have thougnt about since childhood but | think the real point where this film started to take shape was sometime in the late 70’s, not long after | arrived in Canada, whin | had a friend who took me home for dinner at his parents’ house. His parents had been in the concentration camps and when his met me, he said, “Gruben? Ah, Schicklegruber. That was Hitler’s name.” And | thought, “Oh. i’m implicated.” You know, somehow I’m part of this horror. Not just because of my name but because whatever | was, whatever my family was, was the same as other families that had gone through this nightmare in Germany. And growing up in Texas, that hadn’t been much of an issue because the war hadn't touched us in the same way. Oh, our fathers had gone away and most of them had come back but, you know, we hadn't directly experienced it ourselves. So, it’s a long story but | guess everything | used to think about as a child, about where | came from and who | was, came into this film. And the film, although | didn’t really anticipate that it would take seven years to make, |

think that where it began and where it ended has encompassed those seven years of my life and also the period leading up to it. So, even though it’s not very much about me on the surface at all, um, it kind of begins where | started and it ends where | am now.

POTA: Yeah, an audience doesn’t glean much information about you personally. You seem to use your specific search for your own family as a springboard for just grasping the meaning of what a family is, period. Like a more universal, kind of common thing. Was that your intention?

PG: Yes, absolutely. Because | always felt there was nothing very exceptional about my family. What’s interesting is that anybody can do this. Anybody can take the meaning of their name and stories they've heard growing up and the culture that they've come out of and make some kind of a pattern out of it. What interests me is that most of us seem to need to make a

pattern.

LEY LINES

- British Columbia, 1993, 80 minutes

Director:

Kirx Tougas, Robert Aschmann

Editor: Patricia Gruben

Patricia Gruben Production Company: Noema Productions

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Composer: Marun

Hagel

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have thought about since childhood but | think the real point where this film started to take shape was sometime in the late 70's, not long after | arrived in Canada, whin | had a friend who took me home for dinner at his parents’ house. His parents had been in the concentration camps and when his met me, he said, “Gruben? Ah, Schicklegruber. That was Hitler's name.” And | thought, “Oh. I'm implicated.” You know, somehow I'm part of this horror. Not just because of my name but because whatever | was, whatever my family was, was the same as other families that had gone through this nightmare in Germany. And growing up in Texas, that hadn't been much of an issue because the war hadn't touched us in the same way. Oh, our fathers had gone ‘away and most of them had come back but, you know, we hadn't directly experienced it ourselves. So, it's a long story but | guess everything | used to think about as a child, about where | came from and who | was, came into this film. And the film, although | didn’t really anticipate that it would take seven years to make, |

think that where it began and where it ended has encompassed those seven years of my life and also the period leading up to it. So, even though it’s not very much about me on the surface at all, um, it kind of begins where | started and it ends where | am now.

POTA: Yeah, an audience doesn’t glean much information about you personally. You seem to use your specific search for your ‘own family as a springboard for just grasping the meaning of what a family is, period. Like a more universal, kind of common thing. Was that your intention?

PG: Yes, absolutely. Because | always felt there was nothing very exceptional about my family. What's interesting is that anybody can do this. Anybody can take the meaning of their name and stories they've heard growing up and the culture that they've come out of and make some kind of a pattern out of it. What interests me is that most of us seem to need to make a pattem.

LEY LINES

British Columbia, 1993, 80 minutes

Director: Patricia Gruben Production Company: Noema Productions

yugas, Robert Aschmann Editor: Patricia Gruben Compose

Writer: Patricia Gruben Cinematographer:

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‘atricia Gruben

Productions Sales Agent/Distribu