Hermann Vaske's "Hopper Trilogy" uses interviews with the great and the good from the worlds of film, art, music, advertising, religion, and academia to discuss the relationship between the arts and industry and to explore the connections and cross-pollination between the cultural and commercial worlds. Guided by the late Dennis Hopper, the world's leading figures, from David Bowie to Nelson Mandela, offer their thoughts on creativity, the media, and advertising.

"Imitation is the sincerest form of plagiarism" proclaims Hopper. Having struggled to crack his brief he decides the only honourable act is to go to the roof and throw himself off. Before he commits this most final of acts God, in the form of Sir Peter Ustinov, appears and bestows the Ten Commandments of Creativity upon the frustrated and desperate advertising executive. Hopper uses the template of the ten commandments to navigate the state of creativity today. Featuring Tarantino, Jeff Koons, Sean Penn, and Malcolm McClaren, amongst a host of others.

"is it art? Is it business? Should it be shocking? Should it be funny? Could you do better? ". In The Fine Art Of Separating People From Their Money, Dennis Hopper sends Hermann Vaske on a mission around the world to find out about the crossover between the various creative disciplines, and how this is changing both the creative and commercial arts. With insights from the likes of Tony Scott, Spike Lee, Paul Arden, and Harvey Keitel this film shows the growing proximity between advertising, art, and film.

At the beginning of The A-Z Of Separating People From Their Money Dennis Hopper states that "right this minute there are millions of people trying to separate you from your money". Pointing to the increasingly blurred distinction between reality and fiction in the world today, this film discusses the methods used by advertisers, as well as the responsibilities of ad-makers. The biggest names in the business have their say on shock, humour, and sex as methods of selling.

Vaske's trilogy of films artfully and humorously grapples with the fundamental questions of post-modernity within the art world. Has art lost its soul to the commercial sphere? Can art have meaning in an age of plurality? And should art be used to separate people from their money?