....of Wim Wenders latest feature film, PINA

Gian-Piero Ringel studied psychology and business administration at the Free University of Berlin. Whilst at university he worked as a production assistant and production manager on various film productions. From 2002 to 2006, Ringel continued his studies at the German Film and Television Academy (dffb) concentrating on Production. While still a student he founded his own company, RINGEL Film Produktion in 2004. In 2006 he produced the short film THE MEASURE OF THINGS, directed by Sven Bohse, which was nominated for the 33rd Annual Student Academy Award by the Academy of Motion Picture Arts and Sciences. That same year, Ringel together with Angela Schanelec (writer, director, producer) produced his first feature film AFTERNOON. It had its world premiere in 2007 at the Forum of the Berlinale. Together with Wim Wenders Ringel then produced his first international production PALERMO SHOOTING, which was selected for the official competition of the Cannes Film Festival 2008. In 2009 followed Angela Schanelec’s new feature film ORLY, which premiered in the Berlinale Forum, and in the same year was awarded “Best Film” at the Festival of German Films in Ludwigshafen. Today, Gian-Piero Ringel, together with Wim Wenders, is joint managing partner of Neue Road Movies GmbH and producer of the 3D dance movie PINA.

Peter Pabst is used to crossing boundaries. Since 1979 he has been a freelancing set and costume designer in theatre, opera, dance, film and television, and up to now has created stage sets and costumes for more than 100 theatre and film productions, including the Rock Show “Dröhnland Symphony “, the exhibition “Spaces - Dreams “ at the Museum Bochum, the book “PETER for PINA”, and has taught in Beijing and Shanghai. His work has taken him to almost all major European cities, to America, and Asia. He has worked with Luc Bondy, Klaus Maria Brandauer, Udo Lindenberg, John Schaaf, Istvan Szabo, Jürgen Flimm, Robert Carsen, Chen Shi Zheng, Tancred Dorst, Andrei Serban and many others. But his main working partners have been Peter Zadek, with whom he has a long working relationship and personal friendship, and above all, Pina Bausch and her Tanztheater Wuppertal. In 1980 he designed his first set for a piece by Pina Bausch. This was the beginning of an exceptionally close artistic and personal relationship, a symbiotic collaboration that lasted until the death of the great choreographer in 2009. During these years, Peter Pabst designed and realised 25 “play-rooms” for Pina Bausch, including “VOLLMOND (Full Moon)”. Peter Pabst has been awarded the Kainz Medal of the City of Vienna, has been appointed Chevalier des Arts et des Lettres in France, and awarded the title of Professor by the Minister President of NRW.

Born in 1950 in the Dordogne, Dominique Mercy discovered his love for dance as a teenager. He was just fifteen years old when he entered the company of the Grand Théâtre de Bordeaux . After three years, he joined the Ballet Theatre Contemporain in Amiens, where the director was looking for a connection between dance, visual art and music – a similar concept as at the Folkwang Hochschule in Essen, where the young Pina Bausch had been trained. Dominique Mercy and Pina Bausch met in 1971 at the Saratoga Summer Festival in the U.S., where the dancer was teaching. For the 1973/74 season she hired him for her newly established ballet in Wuppertal, which she soon named Tanztheater. Since then, Mercy has been connected to the Wuppertal Tanztheater. He left the ensemble several times in order to undertake his own projects, and among other things, he and the dancer Malou Airaudo founded their own ensemble. Mercy, however, kept coming back to Wuppertal. After the death of Pina Bausch, Dominique Mercy together with Robert Sturm, the Assistant Director of the choreographer, took over the artistic direction of Tanztheater Wuppertal Pina Bausch.

ROBERT STURM – Artistic Consultant
The beginning of his professional work in the theatre initially led Robert Sturm to Hungary. There he worked from 1993, first as assistant director and dramatist at the newly formed Budapest Art Theatre and then at the Thalia Theatre. From 1997 he began to make his own stage productions, at the Szigligeti Theatre in Szolnok and at the Chamber Theatre and at the New Theatre in Budapest. Two years later, the National Theatre Institute in Budapest asked him to assist Pina Bausch and her dancers during their research for their Hungarian-piece “Wiesenland”. This was followed by the offer of Pina Bausch to accompany the rehearsals of the piece in Wuppertal. Starting in 2000, he was hired as her artistic assistant at the Tanztheater Wuppertal. After the sudden death of Pina Bausch, Robert Sturm, together with the dancer Dominique Mercy, took on the role of artistic leadership of the Tanztheater Wuppertal Pina Bausch.

MARION CITO – Costumes
Since 1980, Marion Cito has been designing the costumes for the ensemble of Tanztheater Wuppertal. Originally from Berlin and a dancer herself, she knows what the costumes have to endure during the dances from personal experience. As a principal dancer at the Deutsche Oper, she worked with the choreographer Tatjana Gsovsky. She also appeared in productions by George Balanchine, Antony Tudor and John Cranko. In 1976 Marion Cito joined the Tanztheater Wuppertal. For health reasons she did not want continue to dance, but concentrate on work as an assistant. However, Pina Bausch convinced her to take part as a dancer in pieces such as “Blaubart – beim Anhören einer Tonbandaufnahme von Béla Bartok’s Oper ‚Herzog Blaubarts Burg’“, “Komm – tanz mit mir“, “Renate wandert aus“ and ”Arien“ In cooperation with Pina Bausch’s costume and set designer Rolf Borzik, Marion Cito discovered her passion for costumes. When he died in 1980, Pina Bausch asked her to take on the costume department. Marion Cito took over the new role as designer, and a few months later the first production with her costumes “1980 - A piece by Pina Bausch” premiered.

