Jörg Grünler Director
  Jörg Grünler has been working as a director and writer since 1974. He is responsible for countless TV plays, television serials and series, including “Bestseller – Mord auf italienisch” (Bestseller – Murder in Italian – director, 2002), “Von der Rolle” (Dazed and Confused – 2-parter, book and director, 2001), “Entscheidung im Eis” (Decision in the Ice – co-writer and director, 2001), “Der Bulle von Tölz” (The Cop from Tölz – 2 episodes, book and director, 1999/2000), “Antonia” (2-parter, director, 2000), “Mörderischer Doppelgänger” (Murderous Doppelganger – director, 2000), “Die Spesenritter” (The Expense Account Knights – director, 1999), “Kinderraub in Rio – Eine Mutter schlägt zurück” (Child Theft – A Mother Hits Back – director, 1999), “Der Mann neben dir” (The Man Next to You – book and director, 1998), “36 Stunden Angst” (36 Hours of Fear – director, 1998), “Die Neue” (The New Woman – pilot and 6 episodes, book and director, 1997), “Die Friedensmission” (The Peace Mission – director, 1996), “Tatort – Lockvögel” (Crime Scene – The Bait – book and director, 1995), “Zwei Männer” (Two Men – 10-parter, director, 1994), “Die Kommissarin” (The Lady Chief of Police – 6 episodes, director, 1993), “Eurocops” (director, 1990/1991), “Ein Fall für Zwei” (A Case for Two – 8 episodes, director, 1992 – 1988), “Münchner Freiheit – Pennergeschichten” (Street People Stories – several-part series, director, 1985).
In 1993, his movie, “Krücke” (Crutches), received three Federal Film Awards: Best Actor (Heinz Hoenig), Best Camera (Gernot Roll) and Best Décor and Costumes. Furthermore, the movie received the Max Ophüls Audience Award and the Audience Award at the Würzburg Film Festival in the same year and the Hesse Film Award a year later.
The movie “Lemgo”, also directed by Grünler, was premiered at the Munich Film Festival in 1994.
Jörg Grünler lives in Munich and Berlin.
   
  Interview
  Mr. Grünler, you were able to very convincingly portray the lives of children and adults in the multiple award-winning movie “Krücke” ten years ago. Now, in “Der zehnte Sommer” you are once again focusing on the varying views of children and adults. What was the spontaneous charm of this story for you?
  Part of the charm of this story is the fact that there is barely a television set, no video games and no computers. In 1960, children in this small town predominantly played outdoors, occupying themselves with things they had made themselves. Or they use their imaginations to create their own games. Our children want to set up a zoo and start with a fly, a grasshopper and a worm, until they are given a small monkey. “Der zehnte Sommer” is not a flashback to the 1960s, which were nicer or even better, it is the story of another time.
       
  Hence, this movie distinguishes itself from those generally offered to the children of today...    
  It is very intentionally anything but a mainstream film! The narrative tells an almost fairytale-like story of opposition to today’s trends, which touches on many different topics: love, friendship, eroticism, the first awakenings of sexuality, desire, the battle to make ends meet, provincial morals and ethics, secrets harbored by both the children and adults alike. I found these contents, the individual characters and the way the summer in this small town is explained so thrilling that I immediately agreed to make this movie. And maybe this was a follow-on to my movie “Krücke”.    
       
  What is particularly charming is the fact that the story is told almost exclusively from Kalli’s perspective.    
  Definitely. This view contributes enormously to the atmosphere, which instills life into the movie. It is a very poetic and, in a certain way, also an old-fashioned movie, which – with the exception of a few turbulent moments – portrays the feelings of the 9-year-old Kalli in a predominantly calm, sometimes consciously fragmented manner, in whose perception reality and fantasy blend again and again.
Kalli’s view of things is underlined, on the one hand, by sensitive camera work and lighting and, on the other, by an external narrator, Kalli’s alter ego, which – with a dash of irony, humor and tongue-in-cheek – reveals a level that acting could not reach.
The fact that some things are implied and not literally portrayed is absolutely essential: we tried to avoid the movie appearing fussy or becoming melodramatic. This would also not have been the intention of the writer.		    
       
  How was filming with the children?    
  It was a lot of fun, albeit sometimes very strenuous – and not only for the kids themselves. Working with Martin was really great as he is remarkably intelligent and professional even when performing in difficult scenes, delivering complicated monologs and even having to repeat them several times over. With the exception of very few scenes, which are important in providing a little background, Martin is ultimately in every scene.
Michelle was very patient – this is, after all, her very first movie, and the two boys, Pino, who plays the provincial Polli, and David, who is the cool calculating type within the group, have had some experience in television. Only filming with the kids and the monkey proved complicated. This was nerve wracking. 		   
       
  This movie is aimed at young and old people. What do you estimate the acceptance among the older viewers will be?    
  They will possibly develop nostalgic feelings, they will primarily grin and be amused, apart from in the sadder moments in the movie. But maybe the movie will also make people think about their own relationship and position, about desires and wishes. I very much hope that this film results in a certain contemplation. “Der zehnte Sommer”, which viewers will certainly be able to watch even in ten or twenty years, will undoubtedly have an impact on viewers.
I would not be offended if this movie were viewed as a small monolith, which the audience could examine from various sides, between other movies. In my opinion, this is a clear indication that we can also tell stories in this way.