Actor Dr. Bjorn Freiberg on Entertainment Macroeconomics & Microeconomics + the film ‘Sunset’

ATM: What positive characteristics can you place on the main female character?

BF: Wow. Okay, she is a virgin. She lives a virgin life. She does not know really what is going on. She is very curious and positive. This is also a Hungarian thing, which is to be curious. She does not give up. She has a stubborn way. She wants to find her brother. She is interested in her family and finding her roots.

ATM: How do you believe her as a virgin plays a role in her mindset?

BF: She is not suspicious about things. She is very direct. She puts the people that she comes in contact with in an unpleasant situation. She gets her positive courage with her naivety to go on. She is doing things she is not aware of. This brings the things forth with the war. She is bringing on the war without knowing it.

ATM: So, her naivety helps her in a way. But it brings on detrimental effects toward her being in the beginning stages of life.

BF: And being there in this stage of history.

ATM: The terms inflation and deflation are a part of macroeconomics. So, macroeconomics in an entertainment sense can be seen through genres. Assess the inflation of the entertainment genres.

BF: It is all about superhero movies. It is not getting less, but it is getting more. It is not the end. We see a situation of even more superhero movies coming out.

ATM: What is the deflation in the entertainment?

BF: In the last few years there have been some tendencies. You see the Oscars and how they treated the film, Roma as it would be one of their own American films. European or Europe made films are getting more into the viewpoint now. I still do not see them more influential as the American film — their practice in unfolding, in the way of storytelling. European films are more weird films. The world is not ready for this kind of thinking about films. The main storytelling is always a direct American way. European films do not get much attention as American films worldwide. They will never reach the main audience. The respect is there, but they do not have a large audience. It does not have big sales. We do not fill theaters.

ATM: I just had an epiphany. I just coined entertainment macroeconomics and entertainment microeconomics. Here is an entertainment macroeconomic math problem. If this inflation goes 10% within five years, then how much does this deflation look over 5%, which would change how people would view entertainment and Sunset?

This would mean the inflation has overruled the means of there even being a deflation. The deflation would be in the negative. It would be over -5. In this entertainment math problem, even if the deflation reaches over 1% – there will always be surplus inflation which is with superheroes. The surplus is so high that the deflation does not affect anything. The deflation category would be romantic comedies, action movies, crime movies, etc.

BF: I hope people will wake up to other ways of views. This film has a subjective view. It is like Laszlo Nemes says: “I do not want to have this God’s view on the world in my film as a viewer. I do not want to know everything what is going on and why.” In a superhero film, the viewer is in a hard situation because he knows every reason, why everything is happening. This could be boring in the long run. This is not what the director was trying to do, which brings in more diversity.

ATM: Microeconomics is the study of an individual, company level, group, but not at a national level like macroeconomics. So, the viewer is the individual in this case.

BF: Yes, this could be the individual from a microeconomic standpoint. This makes sense.

ATM: In entertainment microeconomics, what viewership incentives do you believe they were given today from the entertainment, your film, and other films in its genre?

BF: There is trust in the viewer. He is interested enough that you do not need to show and explain him everything. It is not like a supermarket where everything is presented to you. This is a boring thing. This would be the incentive to take the viewer seriously. There is an intelligent being. It is like do you want to play an adult or a child when being entertained. Often, we also like to be a dumb child when being entertained. Then it is like a bedtime story situation. But also, the intelligent child can be entertained if it is done intelligently.

ATM: What are incentives the viewer should have gotten that would play a role in their consumption & investment which are primal elements of persuasion in microeconomics?

BF: The film expects the viewer to do his/her homework. In our world, no one could do a film were every background knowledge is expected in advance. We have so many other things to do. Understanding is a very high task. I do not think it is a thing for the masses. In some cases, those films do not want a lot of viewers, but fewer viewers are enough.

ATM: This film takes place during the early teen years of the 20th century. Education only allows for so much to be taught. If this period is not concentrated on, then most people will not take the initiative to watch the film. It is going to come off as foreign to them. This is not about it even being distributed in Germany and America. History picks it as a part of history. Some things that have had a serious detrimental influence on us, we want to forget it. But sometimes it is useful to go back. Not all the time. This film takes you back. You get to see how you have grown as a country.

BF: You are right. The negative effect of caring about the wounds. Also, the development is different from life now. I found impressing that easiness of interaction in life in how people lived very close together. They had poor circumstances, but still, they had their humanness. They behaved in a way that we might have lost today. They respected things like this. Anyway, we should not forget this is just the director’s version of the past. But in my view Sunset is even not about then, it is a film about the situation today clothed in a story set in the past.

ATM: Where did you see Hungary’s core value of curiosity in the film?

BF: In the stubbornness when she is sent away from the place of her family. She goes back and does not give up. She went on even when facing negative results. This is not just stubbornness, but the curiosity of what is going on. Iris means “eye.” She looks at the dark parts and the forest. She is after the dark things and the shadows.

ATM: What are the elements of philosophy seen in Sunset?

BF: The whole thing is not to take anything at face value. Like, do not take the story for real. It is an allegory. It is all like a dream and a lot of symbols used and intermingling with each other. It is a very dark and pessimistic view of the world.

ATM: These elements are related to . . .

BF: Nietzsche.

ATM: Yes. But I was going to say Soren Kierkegaard’s and his thought on Existentialism. But we can also discuss Nietzsche. Also, it refers to the belief of nihilism. Nietzsche was a firm believer in nihilism which is believing there is no real existence, and everything is meaningless. It is also referred to as thinking very pessimistic. This would make sense because these scenes are related to during World War I.

BF: In Nihilism, there is no sense in anything or meaning in anything.

ATM: Everyone does not see good.

BF: Also, Schopenhauer.

ATM: Schopenhauer was like a father to Nietzsche. He looked over him. Nietzsche was inspired by him, and Schopenhauer knew this. So, he took him under his wing. Schopenhauer was inspired by Aristotle.

BF: Yes. And this is also about the order. In this film, the viewer finds peace in accepting the chaos. So, this is also why the film is titled Sunset as the light is diminishing and the world gets darker and darker. It is a warning that we might have to go through another world war before dawn.

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