Key Moments
Daniel Brühl | Full Q&A at The Oxford Union
Oxford UnionKey Moments
Daniel Brühl's multilingual background was key to his diverse roles, avoiding typecasting but sometimes leading to risky, less successful films.
Key Insights
Brühl's multilingualism and mixed cultural background (German, Spanish, French) were instrumental in his ability to avoid typecasting and explore diverse international film markets.
Playing a schizophrenic in 'The White Noise' was one of Brühl's most demanding roles, requiring him to explore his own 'insanity' and observe societal reactions to perceived mental instability.
Brühl felt a significant responsibility when portraying real individuals like Niki Lauda, stating it's crucial to spend time with them to capture their essence rather than merely imitate.
Brühl deliberately chose to say 'no' to several uniform-wearing roles, particularly those set in World War II, to avoid being pigeonholed as a 'typical German actor.'
Netflix has revolutionized the film industry by financing projects that traditional studios would not, such as Scorsese's latest film, and has facilitated the global success of non-English language series like 'Dark' and 'La Casa de Papel.'
Brühl finds premieres dreadful because he struggles with watching himself on screen, only being able to fully appreciate a film after watching it three times.
Leveraging a multilingual background to break casting boundaries
Daniel Brühl's career trajectory has been significantly shaped by his unique upbringing. Born into a multicultural family with a Spanish mother and German father, and exposed to French culture, he grew up in Cologne amidst a rich tapestry of influences. This diverse background, he explains, inherently fostered a desire to transcend limitations and avoid being confined to a single market or film culture. His breakthrough with 'Good Bye, Lenin!' opened doors to international opportunities, allowing him to play a wide array of characters beyond the scope of German cinema. This included portraying a Spanish anarchist and a victim of Franco's regime, experiences he found deeply enriching. Brühl deliberately steers clear of certain German film genres, particularly what he describes as paradoxical and unfunny German comedies, even if they are commercially successful. He acknowledges that sometimes choosing riskier, more diverse roles means taking on films that might not succeed commercially, but views these as integral parts of his overall plan.
The demanding process of embodying complex characters
Brühl finds that his decision to take on a role is primarily driven by an immediate, strong connection to the script – a feeling that compels him to read it in one sitting. The genre, or the size of the part, matters less than this intrinsic 'click.' While he is open to playing characters vastly different from himself or those he closely identifies with, the script remains his ultimate guide. A particularly challenging role was portraying a schizophrenic in 'The White Noise.' To prepare, Brühl spent time with an individual suffering from the disease, striving for authenticity. The complexity of the illness, however, made complete understanding impossible. He recounts exploring his own 'insanity' and testing these explorations in daily life, observing how quickly society labels such behavior as 'crazy.' This role proved so impactful that the film is still used in psychiatric and psychology education, a testament to its profound depiction. Brühl notes he isn't a 'method actor' in the vein of Daniel Day-Lewis, preferring to 'switch on and off' from a character to avoid the immense stress and exhaustion associated with method acting.
Navigating the pressure of playing real historical figures
Portraying real people introduces a distinct pressure and responsibility to 'get it right.' Brühl distinguishes between playing someone deceased, which can offer more freedom, and portraying someone still alive, which can feel more restrictive. His experience playing Niki Lauda for 'Rush' exemplifies this. Lauda, described as brutally honest and without diplomatic charm, was initially wary of Brühl portraying him. Brühl’s first conversation with Lauda set a challenging tone: 'bring hand luggage in case we don't like each other, you can piss off right away.' This directness highlighted Lauda's personality. Brühl emphasized the cruciality of spending time with such figures, as he felt he was 'not like this man at all' initially, despite liking cars. Becoming Lauda for three months was a profound experience, revealing the character's heroic and interesting nature. The authenticity of the film was further validated by Formula 1 drivers like Lewis Hamilton and Sebastian Vettel, who praised its convincing portrayal.
