Interview with the cinematographers and editors of Zunge and Und die Engel singen

FLAMMENMEER | Rammstein

We conducted an exclusive interview with the individuals responsible for creating the music videos "Zunge" and "Und die Engel singen" — Yaroslav and Antonina Rozhdenevsky. They served as editors, directors, and cinematographers during the shoots and shared many fascinating insights about their work and friendship with Till Lindemann, which began four years ago.

Moscow. July 28, 2025. Two administrators from FLAMMENMEER are visiting their friends for an unique interview that has been in the works for over six months but was only recently recorded due to a tight schedule.

23 questions that are sure to surprise, amuse, and perhaps even unsettle you. Did Till drink beer in a Soviet block of flats? Was another video shot for "Meine Welt"? And what does the song "Schtiel" here?

Any reproduction of this material is permitted only with proper attribution. Copyright FLAMMENMEER.

Next: Y - Yaroslav, A - Antonina

How did you get involved in the filming of Till's music video?

Y: We have a mutual friend, Dmitriy Gorevoy. I was working on his directorial debut, and his sister, Anna Tsukanova-Kott, was also there. One day she called me and said she met Till and that we would be shooting a music video for him. Then Anna disappeared for a while, and just two days before the agreed date, she informed us that the shoot would indeed take place. We met Till and only filmed the mouth stitching at that time.

A: Anna Kott met Till through Aglaya Tarasova. Anna showed him her video project that she had created on Instagram. The conversation went something like this: - "Do you want me to shoot you too?" - "Ja-ja, let's do it on March 9." This happened in 2021.

Y: Anna initially thought it was all just a joke, but Till called her the day before the shoot, wished her a happy International Women's Day, and asked: "Are we filming tomorrow? Is everything still on?" This came as a surprise to her.

Y: Ha-ha, it was after the shoot when he came over to this room!

A: Yes, I was supposed to fly to Krasnodar that day when Anna called me and said, "Till wants to come over for the editing." And we were like, "To our place? In a Soviet block of flats in Moscow? OF COURSE!" So they arrived with three people: him, his manager Anar Reiband, and Danny Uhlmann (ex-bodyguard and photographer for Lindemann). We were shocked!

Y: Yes, they stayed with us for four hours. It was very strange—having Till Lindemann sitting on your couch in a very old Soviet building drinking beer.

What is Till like in work and in life, outside of his public persona?

Y: He is incredibly gallant; I have never met anyone more gallant in my life. His attitude towards everyone, especially women, is extremely delicate. He is attentive, sensitive, polite, and incredibly modest. In fact, he is very shy.

A: He is sweet, kind, and very tidy. He always cleans up after himself.

Y: And not just after himself; he cleans up after everyone. If someone leaves any trash, he will always come and pick it up, putting everything back in its place. If someone forgets something, he will definitely call and ask where to drop it off and will personally return it.

A: Regarding the music videos, he often takes the initiative himself, showing and explaining what he wants to see. He easily agrees to any other ideas. They might not appeal to him, but he will agree because he trusts the team he works with. He knows that they have a better perspective from the side.

Y: He doesn’t like watching the takes shot on set. He constantly closes his eyes, feels shy, and says that he will review everything during editing.

Can you tell about working with tigers in Zunge? Was this your first experience?

Y: Yes, it was my first experience with tigers, and it was quite intense. Take the scene with the cage, for example. We were locked inside with the camera, and the tigers were not restrained in any way—no leashes, nothing. They were just roaming freely. There were four tigers in the same room with us!

A: When you arrive for such shoots, you think that they are all trained and well-behaved. I had the impression that they would act like domestic pets, and I didn’t expect anything too frightening. Before we started filming, we lined up, and Zapashny began the briefing: "Look, if a tiger runs towards you, there’s no point in running away; it’s already too late." And that was it; we started shooting.

