In an interview with Hans Scheugl about the ideas and techniques behind some of his films, the film-maker Kurt Kren told the following anecdote, which sheds an interesting light on his work. For his film Tree again (1978), Kren used a highly sensitive infra-red color film, a type which usually has to be developed within a very short period of time. However, Kren who has always ...
Asyl is one of Kren's most formally ambitious works, an experiment in time lapse photography, multiple exposures, and segmented images. When he moved to a home in the country, Kren set up a static camera nearby, and over the course of 21 non-consecutive days, he fed the same strip of film stock through the camera once per day. In front of the lens, Kren also placed a masking bo...
Kren took some scenes from a number of movies by filming directly from the screen without looking through the camera's view-finder. He inserted the missing sexual climax, by taking material left-over from (his documentation of) Mühl's Libi-Aktion. (Hans Scheugl: "Die Filme. Eine kommentierte Filmographie," in: (ed.) Scheugl Ex Underground Kurt Kren. Seine Filme, Vienna 1996)