The emotional weight of depicting historical tragedy
Some of Brühl's most emotionally taxing roles involve depicting real-life tragedies. He recalls a Spanish film where he played Salvador Puig Antich, one of the last individuals executed in a brutal, medieval manner in 1974. Filming in an original prison, with the victim's sisters present, was intensely intimidating. Brühl felt the experience transcended filmmaking, becoming something 'else' because it had actually happened. He confessed to feeling a sense of guilt and discomfort while pretending to embody such suffering, even though it was necessary for the performance. The presence of real people who experienced the events, while chosen by them and the director, added a profound layer of authenticity and difficulty to the process. He acknowledges that while directors have the discretion to limit such presences, the moments Lauda was on set for 'Rush' were impactful, making the reality of the person Brühl was portraying intensely palpable.
The allure of historical immersion in filmmaking
Brühl finds immense enjoyment in 'traveling in time' through his roles, particularly when a production can meticulously recreate historical periods. He cites 'The Alienist,' a TV show with substantial resources dedicated to recreating late 19th-century New York, as a prime example. The immersive detail, from carriages to period shops, allowed for moments where he felt genuinely transported back in time. He contrasts this with lower-budget productions where ambitious script descriptions of castles and extras fall short due to limited resources, resulting in a less convincing historical illusion. The ability to inhabit an era, absorb its atmosphere, and interact with authentic set designs significantly aids his acting process. This level of detail, however, is contingent on sufficient budget, which big-budget films and franchises like the MCU or Kingsman can often provide.
Navigating big-budget franchises and avoiding typecasting
Entering established franchises like the Marvel Cinematic Universe or Kingsman presents a unique risk, as their potential failure is widely publicized. Brühl initially harbored reservations about playing iconic characters, particularly those requiring him to wear a uniform, a common trope for German actors. He has consciously said 'no' to numerous such roles to avoid being typecast as a 'Nazi German' or a soldier. He notes that German actors are often boxed into specific roles: Germans in uniform, Colombians as drug dealers, Turks as terrorists. Brühl found it liberating when directors like Quentin Tarantino and Ron Howard offered him parts that defied these expectations, such as playing villains or complex characters like Niki Lauda, roles he believes many German directors wouldn't have offered him. He was particularly impressed by the quality of MCU productions and Kevin Feige's approach, which allowed for character adjustments based on actor input, and found the cast very welcoming during his experience on 'Captain America: Civil War'.
The evolving landscape of global cinema and streaming
Brühl observes that streaming platforms like Netflix are revolutionizing the industry by financing ambitious projects that traditional studios would avoid, citing Scorsese's latest film as an example. He notes a paradox: while people attend cinemas less, Netflix has achieved significant global success with non-English language series, such as the German show 'Dark' and the Spanish 'La Casa de Papel.' This indicates a growing interest in diverse, local content beyond Hollywood's traditional dominance. Brühl also praises Quentin Tarantino for his commitment to casting actors true to the character's origins, recalling how Tarantino insisted on a German actor for Christoph Waltz's role in 'Inglourious Basterds,' rather than a well-known American star. This trend, Brühl believes, increases the importance and visibility of foreign-language cinema and television.
Personal reflections on acting, fear, and filmmaking
Reflecting on his career, Brühl admits that premieres are often 'dreadful' experiences because he struggles to watch himself on screen, only truly appreciating a film after multiple viewings. He expresses a fascination with psychology, influenced by his wife, who is a psychologist specializing in PTSD. This interest informed his role in 'The Alienist,' where he explored a character dealing with trauma while also caring for others who are traumatized. He finds the opportunity to play complex characters with long narrative arcs in series particularly appealing. When asked about his favorite film, Brühl names Luchino Visconti's 'Rocco and His Brothers' (1960) for its emotional impact, authentic portrayal of a family's struggle, and innovative structure. He also cites Jean-Luc Godard's 'Breathless' and the performances of Marcello Mastroianni as significant influences. Brühl is also venturing into directing, with his first film set to explore the East-West divide in Berlin, reflecting his lifelong interest in politics and social differences.
