What is the real meaning of bastard

You have to be a bastard in life, not one of those purebreds

Are you allowed to ask a successful person what success is? Does he still know?
Brandauer:I always say: if you are successful, you should keep your mouth shut and be happy about it.

Because success is a grace?
Because there is no real criterion for it. Because you shouldn't confuse it with the bustle of the company.

Success is what one can fill in between one's own claim and effect?
The effect, how much does it have to do with me? For example, you are only moderately satisfied with one thing - and everyone is cheering. Or you feel completely with yourself in a job - and everyone grimaces. There is no justice in artistic matters.

How do you justify your acting love for broken characters?
Dealing with it is simply more dazzling. Human abysses are always more interesting than eternal hiking trails on an infinite, pale surface. We also go to the cinema or the theater because we are curious about our mistakes, our downsides, what we want to enjoy as underground. If it remains the cinema or the theater.

What I found impressive about your "Hamlet" at the Vienna Castle was how unpretentious you were.
It sounds now as if indecent does not suit me.

I meant the straightforward narrative, as if it were also staged for football fans.
Do you know what genius is?

But now I'm really looking forward to the name that comes up.
Shakespeare, that's genius. This is real art.

Envious?
We're all related to each other. Like everyone else, I am a brother of Mozart or Beethoven.

You just said: Shakespeare. What's the big one?
That with him everyone can take something away from the theater, the professor as well as those who have a completely different level of education. Art, which I mean, is not divided into socializations. Shakespeare simply assumed not to exclude anyone.

Do you also see that as your task?
Our job as people who try art is to improve people's quality of life. By telling stories that make you happy or sad. That we step out onto the street differently after an evening at the theater or the cinema, even if we are the same again when we unlock the door at home. But what happens in between can be wonderful.

For example?
Throwing a friendly look at strangers. Talk to a cat that is walking across the street. Feel the dark clouds very bright. Talk to your loved one a little more quietly and more carefully.

So: "Hamlet" as mass culture.
Mass, that is always said so arrogantly. You belong to the crowd too. I am one of them.

Why do you sometimes look for solitude?
Because you can feel very clearly that you belong to everyone.

Do you also mean that politically?
I am a member of a society and I do not hide from that in my job. And when, like a few years ago, I play "Speer" in Esther Vilar's play, then for example I am not interested in the historical fact, but rather in the possibility of a Speer that is inherent in myself.

The evil in us.
In us everything that is possible with a life is evenly distributed. Everything is waiting for its hour. The artist, the murderer, the liar, the saint. In ourselves we are, so to speak, a world population. And then the circumstances of life roll towards us, the constellations, the fortunes.

And then some are lucky enough to be, and others are not so lucky.
And happiness always starts very small. If I am in a relationship, if I am happy with myself, I will be able to radiate completely differently to the world. Maybe then I am no longer so prone to big, even violent ideas. You don't have to be full of spirit for ideas like this, but empty enough. Incidentally, I am always very suspicious when people say morally firmly that they never acted one way or the other, and they cannot understand how one could have done this or that. Congratulation!

This self-confidence is alien to you?
You should never put your hand in the fire for yourself. It could be fucking painful.

When is a society worth living for you?
When it gives people enough opportunities to suppress the evil within themselves.

So if it is a balance-conscious society.
Yes, if, for example, with the principle of achievement and competition, it does not issue carte blanche to expel other people from the community.

Would you be on a TV series?
I have the really great privilege of being able to choose my work very carefully. I will continue to do so. But I know that a lot of actors are unemployed, and that is when talking of high standards is forbidden. There is a family at home and they have to be fed. I talk about my standards, about my yardstick, I don't presume to judge others.

You once said that there had to be a "national salary".
By that I meant: Everyone should have money to be able to eat and sleep, the other one has to earn in addition.

How has the injustice of the world preoccupied you in your life?
Very. Some are born heirs to wealth, others don't even have a diaper at birth. I felt that this was unfair decades ago, and I once thought the world was getting better. But she's mainly getting better at the method of beating each other's heads for nothing and again for nothing.

We talked about bulk. But art also has to be a voice for those who are minorities.
Absolutely. But that's art precisely because it reaches many and shakes many or makes them quiet.

Mr. Brandauer, on the occasion of your film about the Hitler assassin Georg Elser you once said: "I am for an army from Elsers!" That was anger. On what
When we researched where Elser lived, nobody was ready to talk to us. The willful forgetting and the repressions apparently rob everyone of time.

Everyone wants the future, nobody wants the past.
But nothing is more important for the future than a ruthless memory.

