{"id":2815,"date":"2010-08-06T10:53:09","date_gmt":"2010-08-06T17:53:09","guid":{"rendered":"http:\/\/moviesharkdeblore.com\/site\/?p=2815"},"modified":"2014-10-15T11:56:06","modified_gmt":"2014-10-15T18:56:06","slug":"christopher-waltz-inglourious-basterds-colonel-hans-landa","status":"publish","type":"post","link":"https:\/\/behindthelensonline.net\/site\/interviews\/christopher-waltz-inglourious-basterds-colonel-hans-landa\/","title":{"rendered":"CHRISTOPHER WALTZ INGLOURIOUS BASTERD\u2019S COLONEL HANS LANDA"},"content":{"rendered":"

By: debbie lynn elias<\/strong><\/p>\n

According to QuentinTarantino, without finding Christopher Waltz, there would have been no INGLOURIOUS BASTERDS.\u00a0 \u00a0 It was essential to Tarantino to cast actors with impeccable linguistic skills to match equally superlative acting talents.\u00a0 He found both in Christopher Waltz.\u00a0 Humble to a fault, Waltz\u2019s sincerity and generosity of spirit illuminate the room on being told of Tarantino\u2019s praises.\u00a0\u00a0 \u201cThere is nothing that I can say about that.\u00a0 How could I possibly.\u00a0 How can you comment on a compliment like that?\u00a0 One of my deflective answers is, every casting process ends with the role being cast.\u00a0 I am honored, flattered, ashamed in a way.\u201d<\/p>\n

So, how does one become the anchor of INGLOURIOUS BASTERDS?<\/p>\n

Born in Vienna, Waltz is a fourth generation theatre veteran.\u00a0 \u201cI did all the classical, boring, conventional things.\u00a0 Finished high school.\u00a0 Went to acting school.\u00a0 I thought this was so conventional, so boring and so stupid anyway.\u00a0 I started working very early on when I was about 19.\u00a0 I did films, plays.\u00a0 Then I thought I might not have really completed proper training and I might be one of these half-amateurs that I despise.\u201d\u00a0 Wanting to understand what he was doing as an actor,\u00a0 Waltz \u201cstarted traveling around looking for a place where I could continue training and I ended up in New York in 1979.\u00a0 In New York for two years, he studied with Lee Strasberg and Stella Adler.\u00a0 \u201cThen I got offers again from Germany and I went back to Germany and worked and started in the theatre.\u00a0 I did theatre for about 12 years, one part after another.\u201d<\/p>\n

Part of several theatre companies, Waltz stayed a year or two with each and moved on to the next.\u00a0 \u201cIn the German speaking area, every bigger town has subsidized theatre company and I was lucky enough to get the good jobs in the big city.\u00a0 Good companies and really did interesting stuff.\u201d<\/p>\n

\u201cAfter this really extensive theatre period I started to get into films and television.\u00a0 There\u2019s no real film industry in the German speaking area.\u00a0 There are films but it\u2019s not a real industry.\u00a0 Industry is television.\u00a0\u00a0 Then I stopped doing theatre after awhile altogether.\u00a0 I did a few guest appearances here and there. [Theatre] also developed in a way that it shifted entirely towards the director and I disagreed not with the directorial approach but I disagreed with the directorial abuse.\u00a0 I am still interested in the author more than in the person of the director.\u00a0 I don\u2019t care that the director always shows what he can do.\u00a0 I\u2019m not interested.\u00a0 I\u2019m sorry.\u00a0 I believe him.\u00a0 I would believe him if he told me.\u00a0 I don\u2019t need to see it.\u00a0 And I definitely don\u2019t have to participate in it.\u201d<\/p>\n

The German entertainment system, however, is \u201cslightly different\u201d than what we call Hollywood.\u00a0 \u201cThe stars don\u2019t really play that big of a part in that area of the world.\u00a0 I was well known.\u00a0 I got the good offers.\u00a0 I got the good jobs and I was lucky enough to work with good people.\u201d<\/p>\n