Mentioned in This Episode
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Common Questions
Brühl's multilingual background and upbringing in a multicultural environment helped him avoid typecasting. It influenced his desire to break boundaries and not be limited to a single film market or culture, leading to diverse roles internationally.
Topics
Mentioned in this video
The brilliant writer of the script for 'Rush', known for his expertise in biopics.
Former Chancellor of Germany, whose liberal and interesting approach during a crisis is mentioned positively.
Director who gave a masterclass and discussed the importance of Netflix in financing films like his recent one with De Niro and Pacino.
Formula 1 driver whose documentary and rivalries Brühl found captivating, representing a more exciting era of the sport.
The subject of a Spanish film Brühl starred in, who was one of the last victims killed in a brutal manner in 1974.
Director associated with 'Breathless', a film that, along with others, inspired Brühl to become an actor.
Actor who participated in Tarantino's film preparation sessions for 'Inglourious Basterds'.
Co-star in 'Rush' who Brühl mentions as playfully teasing him about his nervousness before shooting.
Brühl played the role of Niki Lauda in the film 'Rush', finding him to be one of the most fascinating human beings and a source of lessons on overcoming fear.
Co-star in 'The Alienist' who Brühl mentions as experiencing the immersive historical setting.
Artist whose music was played on set during 'Inglourious Basterds' to maintain energy.
Mentioned as an example of a highly dedicated method actor whose results are incredible but whose process must be exhausting.
Director of 'Rush' who Brühl believes did not have prejudices and offered him the role of Niki Lauda, allowing him to play against type.
Co-star in 'The Alienist' who Brühl mentions as experiencing the immersive historical setting.
Director of the Kingsman franchise, whose spy thriller genre Brühl is careful not to spoil.
An actor whose role in 'Inglourious Basterds' was specifically intended for a German actor by Tarantino, rather than a big Hollywood star.
An actor Brühl finds to be a 'freak of nature' due to his incredible talent and predicts a great and long career for him.
A Formula One driver who complimented Brühl's portrayal of Niki Lauda in 'Rush', finding it convincing.
Formula 1 driver whose consecutive wins led to Brühl losing interest in the sport due to its perceived predictability.
Director whose films featured Marcello Mastroianni, whom Brühl considers his favorite actor.
A Formula One driver who complimented Brühl's portrayal of Niki Lauda in 'Rush', finding it convincing.
The mastermind behind the Marvel Cinematic Universe, whom Brühl found to be a smart and accommodating individual.
Composer whose music was played on set during 'Inglourious Basterds' to maintain energy.
Identified as a very promising up-and-coming German actor.
An actor Brühl considers his favorite of all time, particularly in Fellini's films.
Director of 'Inglourious Basterds', known for his extreme dedication to cinema, unique methods, and specific casting choices.
A film that Brühl suggests checking out, noting it's not easy to remake.
Mentioned as an example of Peter Morgan's expertise in writing biopics.
An Italian film by Visconti that Brühl names as his personal favorite, citing its emotional impact, authenticity, structure, and complexity.
A film Brühl enjoyed but chose to explore older, cooler French-Italian cinema that inspired him to become an actor.
A TV show with significant resources that allowed for the detailed recreation of late 19th-century New York, which Brühl found fascinating.
A German TV show that became a major hit in the US, demonstrating the success of local content abroad.
A series written by Peter Morgan, who also wrote the script for 'Rush'.
A film that Netflix financed, which Brühl notes would not have been made by other financiers due to its similarity to new realism cinema.
A successful film that opened up international opportunities for Daniel Brühl and is still used to educate students learning German or history.
A Spanish series that achieved massive success internationally, showcasing the global appeal of localized content.
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