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Daniel Brühl in Interview: “I’d like to hop from one island to the next.”
Daniel Brühl had his breakthrough with “Good Bye, Lenin!”. This was followed by films such as “The Edukators”, “Krabat”, and “John Rabe”. The 34-year-old also appears regularly in front of the camera internationally: whether with Judi Dench in “Ladies in Lavender”, with Julie Delpy in “2 Days in Paris” or with Brad Pitt in Quentin Tarantino’s “Inglourious Basterds”. After his appearance as racing legend Niki Lauda in “Rush”, he now plays the rebel in Oscar-winner Florian Gallenberger’s political thriller “Colonia Dignidad”, who is held captive in the notorious sect’s camp.
At the Berlinale, he can currently be seen in his latest production: alongside Emma Thompson he stars in the adaptation of Fallada’s “Alone in Berlin”. [030] staff member Dieter Oßwald spoke with Daniel Brühl.
Mr Brühl, how many Berlinale parties are in your diary?
Brühl: Unlike in the past, I no longer feel I have to attend every party at the festival. My personal highlight will be the birthday party of my tapas bar “Raval”. Over the past few years, plenty of Berlinale guests have enjoyed themselves there, from Ian McKellen to Benedict Cumberbatch or Audrey Tautou, with whom I sat on the Berlinale jury back then. Geoffrey Rush even celebrated his birthday at “Raval”.
This year you’re at the festival as an actor in “Alone in Berlin”. Is that more relaxed than sitting on the jury?
Brühl: Being on the jury was a fantastic time for me, because not only could you watch the entire competition, but you then had exciting discussions with interesting colleagues about the films. All of us would have happily had it last two weeks longer. It was an interesting experience to judge for once, rather than just always being judged. When you’re in competition with your own film, the excitement is different.
Your character in “Colonia Dignidad” is tortured severely. How does it feel to see such images of yourself? Is it just make-up, or does it go deeper?
Brühl: That is quite intense, especially as you have to put yourself in that mindset for such scenes, and these things really did happen back then. The rack used in the film is actually a real torture instrument from the museum, which made that day’s shoot pretty creepy for me.
The Daniel in the film is a political activist. How political is the real Daniel?
Brühl: I’ve always had a political stance, that’s how I was brought up. I first came into contact with Chile-related issues quite early because there were often exiled Chileans staying with us at home, supported by my parents. As a child, you don’t fully grasp all the dimensions, of course, but you do become sensitised to the subject. That’s why I was immediately enthusiastic about this film about the scandalous Colonia Dignidad and its reign of terror.
The role of German politics has yet to be examined…
Brühl: That might perhaps change because of this film. Many people from my generation know nothing about these events. I think it’s important that the inglorious role of German politics is looked into. It’s shocking that some of the perpetrators live among us completely unchallenged and have never been held to account.
In the Fallada adaptation “Alone in Berlin” you play Gestapo officer Escherich. What’s the appeal of such a role?
Brühl: Escherich is a character who existed quite frequently: Not really a convinced Nazi, but intimidated and broken by the regime. He’s a professional policeman who doesn’t care much for the brutish SS members. But when he’s threatened, he does things out of fear that go against his nature, essentially betraying himself. Portraying that arc was a fascinating task.
Are you prouder of such ambitious films than of popcorn cinema like “Captain America”?
Brühl: For me, both have their appeal. It’s precisely what’s exciting about this job: being able to hop from one island to the next and dive into different worlds. And as far as the Marvel films go, that’s definitely entertainment at a high level.
What do you do with Hollywood stars after a day’s filming?
Brühl: The pleasant thing about the Americans is their real warmth. On set, you’re made to feel welcome right away and never get the sense of being the outsider in the corner that no one’s talking to. I’d be invited to basketball games straightaway or we’d often go out together. I’d love to have those kinds of experiences again.
Is filming in English no problem, even though your sense for the language isn’t as instinctive as in your mother tongue?
Brühl: I’ve actually never had great problems with it, although I’ve now become more confident. I feel very comfortable in English and I really like the language because you can express complex things in a concise and simple way.
Do you know how many films you’ve made by now?
Brühl: Probably too many! (Laughs) Looking back, there are a few films I probably should have skipped – but failing is all part of the job, after all. Still, there are a good dozen films I’m proud of, the ones I put on my DVD shelf so they’re nice and visible.
Is there a perfect scene in your filmography that you’re absolutely proud of?
Brühl: I’m afraid I can’t say there is. I only ever watch my films a maximum of three times – and after that, never again. Even if I stumble on them by chance on TV, I’d rather switch the channel.
Would appearing as a “Tatort” detective be a dream for you?
Brühl: No, “Tatort” isn’t one of my dreams at the moment.