Y: Yes, those were the last words before we began. Camera, action, let’s go. Naturally, everyone was terrified. At that moment, I suddenly lost my fear; I didn’t care at all. They placed trainers in front of us with sticks as a protective layer. I got a bit reckless and moved forward past the trainers with my camera on a tripod, wanting to get a closer shot of the tiger. He saw me, and I was focused on the frame, thinking, "This is turning out great!" Suddenly, he lunged in my direction, and the last thing I saw was the trainers closing ranks in front of me. Even at that moment, for some reason, I didn’t feel scared. After we finished filming, I was packing up the equipment and replaying everything that had happened in my mind, and only then did I feel a wave of fear hit me, realizing that my instinct for self-preservation had just shut down.

A: Meanwhile, Till has no such instinct at all. He was hugging, kissing, and feeding the tigers meat. They actually treated him very kindly and calmly. There was no aggression, even though he was in close contact with them. Perhaps it was because Till came a day before the shoot to get acquainted with the animals.

Y: There was also a moment when we were told in advance that we couldn’t use perfume before the shoot. "If you wear perfume, you’re done for."

How was the plot and subsequent editing of Zunge developed? Was it strictly planned, or was there ability for improvisation?

Y: Initially, we planned just a one-minute video for social media featuring mouth stitching, sugar glasses, and other provocative themes. Everything was created on the fly, and the props were found in a similar spontaneous manner. It was all pure improvisation with three cameras and a ton of material. I was filming alongside Antonina and Dmitriy. At the end of the shooting day, Till said he really liked it, felt "inspired," and wanted to develop it into a full-fledged music video.

A: Yes, he mentioned that he enjoyed the shoot and wanted to record a track specifically for this video material. In fact, the song was written for the video. We received a slightly longer version of the track, and I edited it, stretching it to fit the timing. Till was really into it, but everything felt a bit repetitive, and about a week or two after the initial shoot, he suggested we film new material.

Y: Yes, he said, "Let me fly back to Moscow, and we’ll shoot some new scenes and make it look great for release." And that’s exactly what happened at the end of April. We went to the Bolshoi Circus with the Zapashny brothers and so on.

A: And then there was the endoscopy, which was quite unusual for us. Can you imagine? In a regular hospital, early in the morning, Till Lindemann personally inserts a tube into his esophagus. According to the observing doctor, not every specialist can do that to themselves, but he did it several times in a row!

Can you explain why there was such a long delay in the release of the video? Who insisted on postponing the release?

A: We finished shooting the video in April, and by June it was completely ready. Then we started making numerous edits, such as ensuring it was convincingly clear that the mouth was being stitched for real. We extended some shots to make sure the video matched the music and its tempo. Various nuances in the direction were also adjusted. By September 2021, we had already assembled the final version, which ultimately was released.

Y: Later on, the main reason for the delay was the idea of promoting NFT frames from Zunge. There was a plan for an experiment against the backdrop of the information boom surrounding these tokens. They wanted to see if this would interest people. I created about 60 high-resolution screenshots from the video that looked like paintings. The idea was to stylize them, possibly animate them using neural networks, and sell them by February 2022. Then, around the beginning of March, they intended to release the video, but only after the NFT campaign, regardless of the project's outcome. The date was approaching, but then February 24, 2022, happened. There was a pause, and we understood that it wasn't the right time to push Till. After that, the video sat on the shelf for over a year, and finally, when things settled down a bit, it was released. However, it was essential to state in the description that the filming took place in 2021, and that is indeed true.

A: We genuinely thought it might never be released. The situation felt hopeless, and the video had been gathering dust for over two years. Yet, there were no leaks or anything like that, even though it was very difficult to keep it all under wraps.

Earlier, you mentioned that there is an extended version of the Making Of. Can you tell us what was left out of the final cut?

Y: The first complete version was nearly 25 minutes long. The main difference from the final cut was the absence of interviews. It featured us—Antonina, Anna Kott, Edgar Zapashny, and the surgeon who performed the stitching—speaking in Russian, with English subtitles provided below. We decided to drop the interviews right away to avoid stirring up public concern. Without the interviews, the length was reduced to 12 minutes. Till's management found that too long and boring, so the video was cut down first to 8 minutes and then to the final 5 minutes. Tonia edited the Making Of, while I took on the task of making the cuts.

A: I can assume that they found it boring due to the lack of dialogue, as only the shooting footage remained.

