works as a director, “Before the Fall” and “The Wave,” were both Nazi-centric stories focused around high schools. But as we discussed during our conversation, there are some very clear and very interesting thematic connections in all of Gansel’s recent work.

People of my generation who went to public school in the 1980s will probably recognize “The Wave,” based on an experiment on the nature of fascism and dictatorships in a California high school, from the classic TV movie starring Bruce Davison it inspired. Gansel’s version ups the production values and style and, simply by setting the story in Germany, significantly ups the ante as well.

With IFC Films bringing both “We Are the Night” and “The Wave” to VOD (“We Are the Night” is available now; “The Wave” premieres next Wednesday, June 8) I had the chance to chat with Gansel about the origins of both project as well as some of the peculiar specifics of making a vampire movie (you’ll never believe how many different kinds of fake blood they have to use).

Where did the idea of a movie about a family of female vampires come from?

When I started this story, back in 1997, I read a lot about vampires and I discovered the novel that was actually the first vampire novel ever written: “Carmilla” by Joseph Sheridan Le Fanu. The novel dealt with a female vampire duchess traveling through Austria, in the region of Styria. She falls in love with the daughter of a landlord and she bites her and makes her her companion. This novel was actually the biggest influence on Bram Stoker’s “Dracula,” so much so that he actually wanted Styria to be his setting too, but his editor said he couldn’t do it. They were frantically searching for another location and that’s when they came up with Transylvania. I thought if female lesbian vampires who don’t bite men is in the very beginnings of vampires’ history, it could be very nice for us. And that’s where the idea came from.

Watching these incredibly wealthy women living these luxurious, decadent lives, and then occasionally drinking blood, it reminded me an awful lot of “Sex in the City” with vampires. I know your original idea predates the show, but was that an influence at all?

I wasn’t a big fan of “Sex and the City,” but I know the show because, oddly, it was a huge hit in Germany. But I don’t think it was an influence on the film. The idea was more from watching women in Berlin in the last five six years and the way they behave, shop, club, and the way they have relationships with men. It’s a very vibrant, almost emancipated way they live their lives. Watching them, and going to some of the wilder clubs in Berlin, the things we saw were so absurd that we thought they would make a good part of our vampire film.

Has the vampire genre been undergoing a renaissance in Germany in recent years, the way it has been in the United States? Are there are lot of modern German vampire films?

“We Are the Night” is a rare film in Germany. It’s more like an experiment. It was really really hard to convince the financiers to believe in the genre again. When the film opened in Germany it didn’t make much money, essentially because everyone in Germany thought it was sort of a German “Twilight.” We had a lot of problems in the communication with the audience. It’s now a huge hit on DVD but in cinemas it was quite disappointing.

When you’re making a movie in such a well-established genre like the vampire film, how do you know what elements to keep and what elements to reinvent?

It really depends on the story. We were making these decisions while we were writing. Actually the one thing we talked about a lot was the fact that they are all female vampires, which raises the question “But what about the male vampires?” And we thought “Okay, if we were female vampires, we would instantly kill every male vampire because they would obviously be much stronger than we are.” We though that the survival rate for female vampires would be much higher because they were less likely to reveal themselves and they wouldn’t kill as many people. And ironically that is what our female vampires do after Lena joins the group; the body count rises because they want to impress her. Ultimately these male aspects may lead to the extinction of our vampires. We thought that was an interesting side effect.

There were two shots in the film that really caught my eye, both close-ups of women’s arms. In one we watch as goosebumps suddenly appear, and in another the hairs on the arm suddenly stand on end. The shots are so simple, but they are so cool. Are those real arms and real goosebumps or is that some computer magic?

It was actually our main actress, Karoline Herfurth, and her arm, but we enhanced it. So we did use visual effects to get the right motion of the hair. We tried everything: ice, even cold air! But it didn’t work out so we had to enhance it a little bit. There’s much more CGI than you would think in the film. We have over 250 CGI shots, which is a lot.

I’m always interested in the practicalities of fantastical movies like yours. For example: what’s the best way to shoot fake blood? Does it need to be lit at a certain way? Do you have to keep it at a certain temperature?

There are actually different sorts of blood for each scene. So for night scenes you need blood that is much more light. For daylight scenes you can use much darker blood. I think we used five different types of blood. And it was actually made so you could drink up to half a liter and nothing would happen. But if you drank more than that — and in one scene they drank a lot — you get, um, problems. You’d get a stomachache and have to run to the bathroom. [laughs] It was very funny.