Now age 52, Waltz is an almost 40 year veteran of stage and screen (both big and small) and thanks to his performance as Colonel Hans Landa, is taking the world by storm.\u00a0\u00a0\u00a0 Already winning the Best Actor Award in Cannes, the handwriting is on the wall for Christopher Waltz to take home Oscar gold.\u00a0 Not prepared or ready for his win at Cannes, for Waltz it \u201cwas something that happened to me.\u00a0 It happened to me like a fairy coming down and touching me with her magic wand.\u00a0 Raining pennies and tiny sparkling stars over me.\u00a0 Further than that I don\u2019t even think about it.\u00a0 I didn\u2019t think about that either.\u00a0 From the very beginning when I walked into casting with Quentin, it was good.\u00a0 It was perfect.\u00a0 It was one of these rare, rare, and for me, very new incidents, where when it is, is perfect as it is.\u00a0 That should have been enough.\u00a0 Enough is enough.\u00a0\u00a0 How can you perfect perfection?\u00a0 But then this Cannes thing comes my way.\u00a0 First of all, the immense success of the movie at the screening.\u00a0 How would you want to top that?\u00a0 And then they awarded me this incredible prize.\u00a0 It cannot be surpassed this prize.\u00a0 So, why would I now seek surpassing it nevertheless?\u00a0 No, no.\u00a0 It is perfect as it is and I really seriously intend to stick to it.\u201d<\/p>\n

\u201cI would advise everybody to make his or her breakthrough at this age.\u00a0 In a way, it is infinitely more gratifying and you kind of know what\u2019s happening.\u00a0 You\u2019ve seen the other end of the line in a way and you\u2019ve had a few ups and a lot of downs and you\u2019ve survived.\u00a0 It\u2019s much much more secure way of approaching [a career] than when you\u2019re 25 and being thrust into this thing and you don\u2019t know what it is.\u201d<\/p>\n

Filmed in Berlin but financed primarily through American money, the production of INGLOURIOUS BASTERDS\u00a0 happened in Berlin.\u00a0 However, for Waltz, \u201cThis is not a Hollywood movie.\u00a0 And I don\u2019t consider Quentin Tarantino is a typical Hollywood director.\u00a0 His whole thing is unique. It\u2019s not European.\u00a0 It\u2019s not American.\u00a0 It\u2019s not Asian.\u00a0 It\u2019s Tarantino.\u201d<\/p>\n

So, what is about Colonel Hans Landa that drew Waltz to the role?\u00a0 What jumped out at him?<\/p>\n

\u201cWhat jumped out at me is, first of all, the dialogue.\u00a0 That\u2019s the first thing you notice.\u00a0 How ingenious this dialogue is and what it hints at is endlessly multi-layered and multi-faceted, fascinating, character who just understands how the world was.\u201d<\/p>\n

Crediting Quentin\u2019s mastership with deciding how to play the manipulative Colonel Landa, \u201che put that on the page.\u00a0 So it\u2019s all there.\u00a0 All I need to do is try not to miss anything.\u00a0 Whether Quentin intended it or not is not the most important thing at that stage.\u00a0 It\u2019s just try to find everything that\u2019s in it.\u00a0\u00a0 That\u2019s a commonly understood phenomenon.\u00a0 Sometimes authors write something that they are not even aware of.\u00a0 That doesn\u2019t mean it\u2019s not there.\u00a0 That\u2019s my job.\u00a0 Ask a question, \u201cwhat is this.\u2019\u00a0 Find out what it is and go from there.\u00a0 Try to reach the next level and then do the same thing.\u201d<\/p>\n

This script is so amazing that Waltz firmly believes \u201cyou could teach a course at university on that script and do it the next year, the next year and the next year.\u00a0 There is so much there.\u00a0 At one point I asked Quentin, \u201cI don\u2019t think you really understand the scope of what you have written, do you?\u2019\u00a0 And he laughed, \u2018Aw, maybe not.\u2019\u201d<\/p>\n

A villainous character,\u00a0 Waltz adds an edge of comedy to Landa without making the good Nazi into a caricature.\u00a0 \u201cWe\u2019ve gotten too used to cartoon characters; to stereotypes.\u00a0 In cartoons we have instantly recognizable characteristics.\u00a0 That\u2019s why these characters look the way they look.\u00a0 But in real life, and therefore in drama, we are ill-advised to apply these because we are all far more conflicted and far more interwoven with various different seemingly contradicting qualities.\u00a0 Evil and charm don\u2019t contradict each other.\u201d<\/p>\n

In terms of preparing for the character, \u201cQuentin asked me if I wanted him to suggest things for me to watch and I said, \u2018No thank you, I don\u2019t want to see anything.\u2019\u00a0 So he let me alone.\u201d\u00a0 Expounding on his praise of Tarantino, Waltz believes that \u201cQuentin is a master of language and also a master of filming language.\u00a0 When we talk amongst each other, to each other, we don\u2019t invent language every time from scratch.\u00a0 We use words that have been in usage.\u00a0 We don\u2019t make up new words and Quentin doesn\u2019t make up new words for his films either.\u00a0 His vocabulary is infinitely larger than the normal vocabulary.\u00a0 So, of course, when we discover these as somewhat, filming earthlings, when we discover these unusual words, we recognize the point and moment where it\u2019s been used before.\u00a0 But for Quentin, this is almost vernacular.\u201d<\/p>\n