Is that also why Shakespeare? Man as the eternal pattern?
Sometimes one can be shocked by the regularity with which our misconduct repeats itself, and has been for thousands of years. Maybe we really are an industrial accident of nature.

And what do we do about it?
What we always do. We think, we write, we appeal, we sing, we play ...

And the bad repeats itself.
All that remains is to keep appealing and keep playing. And in between, a new love, a good wine, a good cigar and a good meal will save us.

You forgot the coffee. You work in Vienna.
Yes. The coffee house is a place of gamblers. There are theatrical performances at every table. Take a look around: everyone is lost in their own world.

When you talk about the repetitions like that ...
Yes, breathe in, breathe out. This is life. It starts with the inhalation and stops with a long exhalation. The second breath is the repetition of the first.

I wanted to say that when you talk about repetitions like that, all of the great art stories suddenly seem like repetitions.
But it's not bad, is it? You go through the whole phases of existence and get stuck with two questions: What was before birth and what comes after death? What preceded me and what follows me? In between everything is Faust and Mephisto, Hamlet and Richard III.

And Romeo and Juliet.
And things between life and death are blurring. With us in Altaussee you walk past an inn, music comes out, and nobody outside can say exactly whether a birth will be celebrated there, whether there will be a wedding or from the time there will be music for a funeral. Everything is in motion, everything is a single river. Everything has to do with everything. And everyone is deep inside.

Nobody is really above it.
Not a human, anyway.

The last sentence in your film about Georg Elser was: »No memorial commemorates him.«
As early as 1938 he said: "Friends, in a country where you have to keep saying" Heil Hitler "instead of" Guten Tag "- I'll do something about it." That was well before July 20th for the German military. This man built a bomb all by himself. He will soon be a father, he loves a woman, he has ideas of a beautiful life. But he's doing something else. Even today we have to ask: Where is the memorial for him?

Mr. Brandauer, as an Austrian, does one feel like a southerner?
A little. You see, there is a tremendous excess in southern countries ...

But there are also those in the north.
Yes, but it is darker, more melancholy there. She has the power of the fjords. What is missing is the cheerfulness, the baroque.

And do the Austrians have that?
I think that's one reason why some Austrian actors in particular have been able to keep up in the international film business. I find the mix of north and south interesting.

Are all mixes good?
You have to be a bastard, not a thoroughbred.

They often come across without make-up on the stage or in the film.
It's me! For me, in this relationship too, I don't want to hide. Sweat is part of my job, and wrinkles are part of it.

And a certain difficult way of dealing with things?
I don't understand why a person can insist and be so content with being considered easy to care for. "I'm difficult, please pass it on," said Fritz Kortner, after he was always told with a critical undertone that oh, he was so difficult.

What does your home, Altaussee in Styria, mean to you?
The eternal contradiction: you want to leave and stay there. In New York I think of Altaussee, in Altaussee of the world. But I notice that I think more and more about home.

It is said that spring is not beautiful in a foreign country.
I even have a wonderful winter here.

And the costume and the dialect.
And the old friends at the regulars' table. Like my uncle, they think that a film that lasts two hours can be made in two hours. Magnificent people. I sit with them as an old man and brag: Leit, in Holliwuud I started a James Bond film. And nobody knows what I'm talking about.

What do you think of spontaneously when you are a child?
When I was visiting my grandfather's attic, I discovered Hamlet for the first time as a child, in the form of a reclamation booklet. And actually I always think of my magic words: Kilimanjaro, Queen of Sheba, Madagascar. I was often allowed to look at maps and star maps with my father.

In the past, you often spoke of your "Drei Fritzen".
Fritz Heer, Fritz Torberg, Fritz Kortner. As a young actor I loved hanging on and sucking advice from such elderly people, like a vampire, to such important spirits.

What is age
(laughs) This is the time of wisdom, and that is exactly the time between the end of life and death, so to speak. You have to try that it is as long as possible. Maybe it's the best time.

And before that, what is beautiful about life?
That we strive and strive and strive, that we learn and learn and learn, that we save and save and save - and that we are not prepared for anything. Everything we know and read can always harm us. As if it was the first time. We remain totally uninitiated about the important things. Newbies. New births. With every love, with every defeat, with every death, even with every day that dawns.

Interview: H.-D. Schütt


Klaus Maria Brandauer
(61) is one of the most popular actors in the German-speaking area. Member of the Vienna Burgtheater. He became world famous in the Szabó film »Mephisto«. Further works: "Hanussen", "Colonel Redl", "Out of Africa", "The Spider's Web", "Jedermann" and (under own direction) "Georg Elser - One from Germany", "Mario and the Magician". He recently staged "Hamlet" at Vienna's castle. He is a teacher at the famous Max Reinhardt Seminar.ND:Are you allowed to ask a successful person what success is? Does he still know?
Brandauer:I always say: if you are successful, you should keep your mouth shut and be happy about it.

