MYP Magazine - Of Time And Truth.
[Original interview here.]
Interview by Jonas Meyer. Photos by Steven Ludtke
[I skipped the introduction and went straight for the interview]
When the first season of “Dark” was released in December 2017, viewers and critics alike have literally fallen over their enthusiasm. So far, many had not expected such quality from a German production, especially in terms of dramaturgy and visuality. How did you, as a Netflix consumer, experience the series start then?
Luckily I’ve been able to enjoy the series as a relatively normal, objective viewer - and that’s true of the current season two. In “Dark” there are several roles and plot-lines, in which my character Jonas does not take part and which I accordingly did not know about from the shooting. During the shoot, I tried anyway to push aside all the other plot-lines and focus only on Jonas Kahnwald. Otherwise, I would probably have gotten pretty confused because the content of the series is so complex.
What is the difference between the current season two and the first one?
In Season 1, it’s all about something that happens individually to each character which they have to deal with. In the second season, these characters are much more active, especially Jonas. At the very beginning of the series he is still very passive and in the course of the episodes he has to learn how to handle the issues himself. In the second season, he already knows who he is, what he means and what he needs to do to achieve his goals - and of course, what he has to sacrifice. But all the other characters learn, too, overall, the knowledge of each character acquires in the course of the second season is much larger. In addition, I would say that this second season is also more emotional. Now much more information will be passed on to others which changes their view of the world.
On the platform kino.de there is an episode guide to the first season, in which it is said that a single viewing of the series is not enough to recognize all the contexts and hints: “Often, a short distraction like reaching out to take drink or a look at the clock is enough to miss an important detail." Do you see it the same way?
The series is definitely complex, I agree. And with so much information to be conveyed in Season 2 to drive the story forward, this second season may be even more complex than the first one. Jantje Friese and Baran bo Odar have always emphasized that with "Dark” they wanted to create a series that challenged viewers in a certain way. By the way, that did not happen until then in Germany - here one tends to play it safe. After the release of the first season, funnily enough, there were critics on the one hand who said that the series was too complicated. And at the same time there were critics on the other side who complained that we were guiding the audience by the hand way too much.
How did you deal with the high complexity, which is created solely within the character Jonas Kahnwald? Is there always an overview, even if you concentrate only on your own narrative thread?
Of course we all lost the thread every now and then. But thank God there is Jantje, who has the complete perspective. She knows down to the last detail how, where, what, and when something happens. During the shooting for the second season, we also had a Script Supervisor, to whom you could always turn. In addition, there were special screens on the set, where you could play the entire first season - in the event that you wanted to look, which specific point refers to a scene for which one is just in front of the camera.
Jonas:
Lars Montag, director of the Netflix series “How To Sell Drugs Online (Fast)”, revealed to us in an interview recently that he has the feeling that since Fassbinder there is actually no German narrative anymore. He said: “All are just trying to imitate Hollywood in any way.” Do you think it requires a special German narrative style - just as the Scandinavians, French or English people attributed to their very own cinematic narrative style?
Definitely, no. I think we live in times when everyone is trying to make something special. This alone starts up more and more narrative styles. This can be observed even among the Scandinavians, who are said to have a particularly strong stereotype in imagery and narrative style. The reason for this development is that we all talk more and more international - but that does not explicitly mean that we are more Hollywood-oriented. For me, telling an international story means that we can address viewers across countries by means of certain narrative styles and therefore do not have to reduce ourselves to our local schemes.
Of course, it still needs different narrative in film - but not to emphasize the national location, but to be able to address the most diverse types of spectators. Quite apart from that, there is not one big secret recipe of the Hollywood narrative that you have to use to reach out to people. Rather, I believe that it is much easier today to break out of this Hollywood compulsion - simply because the audience has become much more diverse.
The trailer of the second “Dark” opens with a gloomy, post-apocalyptic landscape in which a destroyed nuclear power plant can be seen. Is it not strange how realistic and quite imaginable such fictional images are when viewed in the context of the current social debate about climate change and impending environmental catastrophes?