[laughs] So even vampires have to know their limits. Switching gears here, I wanted to ask a few questions about “The Wave” as well. As a kid, I remember seeing the TV movie that was based on that experiment several times. Did you grow up with the story as well?

I didn’t see the movie but there is a novel based on the movie that, because of our history in German, is required reading for kids in school. I did a movie a few years earlier called “Before the Fall” and it was dealing with Nazi schools where my own grandfather was a student and later a teacher. I made that movie because I wanted to understand why those ideas were so seductive, and to make it possible for the audience to emotionally understand how these schools and the system worked. That film led to more questions: “What about my generation? Is fascism or dictatorship still possible?” In Germany, with our history, everyone always says “No, no, no. We learned our lesson. We learn so much about it in high school and university and daily life.”

So it was quite interesting for us to raise this question. I asked it to [Ron Jones] the original teacher of the Third Wave experiment. And he said, “Dennis, it’s not about the nation or politics. It’s about psychology. And in my opinion, the psychology behind The Wave is so strong it can even work in Germany.”

I got to see the two films back-to-back. And seeing them that way, you realize that even though they have such different subjects — female vampires versus a high school class — they’re basically talking about the same ideas: how badly individuals want to feel like part of a group and how power seduces and corrupts. Are the two films connected in your mind in that way?

Absolutely. And I would say it’s the same with “Before the Fall” too. That and “The Wave” and “We are the Night” are dealing with the same subject: what would I sacrifice to be part of a group and where are my moral standards? At what point would I say enough is enough? That’s something I have found fascinating since I first started making movies.

I’ve read other interviews you’ve given where you talk about wanting to make movies in Hollywood. How’s the transition going so far?

After “Before the Fall,” I got an agent and I flew out to Los Angeles for the first time. And I was surprised because in Germany it’s all about the money. In Germany, they say “Oh you can’t do that as a movie, people won’t like it.” We do comedies all the time and it’s really tough to get on with new ideas. In Hollywood — or the United States — it’s just about ideas. When you go to Los Angeles or New York, all the meetings are just about the story. It’s all about your ideas; what’s fresh, what’s unique. And I did find this very refreshing. That’s the first part; then afterwards it’s about money and actors and it gets really tough. [laughs]

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Hard Out

Comedy From The Closet

Janice and Jeffrey Available Now On IFC's Comedy Crib

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She’s been referred to as “the love child of Amy Sedaris and Tracy Ullman,” and he’s a self-described “Italian who knows how to cook a great spaghetti alla carbonara.” They’re Mollie Merkel and Matteo Lane, prolific indie comedians who blended their robust creative juices to bring us the new Comedy Crib series Janice and Jeffrey. Mollie and Matteo took time to answer our probing questions about their series and themselves. Here’s a taste.


IFC: How would you describe Janice and Jeffrey to a fancy network executive you met in an elevator?

Mollie & Matteo: Janice and Jeffrey is about a married couple experiencing intimacy issues but who don’t have a clue it’s because they are gay. Their oblivion makes them even more endearing.  Their total lack of awareness provides for a buffet of comedy.

IFC: What’s your origin story? How did you two people meet and how long have you been working together?

Mollie: We met at a dive bar in Wrigley Field Chicago. It was a show called Entertaining Julie… It was a cool variety scene with lots of talented people. I was doing Janice one night and Matteo was doing an impression of Liza Minnelli. We sort of just fell in love with each other’s… ACT! Matteo made the first move and told me how much he loved Janice and I drove home feeling like I just met someone really special.

IFC: How would Janice describe Jeffrey?

Mollie: “He can paint, cook homemade Bolognese, and sing Opera. Not to mention he has a great body. He makes me feel empowered and free. He doesn’t suffocate me with attention so our love has room to breath.”

IFC: How would Jeffrey describe Janice?

Matteo: “Like a Ford. Built to last.”

IFC: Why do you think the world is ready for this series?

Mollie & Matteo: Our current political world is mirroring and reflecting this belief that homosexuality is wrong. So what better time for satire. Everyone is so pro gay and equal rights, which is of course what we want, too. But no one is looking at middle America and people actually in the closet. No one is saying, hey this is really painful and tragic, and sitting with that. Having compassion but providing the desperate relief of laughter…This seemed like the healthiest, best way to “fight” the gay rights “fight”.

IFC: Hummus is hilarious. Why is it so funny?

Mollie: It just seems like something people take really seriously, which is funny to me. I started to see it in a lot of lesbians’ refrigerators at a time. It’s like observing a lesbian in a comfortable shoe. It’s a language we speak. Pass the Hummus. Turn on the Indigo Girls would ya?