Because success is a grace?
Because there is no real criterion for it. Because you shouldn't confuse it with the bustle of the company.

Success is what one can fill in between one's own claim and effect?
The effect, how much does it have to do with me? For example, you are only moderately satisfied with one thing - and everyone is cheering. Or you feel completely with yourself in a job - and everyone grimaces. There is no justice in artistic matters.

How do you justify your acting love for broken characters?
Dealing with it is simply more dazzling. Human abysses are always more interesting than eternal hiking trails on an infinite, pale surface. We go to the cinema or the theater because we are curious about our mistakes, about our darker sides, about what we want to enjoy as underground. If it remains the cinema or the theater.

What I found impressive about your "Hamlet" at the Vienna Castle was how unpretentious you were.
It sounds now as if indecent does not suit me.

I meant the straightforward narrative, as if it were also staged for football fans.
Do you know what genius is?

But now I'm really looking forward to the name that comes up.
Shakespeare, that's genius. This is real art.

Envious?
We are all related to each other. Like everyone else, I am a brother of Mozart or Beethoven.

You just said: Shakespeare. What's the big one?
That with him everyone can take something away from the theater, the professor as well as those who have a completely different level of education. Art, which I mean, is not divided into socializations. Shakespeare simply assumed not to exclude anyone.

Do you also see that as your task?
Our job as people who try art is to improve people's quality of life. By telling stories that make you happy or sad. That we step out onto the street differently after an evening at the theater or at the cinema, even if we're the same as before, when we unlock the door at home. But what happens in between can be wonderful.

For example?
Throwing a friendly look at strangers. Talk to a cat that is walking across the street. Feel the dark clouds very bright. Talk to your loved one a little more quietly and more carefully.

So: "Hamlet" as mass culture.
Mass, that is always said so arrogantly. You belong to the crowd too. I am one of them.

Why do you sometimes look for solitude?
Because you can feel very clearly that you belong to everyone.

Do you also mean that politically?
I'm a member of a society, and that's not what I hide from in my job. And when, like a few years ago, I play "Speer" in Esther Vilar's play, then for example I am not interested in the historical fact, but rather in the possibility of a Speer that is inherent in myself.

The evil in us.
In us everything that is possible with a life is evenly distributed. Everything is waiting for its hour. The artist, the murderer, the liar, the saint. We are in ourselves, so to speak, a world population. And then the circumstances of life roll towards us, the constellations, the fortunes.

And then some are lucky enough to be lucky, and others are not lucky.
And happiness always starts very small. If I am in a relationship, if I am happy with myself, I will be able to radiate completely differently to the world. Maybe then I am no longer so prone to big, even violent ideas. You don't have to be full of spirit for ideas like this, but empty enough. Incidentally, I am always very suspicious when people say morally firmly that they never acted one way or the other, and they couldn't understand how one could have done this or that. Congratulation!

This self-confidence is alien to you?
You should never put your hand in the fire for yourself. It could be fucking painful.

When is a society worth living for you?
When it gives people enough opportunities to suppress the evil within themselves.

So if it is a balance-conscious society.
Yes, if, for example, with the principle of achievement and competition, it does not issue carte blanche to expel other people from the community.

Would you be on a TV series?
I have the really great privilege of being able to choose my work very carefully. I will continue to do so. But I know that a lot of actors are unemployed, and that is when talking of high standards is prohibited. There is a family at home and they have to be fed.I talk about my standards, about my yardstick, I don't presume to judge others.

You once said that there had to be a "national salary".
By that I meant: Everyone should have money to be able to eat and sleep, the other one has to earn in addition.

How has the injustice of the world preoccupied you in your life?
Very. Some are born heirs to wealth, others don't even have a diaper at birth. I felt that this was unfair decades ago, and I once thought the world was getting better. But she's mainly getting better at the method of beating each other's heads for nothing and again for nothing.

We talked about bulk. But art also has to be a voice for those who are minorities.
Absolutely. But that's art precisely because it reaches many and shakes many or makes them quiet.

Mr. Brandauer, on the occasion of your film about the Hitler assassin Georg Elser you once said: "I am for an army from Elsers!" That was anger. On what
When we researched where Elser lived, nobody was ready to talk to us. The willful forgetting and the repressions apparently rob everyone of time.

Everyone wants the future, nobody wants the past.
But nothing is more important for the future than a ruthless memory.

Is that also why Shakespeare? Man as the eternal pattern?
Sometimes one can be shocked by the regularity with which our misconduct repeats itself, and has been for thousands of years. Maybe we really are an industrial accident of nature.

