"Especially difficult in the cinematic transmission was to bring the loosely arranged theater scenes Horvaths into a cinematic dramaturgy. This is how a completely new, independent script was created. We did not want to make a 'filmed theatre' with a kind of art language, but a modern film that is understood by people who do not know Horvath. However, there is still the 'Horvath core' in the film. We were very happy when a board member of the Horvath Society assured us that the writer would have been happy about the film.
Extraordinary is at Kasimir and Karoline certainly the shooting under live conditions - without barriers - at the Oktoberfest. The Oktoberfest is a melting pot of all social classes. A perfect background to tell a modern story about social barriers, the power of money and human yearnings. Despite the small cameras, the look on many drunks at the Oktoberfest seemed like a magnet. When Golo Euler and Robert Gwisdek played their racket scene, a drunk man intervened and missed our lighting a bloody nose. Despite the feature film plot, the film gives viewers a very realistic insight into Wiesn." (Ben von Grafenstein)