When talking about the future, there are two main scenarios that seem possible: one is an extremely modern and thriving science-fiction world of flying cars, where everything flashes and shines. The other is just the opposite: a dark scenario in which everything is destroyed - because we humans have destroyed ourselves. In this scenario, nature slowly regains the upper hand and runs us down. With “Dark 2” there was not necessarily the intention to create parallels to this second possible scenario. But it is actually noticeable that these pictures do not seem so unrealistic in this day and age.
You recently appeared in the Arte short film series “Couples” with Dutch actress Hannah Hoekstra. You play a young couple who discusses whether it is appropriate to paint the German flag on one’s face, such as at a game of the national team. He gets mad about it, she does not understand his problem. How do you personally look at this country at the moment?
With shame and concern because the most important and threatening topic in the world - climate change - is not taken seriously. There seems to be a kind of change of heart, which is also expressed by the fact that the Greens temporarily lead in the polls. Nevertheless, I always feel stifled when I realize how climate goals are ignored and Germany - which has a certain role model function - fucks it up. I think that’s really sad. I sincerely hope that this green trend will not be short-lived and will continue because we simply have to make sure that this earth is not doomed to destruction in 30 years’ time. When I deal with the predicted, catastrophic consequences of climate change, it scares me. In view of this threatening situation, I do not understand why young politicians are not getting much more involved in Germany. Their job gives them a huge stage! Unfortunately, this stage is only used by the fewest. But now they have the chance to finally speak out truths. But it is only blabbed. If you listen to some of these politicians, you want to shake them and wake them up.
In recent years, you have greatly reduced your social media activity. You could use your popularity and the associated reach to give more space to certain issues in public discourse. Why did you decide to withdraw from the social networks? Don’t you feel like you could’ve made a difference?
Of course, with a certain amount of followers and the range involved, it is possible to spread your own opinions and influence those of other people. But for me it has always been difficult to position myself in the social networks on specific political issues. Although it was relatively easy for me in the run-up to the European elections to call with my posts to go to the polls. Otherwise, I’m more careful. I’ve probably missed the chance to tell people my opinions for a long time. By the way, others manage to do really well, which I admire very much. But in my case it was a very selfish decision to delete my Facebook account and withdraw heavily from Instagram.
It just did not do me any good. I always had the feeling that I must post something to entertain people. That totally unsettled me and put me under pressure. That’s why I decided to get rid of it. I did not think Facebook was necessary anyway. The decision to stop using Instagram came last year during the shoot for the second season of “Dark”. At that time, I was generally under a lot of pressure. And when there are other components, such as social networks, that add pressure to me, it all got too much. My Instagram account still exists and I post pictures from time to time, but I have to reinstall the app every time because I delete it after each post. In principle, I myself have no access to my Instagram profile. When I want to post something, my girlfriend has to sit beside me because she has the password.
What was the reason that you were so under pressure last year?
There has not been any time in my life when I felt more pressure than in 2018 - pressure was my word of the year. That’s because the year before was the craziest and most extreme year I’ve ever experienced, in any way. I have tried to tell myself over and over again, “Louis, 2017 will not be repeated. Take care and get ready! "But I was not ready. 2018 has completely overrun me - due to the extreme expectations, which were suddenly felt from all sides. For the audience, the journalists and the critics, it is a natural fact that you are always good. If you’ve played some good roles, everyone expects you to keep doing your job properly. This matter of course has affected me much more.
How do you feel about seeing yourself on the screen?
That’s OK in principle - I really want to see the work I’ve done. But I can really enjoy a movie as a viewer only if I do not have to rate my own work. Overall, I am very critical of myself and therefore quickly dissatisfied. Sometimes I would wish that I am not so hard on myself, because that would make me more free in the way I work. It hampers you a lot when you’re too scared of failure or too much pressure - you realize, pressure is a big issue in my life.
In a few months, the film "Deutschstunde” will start in the cinemas, for which you have taken on a supporting role. In the film adaptation of the novel by the same name by Siegfried Lenz about an expressionist painter, where a prohibition of the profession was imposed by the Nazis in 1943. This repression existed in Germany not only at the time of National Socialism, but also in the former GDR. In some countries, such as China, even today, professional bans are being imposed. How would you react if you were no longer allowed to be an actor?
