J.A. – Jonas Akerlund (Director).
T.L. – Till Lindermann (Vocalism).
R.Z.K. – Richard Z. Kruspe (Solo-guitar).
P.H.L. – Paul Heiko Landers (Rhythm-guitar).
C.S. – Christoph Schneider (Drums).
C.F.L. – Christian Flake Lorenz (Keyboard).
O.R. – Oliver Riedel (Bass-guitar).

(Title on wall: “Attention!!! You will be part of Making Of!”).

T.L.: (In dressing room) Schneider, can you step out for a second? I can't concentrate with your tapping!

P.H.L.: Video shoots are always early! To that extent: yes, it's annoying (laugh)! Normally it's like this: you get up really early at 4am, by 10 after 4 you drive off, then you arrive, and 4 hrs. later at 8 you finally get into make-up, because someone else is already sitting there before you. Then you think, fine, I'll just come later, and then everybody thinks that, and so everyone gets delayed, and you have to wait, wait, wait.

J.A.: (Talking on English without subtitles).

S.S.: (On shooting stage) Quiet! Phonogram!

(Shooting).

R.Z.K.: We were here already, three years ago I think. We filmed “'Mann gegen Mann” in exactly the same hall. So that was a bit of deja-vu.

(Video “Mann Genen Mann” on screen).

R.Z.K.: It's totally relaxed here. The good thing about Jonas is: basically, you don't have much to worry about. No matter what, he's got a handle on it, so you always have the feeling, it's all working. So, you never need to be controlling anything.

O.F.: This time actually felt the same as last time. From his side, it was very professional, he did all the takes quickly. For us there was only one problem, that for 3-4 years we haven't played live or made a video. And all at once you've got to perform for an audience. And so that was what we had to overcome, but actually we got into the flow quickly.

J.A.: (Talking on English without subtitles).

T.L.: Akerlund is just an unbelievably cool guy! Everything he does is just cool! He's plain awesome! I don't know if he lives or has lived what he carries around in his head, but whatever, the way he projects that straight into his videos, well, he's the real deal! And that's very helpful for us.

C.S.: You've probably got two guys there who make the same kind of demands. I think, we can do that, and we can present it well; Till can write a good text on these themes that aren't embarrassing. And Jonas can do it his own way with visuals.

(Shooting).

(Video “Pussy” on screen).

O.R.: Normally you'd have to come out with a hard song for the first track. That would be expected, and I think it's good that it doesn't fit with expectation. And ... ... it's actually a song that's somewhat bad musically. But with the text it makes just the right connection. It elevates this banal music even a little bit.

T.L.: We've had this refrain for a long time, and it went with this song, because it's a sort of Club/Dance thing, sounds a bit like Rave, and it all just went together. And when you have a refrain, you have to find a verse. Maybe it's a bit artificial, but ultimately it makes sense and it turned into a good song!

C.F.L.: We wrote a piece of music, which went with a text that Till created where he worked

in all the German words that are internationally known, like “Mercedes Benz” and “Autobahn”. When I was in Egypt, they said to me, Heil Hitler, - that was the first -, Mercedes Benz, and “'Sauerkraut”. Later, when we became more famous, they said, Heil Hitler, “Mercedes Benz,”

“Rammstein”. We've taken over for “Sauerkraut”. We've come a step forward.

(Video “Pussy” on screen).

P.H.L.: Given Till's skillful word choice, I'm a bit proud of the text, even if it's sort of comical. That was a politician's answer - you didn't even ask (laugh).

R.Z.K.: Earlier it was more of a Goth thing, somehow. Then we got working on it, brought this melody in and this rhythm, and then it just turned into this kind of Techno thing. We just asked Scooter for a remix of the song. We'll see what he makes of it. Mr. Baxxter, welcome (laugh).

(Video “Pussy” on screen).

C.F.L.: The album's called, “Liebe ist fur alle da”. Love is there for all of us. Totally daft title, just 5 words. And we're thinking, who can be excluded from love? Because... love is a human right.

(Video “Pussy” on screen).

C.F.L.: There are some musically striking things on the new album.

(Rammstein singing).

P.H.L.: We had already announced that we wanted to tighten the screws a bit, and it worked for us.

R.Z.K.: This time I always had the feeling during production that we had to preserve these old values. In places we were already almost too far off in the music. I always have the feeling that certain things that are typical Rammstein, certain rhythms, certain song structures, arrangements, have got to be brought back so as not to sound completely different.

P.H.L.: We waved the wand a bit and suddenly it sounded like Rammstein. Then we said: so now that's it. The album is pretty multilayered: from purely acoustic to serious banging there's everything in. We're all very happy with it, and I think the fans will be too!

C.S.: We did it so that everyone chose their 11 favorites, and whichever songs received

the most votes got on the album. Simple as that.

C.F.L.: And then we made deals with each other, like this: heads up, you can have that refrain with this song if you put this song on your list or I pay you this and this and your car gets a new inspection or something, if you ... it was just simple deal-making, like at the fair.

P.H.L.: So we've got basically two strands, one conservative and one progressive/revolutionary. And they argue: no, we're making it all different, no, we're leaving it as it is. Things develop between them. I find it very enjoyable that way.

C.F.L.: What you think is cool, you fight for, and so you pay someone a visit, give him money, naturally.

T.L.: This was the hardest album that we've done. I think for everyone. It was tough, a hard battle over almost 3 years. I think it's among the best albums that we've made!