Many are curious about the authenticity of the footage. How were you able to capture such still shots during the mouth stitching?

Y: It's because he's a tough guy, or iron man, if you wish! He just sat there like a statue. It's an incredible level of self-control.

A: I think the key factor here was that a surgeon was performing the procedure, and any unnecessary movements could have caused harm. It looked very strange from the side. When you’re watching on the monitors, you feel detached from reality, but when Till Lindemann is having his mouth stitched right in front of you, it’s hard to believe that it’s actually happening.

Y: Of course, it was painful for him; he told us that himself. There’s a shot in the video where a tear rolls down his cheek, and it was real. You can see it both in the video and in the Making Of: the surgeon is pulling the threads, and his hands are visibly shaking from the stress of the situation. It’s all because of who he was stitching up.

How did it come about that you were able to work on a Lindemann video again after four years?

A: At that time, we had created a video to Rammstein's music, which unfortunately will never be released. We showed the video to Till, and he really liked it; he appreciated the script, the concept, and the filming. After that, I think he wanted to collaborate with us again.

Y: The right opportunity arose in April 2025. We flew to Dubai, and the shooting began immediately based on the ideas and concepts we had, along with those from the director and Till.

The filming took place in Dubai. Was it difficult to source all the necessary props there? Did you encounter any challenges in finding locations?

Y: Till came up with all the costumes, props, and the chainsaw scene himself. He also brought everything and prepared it on his own. The photographs for the scene with the televisions were printed on-site at the nearest shopping mall.

A: He even used a cloak from his concerts (specifically, the costume from the song "Fish On" from the 2018 Messer Tour). He consulted a lot with the director about these elements. As for the locations, it wasn't hard to find them. We filmed at a friend's photo studio, although that decision didn't come right away. We initially wanted a huge black pavilion, but that turned out to be quite expensive since Dubai is a very costly city.

Y: The studio owner was our friend and also a big Rammstein fan. So, he completely closed the studio for us for 2.5 days. It was just us there, and we had access to all the areas.

Who was responsible for the pyrotechnics during the shoot?

Y: Till himself, personally.

A: Yes, he surprised us by preparing everything in advance. He conducted a briefing, explaining that fire is no joke and shared a whole story about how he had a motorcycle accident in the '90s, during which the bike caught fire, resulting in serious burns.

Y: He warned everyone to keep their distance, saying, "You can come closer when it goes off."

A: He was concerned that when the puppet house caught fire, the roof might explode in different directions and injure someone. He kept pushing everyone away from the house and argued if anyone stood too close. Till is very attentive to the safety of the people he works with.

Which location or scene was the most challenging for you in terms of filming?

A: Surprisingly, the studio was one of the most inconvenient locations because the shooting areas were too small; they were more suited for photo sessions than for a large-scale music video. The edges of the pavilions kept appearing in the frame.

Y: In the studio, the hardest scenes were the airplane, the subway, and the room with the televisions. The sets were narrow and lacked depth.

A: We also faced difficulties at the villa. The concept called for an open sea, but due to UAE laws, filming on a public beach is prohibited. It can only be done on private property. As a result, houses on the opposite shore and construction sites ended up in the frame.

Was there any improvisation or deviation from the script?

Y: Six months before the shoot, the team came up with the idea for the video, featuring a puppet house and a girl resembling a marionette, and so on.

A: The initial concept of the video was to show how societal issues and judgment affect a person's inner world. At that time, a separate video sequence was filmed for "Meine Welt," featuring only Polina Aug, and the final version ended up being over seven minutes long. Later, we realized that we needed to shoot additional scenes with Till.

Y: Yes, there was only the narrative part, without any lip-syncing, etc. Antonina edited everything, but the project didn't progress further at that point. A month after the shoot, David Lynch passed away, and Till, who was a very good friend of the maestro, noticed similarities with Lynch's aesthetics and visuals. He suggested we shoot additional material and dedicate the video to the legendary director. Till was heavily involved in the concept and script; most of it was created by him, and he was extremely invested in the project. Improvisation played a significant role throughout the creative process.

