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- FFQ&A mit Albrecht Schuch: »Kino ist Gefühl, ich bin Gefühlsjongleur« | FFCGN
FFQ&A mit Albrecht Schuch: »Kino ist Gefühl, ich bin Gefühlsjongleur« | FFCGN
Albrecht Schuch beherrscht die Kunst, die Emotionen des Publikums zu triggern – und dabei die Bälle flach zu halten. Der gefragte Schauspieler (FABIAN ODER DER GANG VOR DIE HUNDE, SCHACHNOVELLE) weiß, was er kann und bleibt bodenständig. Im FFQ&A-Interview spricht er über den Dichter Thomas Brasch, den er in Andreas Kleinerts Biopic LIEBER THOMAS porträtiert – und über seine Liebe zur großen Leinwand.
#albrechtschuch #lieberthomas #ffcgn #filmfestivalcologne
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Video Summary & Chapters
No chapters for this video generated yet.
Video Transcript
Cinema is feeling. I am a feeling juggler.
I try to defend myself and the freedom not to understand what is happening.
Thank you.
What is your name?
My name is Albrecht Schuch. I am an actor.
I am sitting in a sauna in Cologne, because this is the best place for people who make films.
to have a conversation. It smells particularly good here.
And tonight I get a prize. That's why I slept four hours,
because I'm incredibly excited, because there are no wonderful screenplay authors
who have provided me with a text for this crisis, which I experienced here tonight.
But I'm very happy.
What are your thoughts on the new project?
How is the atmosphere in the studio?
Yes, it's very different.
It depends on the scene we're going to start with.
There are different views and sometimes there are no views at all,
but just the need that determines the shooting schedule.
Sometimes the directors think it's really cool to jump into the cold water.
I think it's good, but the night before is usually not there.
So if you don't have anyone with you right now ...
with a very intense scene or a long sermon,
a monologue,
is of course, I would say, more special than with something softer.
Although that's not always true.
The film I showed here, Lieber Thomas,
we started shooting in Cannes
and we are about the same size as now.
like a guerrilla, documentary-like, very small, without barriers, without everything, always looking,
nobody comes, let's do it. And then it was just about running from left to right.
And that's at least as difficult for me as writing a 20-page monologue,
because the body and the said thing are on the same level for me. And well, you just get in.
No matter how you prepared yourself, the first few days are there to shake it into balance.
Between the thought, the excitement, the dream and what actually is.
That's always a difference.
What is the difference between the two?
I don't know. I think that's different again and again.
and always has something to do with my willingness and always has something to do with my
I can choose whether I want to move from the inside or from the outside to the figure.
From the emotional core or from the shoes or the certain frat I found in the surf catalog in the sauna in Cologne.
because he's laughing so funny on the wave.
Well, I'll take that as a starting point.
It's actually very different.
Sometimes it's like a painter who paints the different colors.
And sometimes it's like an architect who carefully draws every line.
and it has to make sense somehow when the whole thing collapses or something.
And sometimes it's nothing of it.
Sometimes it's just the voice and it's this attitude to the body and let's go.
What is the difference between a man and a woman?
Well, you say guy and I know you don't mean it in a bad way or anything,
But I also think that in the beginning it is like that.
Video Summary & Chapters
No chapters for this video generated yet.
Video Transcript
Cinema is feeling. I am a feeling juggler.
I try to defend myself and the freedom not to understand what is happening.
Thank you.
What is your name?
My name is Albrecht Schuch. I am an actor.
I am sitting in a sauna in Cologne, because this is the best place for people who make films.
to have a conversation. It smells particularly good here.
That's why I slept four hours, because I'm extremely excited,
because there are no wonderful screenplay authors for this crisis,
which I experienced tonight, who have provided a text.
But I'm very happy.
What is the difference between a screenplay and a film?
Yes, very different.
It depends on the scene we're going to start with.
There are different views and sometimes there are no views at all,
but just the need that determines the shooting schedule.
Sometimes directors think it's really cool to jump into the cold water.
I think that's good too, but the night before is usually not there.
If you start with a very intense scene or a long sermon, it's more special than with a softer one.
But that's not always true.
The film I showed here, Lieber Thomas,
we started shooting in Cannes,
and we had a team size like this.
It was like a guerilla, a documentary-like film,
very small, without any barriers,
always checking if anyone is coming.
Let's do it.
And it was all about running from left to right.
just to walk from left to right.
And that's just as hard for me
as writing a 20-page monologue,
because the body and the said are on the same level for me.
And well, you just get in there,
no matter how you prepared yourself.
The first few days are there to somehow
shake it into balance
to shake between the thought, the excited, the dreamer and what is actually there.
That's always a difference.
I don't know. I think that's different every time.
and always has something to do with my willingness and always something to do with my desire,
whether I want to move inwards or outwards to the figure,
i.e. from the emotional core or from the shoes or the certain fraternity.
which I found in the surf catalog in the sauna in Cologne.
Because he's laughing so funny on the wave.
Well, I'll take that as a starting point for my work.
It's actually quite different.
Sometimes it's like a painter who applies the different colors.
Sometimes it's like an architect who carefully draws every line.
It has to make sense somehow when he puts the whole thing together.
Sometimes it's nothing of it.
