Mark: “Both Katja and myself had been looking for a suitable shooting location in Berlin for what seemed like ages. And then, out of nowhere, she had an empty flat space. However, we would have to be quick as it would only be empty for a few days. So, after a quick visit in November, we did some test shots and video so as to explore how the space could best be used. I think the first thing that really hit about the place were all these drill holes in the living room wall. Like clear echoes or signatures of the past, it made me wonder what scenes and conversations they may have witnessed.
Now I’ve always believed that when it comes to moving house, you don’t choose a home, the home chooses you. There’s a certain vibe that each building or room gives off which either welcomes you or doesn’t. Heading back on the U-Bahn, I wondered about what happened to a building’s lingering memories. Do they just circle around like disparate spirits ready to either shriek or sing at each new entrant? Or was there some kind of a benign spirit who would appear out of the walls and absorb all the words that have been left behind. And this is where Katja and I developed a loose outline for The Winter Ghost. I thought, thinking back to Carmen Maria Machado’s In The Dream House, about this idea of “wounding the air”, and how you deal with an atmosphere and what a really strong idea it would be for Katja to run with.”
Katja: “I agree. For a long time, I have wanted to do something in an empty apartment and last November whilst being in-between houses, I saw an opening where I could realise this. As Mark mentioned, we’d been looking for a setting for a while, so I decided to seize the moment and initiate this venture.”