Heidi is a very crystalline character the novel is not a development novel. Heidi does not undergo a development in Spyri’s book, which is also down to the time it was written. Is there an aspect you have changed in the screenplay? These massive contrasts in the story are something universal, which is why people still like reading the story to this day.Īnd I would like to stress once again that for all these big contrasts there is no black and white, no good versus evil, not even with Johanna Spyri. Then we have a house in Germany that is like a corset into which the girl, who has come from the mountains and was so free, is forced. On the one hand we have this small, tender girl in her little shirt and on the other hand the old, grumpy Almöhi. The contrasts are also incredibly powerful. That was a very important aspect for me when writing the screenplay. I think the story contains a longing we all have: a child that is so pure, a child that can just be itself. I once read that Heidi opens the hearts of people right where goodness is located. What, in your words, is the quintessence of this world-famous story? Heidi is also a very powerful girls’ story. I have read a lot about Johanna Spyri and the more I read, the more this woman fascinated me too – and I felt a connection, as a person and as a woman. Furthermore, I also felt a very personal connection to this material, to the character, when I worked my way into it. I imagined a film that would pick up on this delicate and intimate aspect that the novel contains yet would not neglect this epic greatness when it came to emotions. And I thought: Wow, now that would be a great challenge to make a Heidi film that could do justice to this three-dimensionality, this complexity, this delicacy and precision of the characters and the world. With her it is not this good world versus bad world that has been shown so often in the films. Johanna Spyri writes incredibly vividly, has a hard realism and describes the story three-dimensionally and ambivalently. I found a story and a Heidi character that I had not seen before. Screenwriter Petra Volpe talks about adapting Heidi for the big screen Since 2001 she works as a director and screenwriter. In film school she wrote and directed several prize winning short films. She went to Art School in Zürich and 1997 she went to study Screenplay and Dramaturgy at the Filmuniversity in Potsdam Babelsberg. Petra Biondina Volpe was born to an Italian father and a Swiss mother and grew up in Switzerland.
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