ROLF BORZIK – Set and Costume Design until 1980
Rolf Borzik was born in 1944 in Posen and died in 1980 in Essen. He studied graphic art and design at the Folkwang Hochschule, where he met dancer and choreographer Pina Bausch. From 1973 until his untimely death, he designed the sets and costumes for the Tanztheater Wuppertal and thus decisively shaped its face. Borzik designed extraordinary sets and clothes: as poetic as contemporary and deeply rooted in life itself. He kept playing with natural elements (water, earth, etc.), his costumes seem from everyday life and are at once elegant and opulent. Through his work, he opened an entirely new perspective on dance space and clothing, a style icon far beyond his death. The sets and costumes for the recorded pieces in PINA “Le Sacre du Printemps”, “Café Müller” and “Kontakthof” are designs by Rolf Borzik.

From 1966 to 1990 Alain Derobe worked as a cameraman and was involved in more than 20 features and numerous commercials. From 1992 on, he specialised in three-dimensional photography and large format cinema. He developed various systems that are required for stereoscopic recordings (such as the 3D Rig by P&S Technik). Alain Derobe is the founder of the AFC (Association of French Cameramen) and President of UP3D, the Association of French Stereographers. As a stereographer he was involved in many French 3D films, including SAFARI 3D, CAMARGUE, CHARTREUX, IRRUPTION, HÉROS DE NIMES, RÉVEIL DES GÉANTS, as well as films for theme parks, museums and events. Today, Alain Derobe, is one of the European pioneers of the 3D cinema, primarily active as a stereographer. Additionally, he also advises various companies in the 3D field, such as Transvideo (monitors) or Iridas (software).

Since 1989 Hélène Louvart has worked as a cinematographer, both in features and documentaries. Since 1989, she was behind the camera on more than 17 documentaries and 40 feature films. Her first international success came at the side of director Sandrine Veysset in 1996 with the film WILL IT SNOW FOR CHRISTMAS? The film received, among others, the FIPRESCI Prize at the Viennale 1996 and the Special Jury Prize at the Paris Film Festival. Hélène Louvart and Sandrine Veysset continued their successful collaboration during in the following years, including in 2000 with MARTHA ... MARTHA. For director Jacques Doillon Louvart shot the feature film RAJA, which was nominated for the Golden Lion at the Venice Film Festival in 2004. In 2008 Hélène Louvart collaborated on the memoirs of the director Agnes Varda. This movie, called THE BEACHES OF AGNES, received both the César and the Etoile d’Or 2009 in the category “Best Documentary”.

François Garnier is one of the pioneers of European computer graphics. As one of the first media designers in France, he explored the creative possibilities of this technology. Between 1984 and 1989 he designed and developed numerous award-winning productions. He also worked with renowned video artists of experimental films and installations. In 2000, Garnier was one of the founders of the Amak Studios. This company designs and produces films, digital art installations and interactive programs for museums, theme parks and international events. The Amak Studios set the standard for stereoscopic films and interactive installations in real-time and 3D in Europe. Garnier is also a professor at the Ecole Nationale Superieur des Arts Decoratifs in Paris. François Garnier is involved as 3D Supervisor in Wim Wenders 3D dance movie PINA.

From 2000 to 2005 Erwin M. Schmidt studied production at the German Film and Television Academy (dffb). From 2004 he was involved as line producer in a number of international art-house films. Amongst them YOU, THE LIVING by Roy Andersson (Sweden), DELTA by Kornel Mundruczo (Hungary), Angela Schanelec’s ORLY and WOMEN WITHOUT MEN, the first feature film of the Tehran-born artist Shirin Neshat. With her, Erwin Schmidt also worked on video installations from the series WOMEN WITHOUT MEN. Since 2008, Erwin Schmidt has been working for Neue Road Movies and as 3D Producer for PINA. He also produced Wenders 3D video installation IF BUILDINGS COULD TALK ..., which premiered in August 2010 at the Architecture Biennale in Venice. In addition to his production work, Schmidt coordinates “CineLink Work in Progress” at the Sarajevo Film Festival in Bosnia-Herzegovina.

Toni (Thomas) Froschhammer worked as a musician and music producer for bands like Em Loomes or Frisky Sisco in his own recording studio. From 2001 to 2006 he worked as an editor for the Berlin post-production company “FX Factory” and in 2002 took on first directing projects. In 2007 Froschhammer went independent with the company “Schnittbar”. He worked mostly in advertising for Vodafone, LBS, Renault and T-Mobile, but also edited music videos for bands such as Rammstein, Depeche Mode, Rosenstolz, and Die Fantastischen Vier, as well as short films such as DANGLE, KURZFASSEN and FROM UP TILL DOWN. In 2009 he founded “Froschhammer Film GmbH” and begins editing the 3D dance film PINA by Wim Wenders. Since October 2010 he has worked with Pepe Danquart on the documentary JOSCHKA FISCHER- DER LETZTE ROCK’N’ROLLER DER POLITIK.

For two decades the ECHO Award winner Thom Hanreich has been working as a successful singer, songwriter, composer and producer. He has released three albums with his band “Vivid”, and two solo albums under his stage name “Thom”. They brought him, among other things, a top 5 hit in Japan and an Asian tour. Since then he has worked worldwide as a composer and songwriter. Thom already composed the soundtracks for Wim Wenders’ LAND OF PLENTY and songs for PALERMO SHOOTING, as well as the music for the short film WAR IN PEACE. In 2010 Thom worked on his new solo album, composed music for Wenders contribution to the Biennale film IF BUILDINGS COULD TALK ... about the Rolex Learning Center of the architect Kazujo Sejima, and wrote music for the 3D dance movie PINA. Hanreich lives in Berlin.