See the whole season of Janice and Jeffrey right now on IFC’s Comedy Crib.

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Die Hard Dads

Inspiration For Die Hard Dads

Die Hard is on IFC all Father's Day Long

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Photo Credit: Everett Collection, GIPHY

Yippee ki-yay, everybody! It’s time to celebrate the those most literal of mother-effers: dads!

And just in case the title of this post left anything to the imagination, IFC is giving dads balls-to-the-wall ’80s treatment with a glorious marathon of action trailblazer Die Hard.

There are so many things we could say about Die Hard. We could talk about how it was comedian Bruce Willis’s first foray into action flicks, or Alan Rickman’s big screen debut. But dads don’t give a sh!t about that stuff.

No, dads just want to fantasize that they could be deathproof quip factory John McClane in their own mundane lives. So while you celebrate the fathers in your life, consider how John McClane would respond to these traditional “dad” moments…

Wedding Toasts

Dads always struggle to find the right words of welcome to extend to new family. John McClane, on the other hand, is the master of inclusivity.
Die Hard wedding

Using Public Restrooms

While nine out of ten dads would rather die than use a disgusting public bathroom, McClane isn’t bothered one bit. So long as he can fit a bloody foot in the sink, he’s G2G.
Die Hard restroom

Awkward Dancing

Because every dad needs a signature move.
Die Hard dance

Writing Thank You Notes

It can be hard for dads to express gratitude. Not only can McClane articulate his thanks, he makes it feel personal.
Die Hard thank you

Valentine’s Day

How would John McClane say “I heart you” in a way that ain’t cliche? The image speaks for itself.
Die Hard valentines


The only thing most dads hate more than shopping is fielding eleventh-hour phone calls with additional items for the list. But does McClane throw a typical man-tantrum? Nope. He finds the words to express his feelings like a goddam adult.
Die Hard thank you

Last Minute Errands

John McClane knows when a fight isn’t worth fighting.
Die Hard errands

Sneaking Out Of The Office Early

What is this, high school? Make a real exit, dads.
Die Hard office

Think you or your dad could stand to be more like Bruce? Role model fodder abounds in the Die Hard marathon all Father’s Day long on IFC.

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Founding Farters

Know Your Nerd History

Revenge of the Nerds is on IFC.

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Photo Credit: Everett Collection, GIFs via Giphy

That we live in the heyday of nerds is no hot secret. Scientists are celebrities, musicians are robots and late night hosts can recite every word of the Silmarillion. It’s too easy to think that it’s always been this way. But the truth is we owe much to our nerd forebearers who toiled through the jock-filled ’80s so that we might take over the world.


Our humble beginnings are perhaps best captured in iconic ’80s romp Revenge of the Nerds. Like the founding fathers of our Country, the titular nerds rose above their circumstances to culturally pave the way for every Colbert and deGrasse Tyson that we know and love today.

To make sure you’re in the know about our very important cultural roots, here’s a quick download of the vengeful nerds without whom our shameful stereotypes might never have evolved.

Lewis Skolnick

The George Washington of nerds whose unflappable optimism – even in the face of humiliating self-awareness – basically gave birth to the Geek Pride movement.

Gilbert Lowe

OK, this guy is wet blanket, but an important wet blanket. Think Aaron Burr to Lin-Manuel Miranda’s Hamilton. His glass-mostly-empty attitude is a galvanizing force for Lewis. Who knows if Lewis could have kept up his optimism without Lowe’s Debbie-Downer outlook?

Arnold Poindexter

A music nerd who, after a soft start (inside joke, you’ll get it later), came out of his shell and let his passion lead instead of his anxiety. If you played an instrument (specifically, electric violin), and you were a nerd, this was your patron saint.


A sex-loving, blunt-smoking, nose-picking guitar hero. If you don’t think he sounds like a classic nerd, you’re absolutely right. And that’s the whole point. Along with Lamar, he simultaneously expanded the definition of nerd and gave pre-existing nerds a twisted sort of cred by association.

Lamar Latrell

Black, gay, and a crazy good breakdancer. In other words, a total groundbreaker. He proved to the world that nerds don’t have a single mold, but are simply outcasts waiting for their moment.


Exceedingly stupid, this dumbass was monumental because he (in a sequel) leaves the jocks to become a nerd. Totally unheard of back then. Now all jocks are basically nerds.

Well, there they are. Never forget that we stand on their shoulders.

Revenge of the Nerds is on IFC all month long.

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