Given the depth of Waltz\u2019 career, and the superb performance he gives as Landa, one would think somewhere in his theatre history, a villainous performance had been elicited from him.\u00a0 But, such is not the case.\u00a0 \u201cThere is no villain like this.\u00a0 I haven\u2019t played this before, not that I haven\u2019t been offered [ a villain] before, but I haven\u2019t played them because they were lousy roles.\u00a0 Why would I want to play a lousy role?\u201d<\/p>\n

One of the things that I find most intriguing about Waltz, besides his European charm and Germanic good looks, is the wealth of experience he brings to the table and a refreshing outlook and philosophy.\u00a0 There were times while speaking with him, I felt him to be almost a kindred spirit in so many respects, perhaps based in part on the reasoning behind his preferred performance medium – film.\u00a0\u00a0 \u201cI am interested in the medium as a whole.\u00a0 And really it\u2019s the musical aspect of film that fascinates me the most.\u00a0 It has much more to do with music and dance than with literature or fine art.\u00a0 That\u2019s why I love Quentin\u2019s movies.\u00a0 Because of the musicality, and the rhythm, and the melody, and the movement in his films are extraordinary.\u00a0 If you think about that scene in the basement tavern.\u00a0 It goes on and is somewhat sort of swaying, swinging kind of tone and rhythm and all of a sudden, it is riddled with staccato, percussive musicality for maybe 10 seconds.\u00a0 So much happens. [So much] compacted.\u00a0 It\u2019s like in a Mahler symphony when the strings go on and then\u00a0 all of a sudden the whole brass and percussion goes in for 10 seconds and then the strings continue but in a different mode.\u201d<\/p>\n

As for INGLOURIOUS BASTERDS,\u00a0 \u201cOne thing I love about this movie, and pretty much what I love about this character, is that it has so many layers and in a way, if you want so many realities and so many angles, perspectives, point of views, auspices, whatever, distance, then depending on what point of view you consciously choose to assume, what you see will change.\u00a0 I have favorite scenes but it\u2019s more or less every scene that\u2019s in the movie from a certain perspective is my favorite scene.\u00a0 I cannot tell you how much fun it is to watch the movie with that in mind.\u201d<\/p>\n

The consummate professional, Waltz has the utmost respect for his co-stars.\u00a0 When it comes to Brad Pitt, \u201cin a way I acknowledge that this is one of the biggest stars in the world.\u00a0 He is for a good reason.\u00a0 I think he\u2019s one of the few stars that are what they are for a reason.\u201d\u00a0 Although not star struck, Waltz believes it\u2019s up to the \u201cstar\u201d to welcome other actors into their arms, into their confidence, treat them as equals.\u00a0 With Pitt, \u201cIt was not my place to level that difference.\u00a0 He did it within the first second of meeting each other – \u2018Hi, I\u2019m Brad.\u2019\u00a0 That did it.\u201d<\/p>\n

Is Waltz now fearful of being typecast as the \u201cbad German\u201d?\u00a0 Not in the least.\u00a0 \u201cThe only way an actor can actually influence his development or his fate is by saying no [to a role].\u00a0 I am fully aware of the fact that I will be offered Germanic or German-like villains.\u00a0 That doesn\u2019t mean I have to do them.\u201d<\/p>\n

However, he wants nothing more than for the audience to remember Colonel Hans Landa.\u00a0 Good, bad or indifferent, \u201cI would like them to remember that seeing what you see depends on your perspective.\u201d<\/p>\n

From any perspective, Christopher Waltz, is the stuff that moviemaking dreams are made of.<\/p>\n","protected":false},"excerpt":{"rendered":"

By: debbie lynn elias According to QuentinTarantino, without finding Christopher Waltz, there would have been no INGLOURIOUS BASTERDS.\u00a0 \u00a0 It was essential to Tarantino to cast actors with impeccable linguistic skills to match equally superlative acting talents.\u00a0 He found both in Christopher Waltz.\u00a0 Humble to a fault, Waltz\u2019s sincerity and generosity of spirit illuminate the […]<\/p>\n","protected":false},"author":2,"featured_media":2818,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"tags":[488],"class_list":["post-2815","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews","tag-christopher-waltz-inglourious-basterds-colonel-hans-landa"],"yoast_head":"\nCHRISTOPHER WALTZ INGLOURIOUS BASTERD\u2019S COLONEL HANS LANDA - Behind The Lens Online<\/title>\n<meta name=\"description\" content=\"Behind the Lens is your home for 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