Jan 2, 2022
David Bowie on the cover of Die Presse [1991 photo, © Diego Uchitel]
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David Bowie on the cover of Die Presse [1991 photo, © Diego Uchitel]
Translated snippets
Adèle Haenel in 2017
// Additions or clarifications for translating purposes are denoted as [T: …]. I did something different here, and extracted quotes from three articles as these were quite similar, and frankly, l wanted to make my life a tiny bit easier... but here you go! //
About learning to speak German
[T: As a child she knew some German,] ‘but these were rather useless things’ […] ‘Set the table, for example.’ [T: About German lessons in school] ‘That's the way it is in France. After seven or eight years of teaching, you are totally incapable of building a correct sentence. So I couldn't speak German at the end of school.’ [T: However, she told her agency that she was proficient in the language, and would just learn it when the time comes…]
‘When I met Chris, I could neither speak German nor English. So he had to trust me’ […] ‘I like to learn something new or again. I expected it to be like Latin or math - something to train your brain. I never thought it would be so emotional.’
‘It's weird what it does to the soul to be a foreigner’ […] ‘Even if you understand everything well and can express yourself, you are mostly silent, because you are holding back. That's where your personality changes.’ [T: Learning her father’s language showed her] ‘that I also have an Austrian soul. I always thought I was fully French.’
About the legacy of Nazism
‘My father ran away from Austria in 1966, because this past was still boiling here’ […] ‘I really like the way Thomas Bernhard wasn’t very kind to Austria in this regard.’ [T: see here or here]
About her character Zazie in ‘The Bloom of Yesterday’ and her co-partner Lars Eidinger
‘I don't think it's the artist's job to say what other people should do. What counts is to be honest in your own fragility.’ […] ‘For me, all the characters are stones on my artistic path’ […] ‘They correspond with each other, but they don't answer the same question.’ [T: At the core of ‘The Bloom of Yesterday’ is] ‘fragility and absolute love.’ […] ‘At the end of the day, it's about the encounter between two destructive people and their feelings, which are greater than them.’
‘Zazie is extreme in her feelings. To play that, you have to let go – but I had to do it in a controlled way: because if I let go completely, I speak French and not German.’
[T: Lars Eidinger called Adèle his ‘female counterpart’, a sentiment she shares; also see here] ‘It was the best experience I've ever had. What I like about him is that he wants to invent everything. It's like walking and in the meantime, we're inventing the way.’
‘I always see acting as a martial art,’ […] ‘When someone [T: like Lars Eidinger] is at a higher level, you have to try to improve.’
About the humour in ‘The Bloom of Yesterday’
‘It's not about making shocking jokes’ […] ‘It's about having humour so we can endure our heritage.’
‘Traumatic themes are the heart of humour’ […] ‘Humour makes life easier, and [T: director] Chris Kraus' way of laughing isn't very easy.’
About her character in ‘The Unknown Girl’ and how she chooses her roles
‘I wanted to play a character that is not a character. She is not a heroine; she shows the bare minimum of humanity: we cannot let someone disappear without feeling guilty.’
‘It was important for me that this doctor has no reason to do what she does. Her obsession is just a human obsession.’
‘I never think: How was this person before the film, how will they be after the film? It's so complicated to understand yourself - how can I say what kind of character that is? A character comes into being when an idea falls in a certain time’ […] ‘I play how I feel.’ […] ‘Do I want to make this film? It's not about reasons, it's about emotions.’
[T: Adèle has no desire for stereotypical female roles, and they are no longer offered to her, as her feminist stance is well known in the industry.] ‘The possibilities for women in cinema are super-narrow’ […] ‘Femininity is always associated with being patient, nice and helpful, and I don't like that.’
‘The problem is that many lack imagination. The classic feminine roles are always the same. To think that women must behave like women and men like men is a cowardly way of thinking: you don't have to risk anything. For me, it was never a question that I could do anything.’
About the role of films and French cinema
‘Film has a political responsibility. But a film should ask questions, not give answers. It should be moral in the sense that it does not marginalise people.’
‘I feel like there's a lot to do here in French theatre and cinema’ […] ‘I don't feel like going to the United States.’ […] ‘What I like the most is when a young person comes up to me and says, ‘I saw your film, and then I read your interview and read the books you talked about.’ If it's only two people I've been able to spark up, that's a good thing’ […] ‘then I can retire.’ [T: I hate to say it, Adèle, but I think you exceeded your target! 😄]
—
Articles:
Adèle Haenel, „Schauspielerei ist immer auch Kampfsport“, Angelika Prawda/APA, in: Tiroler Tageszeitung, 10th of January 2017
Adèle Haenel: „Ich spiele, wie ich fühle“, Katrin Nussmeyer, in: Die Presse, 12th of January 2017
Adèle Haenel: "Nicht geduldig und nett", Alexandra Seibel, in: kurier.at, 14th of January 2017
Picture: © Nicolas Spiess
Die Presse Schaufenster / Polina Oganicheva
Polina Oganicheva for Die Presse Schaufenster
Ist eine Promotion neben Beruf und Familie überhaupt möglich – und sinnvoll? Die Metapher vom Elfenbeinturm sollte eigentlich längst Geschichte sein!
Ist eine Promotion neben Beruf und Familie überhaupt möglich – und sinnvoll? Die Metapher vom Elfenbeinturm sollte eigentlich längst Geschichte sein!
Das obige Bild zeigt einen Ausschnitt des Gemäldes Der Philosoph (1633) des Malers Rembrandt van Rijn aus https://wortwuchs.net/elfenbeinturm/ Ein Doktorat erfordere drei bis vier Jahre volle Beschäftigung. „So etwas geht nicht berufsbegleitend“, wird Oliver Vitouch, Rektor der Universität Klagenfurt und Vizepräsident der Österreichischen Universitätenkonferenz (uniko) in der Presse vom 22. 01.…
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Austrian daily newspaper Die Presse, Supplement Die Presse Schaufenster, Issue 19 October 2018. All Maison Margiela Artisanal by John Galliano, Look 20 from Fall 2018 collection.
Photographer Arton Sefa, Model Annabel Longden, styled by Barbara Zach
Virginie Lentulus for Die Presse September 2018
Martina Dimitrova for Die Presse Magazine High Jewelry/Fashion Editorial