R.Z.K.: We were in Hanson Studio, very very professional, and the drums are sounding just awesome: I think the best-sounding drums on any recording we've done yet. And Schneider was really good.

C.S.: That has to do with my using different instruments than usual. And being in a very good studio that was really known for its good drum sound. The atmosphere was good, the mood was good, it all went together!

R.Z.K.: After that we drove to San Francisco, or rather Sonoma, which is about an hour outside San Francisco, and there it was totally the opposite: just completely peaceful, and I thought right at the start, this is good, we had space, but then it became a bit too boring. So it was six weeks, where you thought, if only something would happen.

O.R.: It was not a beautiful studio, it was not a beautiful area, it was America. But ultimately it was the only thing we could do in the situation and the music didn't suffer from it.

R.Z.K.: That was totally important, for our producer Jacob Hellner. He needs this quiet because he's got the main responsibility and the most work, and for him it was totally important that he could really concentrate and just do his thing.

C.F.L.: There aren't many producers in the world, and few would want to work with us like this. Because we are six guys who rattle on in a muddle for hours.

R.Z.K.: Talking takes up the most time with Rammstein, we like discussing among the six of us. I'd say that 70% of the time we're together, we spend gabbing.

C.F.L.: So as a producer, I wouldn't want to work with us. And he does it as though it's all normal, just looks away when we're saying something. We also have to communicate in English. If I say something like, Do I have a Kabel, or something, he looks away, takes a breath and hopes my talking stops. The first sentence that he said to me was, Flake, don't do anything. I understood that.

P.H.L: We had about 40 songs. Most of these 40 songs were created improvising together. They just happened like that. We sat down in a room, started a beat…bloom, bloom, bdyzh, bdyzh.

C.F.L.: And then we behave extra crappy, I'd say. We do a little Dieter Bohlen, so “yeah yeah” or say, “once more on guitar, Paul Landers.” And he does it so revoltingly (showing game on guitar); we all do that, what we find revolting. It's like opening yourself up, you warm up and so on.

P.H.L: And after that: if it's good, we record. Now we set another refrain to it, zack zack zack, maybe 10 minutes, maybe a half hour, maybe a day, whatever the situation needs. We just sewed them together, unrefined, threw them in a bag and in the bag were about 30 or 40 ideas.

C.F.L.: (Again showing game on guitar).

O.R.: It wasn't so hard to find the sound, but rather the joy in the sound, which we'd already found long ago, then to discover it again and not to put too high demands on oneself and even to be a little bored which maybe is actually very good. To find the love again, that was actually the hard part.

C.F.L.: So when we set ourselves in the rehearsal room and make something, I get these invisible threads from the other musicians, without having to look at each other, without having to do anything, all at once you get a feeling. I don't want to exaggerate, but like with sex: you come to orgasm with others. Not alone, but together.

(Video “Pussy” on screen).

C.S.: Now comes the surprising part.

(Video “Pussy” on screen).

C.S.: Now we move into the acting part and that's always tricky, because a musician doesn't do that much, and sometimes you're a bit exhilarated, and then it becomes pretty special. We still don't know what roles we have to play, but it's titillating (laugh)! But with a shot, it'll all be fine (laugh).

O.R.: Very exciting of course, because everyone's a bit excited, it's not every day you film in a brothel.

T.L.: This is a bordello?!

O.R.: It's also quite strenuous, because it's a bit cramped, a bit gloomy, but I think the mood is still very good. The only exciting part is when we're actually the body-doubles, when the actors get down, and then have to disappear quickly from the set, then we take the same positions and put feelings on our faces, so to speak.

T.L.: (Laugh) Everybody just does what they're good at: one guy screws well and the other pretends he can (laugh).

C.F.L.: I think there's a kind of establishment here, and I do what the director says. And don't get myself emotional, just want to be done quickly so I can go to bed. So I do exactly what I'm told, quick and clean.

J.A.: (Talking on English without subtitles).

C.F.L.: I wouldn't know now what I wouldn't do for the band! But, I think, everybody in the band thinks that way.

J.A.: (Talking on English without subtitles).

O.R.: The idea came from him, and we approved it immediately, because we always wanted to film in a brothel. And it goes perfectly with the song!

R.Z.K.: I wasn't sure if this was his kind of humor. But when someone can shoot a video for this song, he's got it! Because he has a sort of darkness and seriousness that's never just ha-ha funny. And so we sent him the song, and then I got some email from him, and there he's like: let's start a revolution.

(Video “Pussy” on screen).

J.A.: (Talking on English without subtitles).

C.S.: Well, we love Jonas' controversial way, his way of taking controversial themes and his courage to shoot such extreme stuff.

(Video “Pussy” on screen).

P.H.L: He said, let's shoot a porno, and we said, yes, let's do it! It was a totally easy decision.

J.A.: (Talking on English without subtitles).

R.Z.K.: I was a bit nervous when I saw my double yesterday (showing). Size does matter (laugh).

(Video “Pussy” on screen).

R.Z.K.: Olli - I saw him a bit - he's got some sort of S&M scene on a cross and then he gets a blow job. And I saw some of Paul's scene, it's got something to do with riding, cowboy or something. And Schneider, I don't know what he's doing. Flake, I think, is a transvestite. Somehow or other he gets pleasured. Till was first up, so I couldn't see any of that yet. I saw a vacuum cleaner being taking in; I'm not sure what's happening with the vacuum cleaner (laugh).

(Video “Pussy” on screen).

J.A.: (Talking on English without subtitles).

(Video “Pussy” on screen).