I have never asked myself this question. It makes perfect sense to consider it. I suspect that I have never dealt with the question because here in Germany we are in a very privileged situation where we are allowed to practice what we want as a profession. If that were forbidden, I would be completely at a loss. Acting is what I do best of all activities and what I like to do most. There never was a plan B in my life either - so I would not know what to do with myself.
Can you “not act” as an actor at all?
Of course, in everyday life you can stop it. However, every actor is inclined to be a permanently on game, such as with jokes, gestures or certain behaviors. It is easy to express oneself. I believe that in order to give the truth to a person, one must draw truth from oneself. And if you no longer have truths, you can not play them. On the other hand, I have the experience that I always take parts of my characters into my own life or discover new things about myself through them. In other words: through the role, I open a box, which then remains open a bit. As a result, my roles always change a bit for me as well. For example, I feel like through the many sensitive characters that I was allowed to play, I have embraced the sensitive side in myself more - unfortunately I can not find a word in German with which I could better express that. What I mean by that: Had I not played so many sensitive characters, today I would be a sensitive person, but not to the extent that I have become in the end.
Which of your projects has been the most emotionally charged so far?
I would say that was “Prélude” by Sabrina Sarabi, which will be released on August 29th. In the film, I play the young piano student David, who suffers from strong self-doubt and feels a huge pressure of expectation - a situation that I can understand very well, as already mentioned. However, with David, he loses control of his life and threatens to break under the pressure.
This movie is the first one I for which I have prepared with a coach. When working with acting coach Frank Betzelt, it was especially about how the energy between the individual characters felt, what these energies wanted and how they influenced the characters. That helped me a lot to dig deep into my role. For example, I have discovered a much greater access to the feeling of anger, mainly to self-rage. I personally did not know that feeling before. Until then, I have never felt the need to be angry, let alone gain access to this emotion.
All in all, during this time I let David’s emotional world come close to me - and literally took it home with me. That put a strain on me not only during preparation and shooting, but also for almost a whole year afterwards.
For example, a few months after filming, there was an incident that happened when I was visiting my parents in Cologne with my girlfriend. After watching a couple of episodes of “Babylon Berlin” with Liv Lisa Fries - Liv plays my girlfriend in “Prélude” - I felt an extreme unease in the next morning. I was kind of aggressive and in a bad mood, which kept increasing throughout the day, until I finally just collapsed in the evening. Probably the situation with my parents at home and with my girlfriend on the side gave me such a safe space that I could process all this again. There was apparently no real opportunity to do that before because after the “Prélude” shoot exciting things kept happening. I had the impression that I had dragged this topic for months and only let everything out during my visit in Cologne. But I did not really get rid of it. When I saw the movie for the first time some time later, I was really sad for two or three days and did not know why. So I called Frank Betzelt, who had coached me then. He just asked me one question: “What really bothers you? The fact that you are so sad or that you do not know why you are sad?”
An incredibly smart question! My answer was, “Because I do not know why this is happening to me.” And then Frank said it was fine and I did not have to fight it. The reason for this is that I have grown so fond of the character and thereby experienced the suffering of this young artist even more intensely. We talked about it for a while - and after that phone call it was OK.
Kat Frankie, a singer-songwriter living here in Berlin, wrote the interesting sentence: “People that write sad songs are a little happier.” Is that similar to actors who play sad roles?
You can say that the other way around too - look at Robin Williams, who was hilarious in his roles, but must have been extremely sad in his private life and finally took his own life. Basically, I think that actors who play a lot of melancholic roles, also need a certain fascination. And if you have that fascination in general, you have it when you’re not acting as well.
If you ignore the expectations of other people: What is your own claim to yourself?
I have a very high standard of myself and I am extremely ambitious.
That means you’re also prone to criticism?
I’m trying not to be that. It’s a bit strange to me anyway: I’m really excited about criticism and sometimes find it strange when there’s none at all - especially when I know for sure that there’s something to criticize. At the same time, it is not so easy for me to handle criticism when it is actually voiced, especially if it comes from myself. I wish that was easier.
Are you someone who takes things from peers?
Off or on? No, seriously, I think you have to make sure that you can focus on your own work and not get too confused by the hype that is often justified by some of your colleagues. But I also think it’s just right as an actor to keep your eyes open and to be inspired by what’s being done elsewhere. But we should all be in this world anyway, no matter if actor or not.