And what do we do about it?
What we always do. We think, we write, we appeal, we sing, we play ...

And the bad repeats itself.
All that remains is to keep appealing and keep playing. And in between, a new love, a good wine, a good cigar and a good meal will save us.

You forgot the coffee. You work in Vienna.
Yes. The coffee house is a place of gamblers. There are theatrical performances at every table. Take a look around: everyone is lost in their own world.

When you talk about the repetitions like that ...
Yes, breathe in, breathe out. This is life. It starts with the inhalation and stops with a long exhalation. The second breath is the repetition of the first.

I wanted to say that when you talk about repetitions like that, all of the great art stories suddenly seem like repetitions.
But it's not bad, is it? You go through the whole phases of existence and get stuck with two questions: What was before birth and what comes after death? What preceded me and what follows me? In between everything is Faust and Mephisto, Hamlet and Richard III.

And Romeo and Juliet.
And things between life and death are blurring. With us in Altaussee you walk past an inn, music comes out, and nobody outside can say exactly whether a birth will be celebrated there, whether there will be a wedding or from the time there will be music for a funeral. Everything is in motion, everything is a single river. Everything has to do with everything. And everyone is deep inside.

Nobody is really above it.
Not a human, anyway.

The last sentence in your film about Georg Elser was: »No memorial commemorates him.«
As early as 1938 he said: "Friends, in a country where you have to keep saying" Heil Hitler "instead of" Guten Tag "- I'll do something about it." That was well before July 20th for the German military. This man built a bomb all by himself. He will soon be a father, he loves a woman, he has ideas of a beautiful life. But he's doing something else. Even today we have to ask: Where is the memorial for him?

Mr. Brandauer, as an Austrian, does one feel like a southerner?
A little. You see, there is a tremendous excess in southern countries ...

But there are also those in the north.
Yes, but it is darker, more melancholy there. She has the power of the fjords. What is missing is the cheerfulness, the baroque.

And do the Austrians have that?
I think that's one reason why some Austrian actors in particular have been able to keep up in the international film business. I find the mix of north and south interesting.

Are all mixes good?
You have to be a bastard, not a thoroughbred.

They often come across without make-up on the stage or in the film.
It's me! For me, in this relationship too, I don't want to hide. Sweat is part of my job, and wrinkles are part of it.

And a certain difficult way of dealing with things?
I don't understand why a person can insist and be so content with being considered easy to care for. "I'm difficult, please pass it on," said Fritz Kortner, after he was always told with a critical undertone that oh, he was so difficult.

What does your home, Altaussee in Styria, mean to you?
The eternal contradiction: you want to leave and stay there. In New York I think of Altaussee, in Altaussee of the world. But I notice that I think more and more about home.

It is said that spring is not beautiful in a foreign country.
I even have a wonderful winter here.

And the costume and the dialect.
And the old friends at the regulars' table. Like my uncle, they think that a film that lasts two hours can be made in two hours. Magnificent people. I sit with them as an old man and brag: Leit, in Holliwuud I started a James Bond film. And nobody knows what I'm talking about.

What do you think of spontaneously when you are a child?
When I was visiting my grandfather's attic, I discovered Hamlet for the first time as a child, in the form of a reclamation booklet. And actually I always think of my magic words: Kilimanjaro, Queen of Sheba, Madagascar. I was often allowed to look at maps and star maps with my father.

In the past, you often spoke of your "Drei Fritzen".
Fritz Heer, Fritz Torberg, Fritz Kortner. As a young actor I loved hanging on and sucking advice from such elderly people, like a vampire, to such important spirits.

What is age
(laughs) This is the time of wisdom, and that is exactly the time between the end of life and death, so to speak. You have to try that it is as long as possible. Maybe it's the best time.

And before that, what is beautiful about life?
That we strive and strive and strive, that we learn and learn and learn, that we save and save and save - and that we are not prepared for anything. Everything we know and read can always harm us. As if it was the first time. We remain totally uninitiated about the important things. Newbies. New births. With every love, with every defeat, with every death, even with every day that dawns.

Interview: H.-D. Schütt


Klaus Maria Brandauer
(61) is one of the most popular actors in the German-speaking area. Member of the Vienna Burgtheater. He became world famous in the Szabó film »Mephisto«. Further works: "Hanussen", "Colonel Redl", "Out of Africa", "The Spider's Web", "Jedermann" and (under own direction) "Georg Elser - One from Germany", "Mario and the Magician". He recently staged "Hamlet" at Vienna's castle. He is a teacher at the famous Max Reinhardt Seminar.

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