Producer & EP2C 2011 participant in Warsaw, Poland
You were one of the very first participants of what later became APostLab. Can you tell us about that experience?
Yes, I joined the second edition back in 2011, when it was still called EP2C. At that time, I had just come out of a six-country co-production, The Congress by Ari Folman, which was a hybrid between live action and animation. We had split post-production between all six countries, so I felt I needed to understand post better from the producer’s side. I didn’t realize at the time how early I was in the program’s history, it just felt like the right opportunity.
Did the workshop have an influence on how you work today?
Definitely. It was one of the most influential workshops I’ve ever done. Before, I had worked as a post supervisor, but really more as a coordinator. I had no real understanding of post from the producer’s perspective. The workshop completely changed how I approach projects: how I budget, how I plan, and how I execute. Since then, post-production has been part of my thinking from the very beginning.
Can you share a moment or feeling that stayed with you from the 2011 workshop in Warsaw?
I remember arriving in Warsaw in winter, it was gray and cold. But the atmosphere inside the workshop was the opposite: positive, energetic, and inspiring. You form connections in these environments that last.
It was also eye-opening to learn how logical it is to bring in a post supervisor early in the process. Once you see it, it’s obvious, but at the time it was a revelation.
And of course, Niko’s brilliance combined with his humanity stood out. Post-production can feel dry or scary, but he made it fun and approachable.
Are you still in touch with participants from your workshop?
Yes, I’m still in touch with a few people. Some I had already worked with before, but the workshop deepened those connections.
Do you have advice for building a good relationship between a producer and a post supervisor?
See your post supervisor as equally important as your line producer. They should be on the same level of importance for a project.
What are you working on these days?
In 2013, I co-founded Match Factory Productions with Michael Weber. In 2022, we were acquired by MUBI, so now we’re part of the MUBI universe—it’s been a really fun and interesting journey.
Recently, we shot Rosebush Pruning by Karim Aïnouz, which is now in the final stages of post-production. And this year, we also made The Guests with Stefan Butzmühlen and Cristina Diz, which is currently in editing. Paternal Leave by Alissa Jung will come to cinemas this fall in Germany.
Do you have advice for someone starting out who wants to become a producer?
Form realistic expectations. Producing is not just a job, it’s a lifestyle. You have to really love cinema.
Is there anything you’d like to add about APostLab?
Yes. Even though I haven’t been closely attached in recent years, I’ve always felt part of the APostLab community. Every email or update makes me feel connected, even after all these years since my workshop. That sense of belonging is really special.
Interview conducted by Monse Higareda Patrón (September, 2025).