Y: Till was goofing around during the shoot, dancing to different music, and even sang a bit of "Schtiel" by the band Aria. The fun continued on the yacht; in one scene, we needed to film the boat from the water, and since I’m too light, Till ended up doing it himself. Before he got in, he stuffed a rabbit mask ear into my shorts, which kept falling off. He also unexpectedly pushed me into the water from the yacht and laughed loudly.

A: I had a very touching experience after the shoot. We saw a magazine in a store with David Lynch on the cover, and I was really excited to bring it back for a friend. Unfortunately, the magazine got lost somewhere on the way to our apartment, and I was quite upset. The next morning, I found it at our door. Since the whole team was living together, and Till was staying next door, he was the only one who could have left it there. It made me very happy.

Was the Making Of planned?

Y: No, it wasn't. The agreement was more along the lines of "If it happens, great; if not, that's fine too."

A: We were filming behind-the-scenes footage, as Till's management requested a specific person to handle it. Unfortunately, it won't be released.

What are your thoughts on the work of David Lynch? Do you have any favorite pieces?

Y: We absolutely love it!

A: Of course, we enjoy it! We really like Twin Peaks, but only the first two seasons. And, our favorite his movie is Mulholland Drive. We also appreciate the rest, like Lost Highway, especially the moments with Rammstein's songs. Blue Velvet is great too.

Were there any specific references to his films planned, or did they emerge during the shoot? Was there anything that didn't make it into the final cut?

Y: A lot was planned.

A: The scene from Blue Velvet with the oxygen mask was a must. That was the very first idea Till proposed, and it had to be included. Later, we went through a rather complex pre-production process that evolved and simplified significantly. For example, we added elements inspired by Rabbits (Lynch's short film), but in the form of a rabbit costume.

Y: There were two references to Twin Peaks, but neither made it into the final edit.

A: Our focus was primarily on achieving genre, atmospheric, and visual similarities rather than creating direct homages or recreating specific scenes.

Y: The most pleasant experience for me personally happened in September 2021 when he invited Antonina and me to dinner at the "Zhivago" restaurant (Moscow). We arrived, and he warmly welcomed us, and we spent the entire evening eating dumplings and drinking.

A: It's important to understand that we all grew up in our teenage years with Rammstein. We watched all the music videos on cassette; it was all around us. We can't call ourselves die-hard fans, neither me nor Yaroslav, but we were definitely into this music.

Y: Yes, and it was very unusual and nice that Till Lindemann himself personally wrote to invite us to dinner. Now we are good friends.

A: You have to understand that this was at the beginning of our acquaintance. Now we know that he is open and can write or call. I've heard stories that Till enjoys talking to different people, regardless of their status or position.

Y: By the way, he doesn't like to talk about Rammstein. However, he is open to discussing his solo work, poetry, love, and so on.

What music do you listen to besides Rammstein or Till? Would you consider yourselves fans of the aforementioned artists?

A: We are definitely fans, but not die-hard ones. I haven't listened to Rammstein since around 2016, except for when the album came out in 2019. I had never heard Till's solo work before the shoot; I only caught snippets here and there, and I found it strange. I didn't really understand it. But when we started working together on "Zunge," I was pleasantly surprised.

Y: From his solo work, I really only like the new song ("Und die Engel singen"). The rest of his music doesn't resonate with me personally. I'm not saying it's bad music; it's great and well-made, but it's just not my cup of tea.

A: Speaking of personal preferences, my favorite band is Tool. I listen to a lot of different music, but I always come back to them.

Y: As I've gotten older, I've become quite the music enthusiast, and I can't really pick a favorite genre; I can only list artists. For example, Pink Floyd, King Crimson, Tool, I love symphonic music, classical, and neoclassical. I've been getting into Knocked Loose lately, and I adore Radiohead, Creedence Clearwater Revival, and The Doors. The best thing to happen to the Russian music scene is "АукцЫон".

A: I recently discovered Gentle Giant for myself. It turns out I had heard their music before, but I hadn't really gotten into it until now. I used to really like Placebo, but I don't listen to them anymore, although their latest album resonated with me. From Russian scene, I enjoy Shortparis. There's also a really cool guy named "ИЛЬЯМАЗО" with an unusual music.

Where did you study cinematography? What films inspire you during shooting and editing?

Y: I'm entirely self-taught. Antonina graduated from university with a degree in directing; she has a diploma, but I think university is all nonsense. I studied there as well but left after the first year because I realized it wasn't for me. When it comes to films and inspiration, we enjoy a wide variety. It might sound funny, but we love all the movies with Adam Sandler. It's just something to lift our spirits. I appreciate classic films, especially American cinema from the '80s and '90s. I enjoy feel-good movies, so I'm not a fan of horror. Of course, all of Martin Scorsese's films are great.

A: Lately, I've been drawn to watching arthouse and independent films, though Yaroslav doesn't share my opinion.

Y: I'm a huge fan of The Lord of the Rings; I consider that series to be the best cinematography in the history of humanity.

What other projects have you been involved in? Which celebrities have you worked with?

Y: Just five days ago, we shot a music video for Garik Sukachyov (Russian singer). The band NEMIGA has recently gained popularity; we worked with them about 2-3 years ago. We also filmed a video for Ksenia Sobchak (popular Russian journalist). We collaborated with Anna Sedokova (Russian singer) and created a fun video for the "Хор Турецкого" band.

A: We work on films and series. We recently completed a project with Nikita Kologrivy (young Russian actor). We made two short films with Konstantin Khabensky (famous Russian actor); I did the editing while Yaroslav handled the shooting. We've also worked on various projects with Sergey Zhukov (popular Russian singer, former of the band "Руки Вверх!") and his daughter.

Y: There's a band in Krasnodar called "The Zverstvo." They're older, around 60 years old, and they gained traction in Europe around 2011, but they're relatively unknown in Russia. They play avant-garde music, and we filmed their concerts. We also worked with Motorama; they're amazing guys.

What do you do outside of work? Tell about your hobbies.

Y: Nothing besides work. When we have the chance, we try to visit our parents or take some time to relax and go for a walk.

A: We don't really do anything extraordinary, to be honest. We want to dedicate more time to our personal interests, but unfortunately, we can't.

Y: We're just career-driven and have immersed ourselves in this to the point where we simply don't have enough time. Most of our friends are from work; we operate within the same environment. About 80 percent of our friends are our colleagues. Even when we do manage to take a break, we still end up discussing shoots, films, and everything related to work.

A: Our job is such that we're constantly in a state of creative search. Unfortunately, due to a lack of time, we can't realize our own projects.

What advice would you give to aspiring cinematographers and editors? How can they break into the industry?

Y: When it comes to cinematographers, connections and networking are crucial. If you're a reasonably good specialist, even with limited experience, having friends who are higher up in the industry hierarchy and can vouch for you can significantly increase your chances.

A: In terms of advice, you should pick up a camera and try to replicate scenes from your favorite films or music videos. It doesn't matter if you don't share it anywhere. You can add your own unique touches to it. This practice really helps. Skills won't develop from shooting the street, hanging out with friends, or making videos for bloggers.

Y: Yes, it's all about honing your craft. You need to know the theory, but it's manageable and can be learned alongside practice. Here, practice is the key. It's a closed loop. Over time, your progress will become evident.

A: From an editor's perspective, it's essential for a cinematographer, especially in the early stages, to sit down and edit their own material. In today's world, figuring out how to cut a video shouldn't be a problem. If things are really tough, at least sit next to an editor and observe their work. You can't become a professional who knows everything; it doesn't work that way.

Y: We have a significant issue in our industry right now—many cinematographers and directors, even top ones, create problems during production and shooting because they don't know how to edit. If a person can't visualize how something will be edited in their mind, they won't be able to effectively plan scenes and angles. You can shoot a ton of beautiful footage but then struggle to piece it together. Editing is a way to learn all of this on your own.

A: And the main rule in any artistic shoot is not to be afraid to improvise. If you have the opportunity, take it. Till Lindemann isn't afraid, and neither should you be.

Interviewers: Roman Schreier, Daniil Burmistrov. Special for FLAMMENMEER.