The Great Acting Blog: “I Think I Let Him Play A F***y Vampire” – Mario Mentrup Q & A – Part 2

08.02.2012 , James , The Great Acting Blog

In part two of my Q and A with actor-filmmaker Mario Mentrup, he talks about the response to his feature film, I Do Adore, elaborates on his ideas about the art and biz of acting, and offers some advice to young actors. If you missed the first part of this Q and A, you can read it here.

TGAB: I suppose the notion of the actor-manager, or the notion of the actor being responsible for an overall aesthetic in the way, say, Chaplin was, appears to be out of fashion, or actors don’t think of themselves in this way anymore. Nowadays, it seems, actor are more like employees, submitting to the casting process, and they are brought into projects purely for functional reasons. As you say, there is suspicion towards actors who make their own stuff. In almost any other art form, or business, we admire those who strike out on their own, but that doesn’t apply to actors. Would you have a view on that? Or, what response did the fact that you acted in and directed your own feature, receive?

MM: Most actors see themselves as employees who just do what they are told. Their worker’s pride is to serve. Especially male actors usually aim to come across as hard working men, but anyway the technicans get laid by all the cool ladies on set. Actors are frustrated in all ways: No work, no play(with ladies or boys vice versa).To compensate they must pump iron or fuck their brains out like Sasha Grey- i mean it seems, that fucking-for real is the new method of our time, isn’t it, Michael Fassbend-me-over (his nickname in the blogosphere since “Shame”) ?

Seriously, the big problem is that this business is so damn anti-intellectual.

Nobody dares to be a Chaplin or Buster Keaton or Charles Laughton or Orson Welles. Or John Cassavettes. Or Jaques Tati or Jerry Lewis. Or Marlon Brando, apart from being this great crazy pain-in-the ass for the business or Coppola, this mad big man has directed a great Western: “One -eyed-Jack.”

The Servants of today forgot or do not even know that the director’s job is actually a new invention of the last century, and the real tradition is the actor directing himself and his performance.

Since ages Shakespeare and Tchechov and a few new well -made-plays are the basis for actors to imitate “Art” and TV and Film is to earn money by imitating a cop and a nurse, that’s it . Most Actors , here in Germany for example, would laugh in your face, if you would say that it is art what they are doing. Same with the directors. At this point i must say that the Pranks by American actors or performers who irritate their audiences is an interesting aspect; by doing they create at least a conceptual piece of art.

Crispin Glover is an example for this, who, apart from his pranks ,is financing and producing his 35mm Celluloid Films and avoids any digitalisation; he is touring all over to screen his films in the tradition of a vaudevillan. Of course Vincent Gallo has to be mentioned, whose provocations among the Net and Magazine- Communities made him so special, that it got really fascinating watching him in “Essential Killing” transformed into a Taliban who spoke absolutely nothing the entire film. Director Jerzy Skolimowsk said, it had been Gallo’s idea not to say any word at all. Guys like Joaquin Phoenix or James Franco also try hard to be crazy Pranksters, but that is another and more boring story. Paz de La Huertas is still very interesting. I like her ad-campaign for the Lingerie- Company “Agent Provocateur” and on an advice that she should avoid playing nudes scenes in future she said : That’s good advice, but I’m telling you, typecasting is typecasting. And I mean, look at Charlotte Rampling. She’s a brilliant actress, and she’s still getting naked for films. If I look like that at her age, I’ll flaunt it.“

That is an actor-auteur. Balls. Balls, that is what most people in this job are missing.

I go over now to your question what response the fact that i acted in and directed my own feature, received.

People simply avoided to talk to me about my acting in this film. They talked about everything else, a lot about the other actors to me. Some times i heard “Beautiful Pictures , but where is the story?”My answer is, that the pics are the story and that it was in my script and that i developed the storyboard together with Volker Sattel. By saying this i only gained disbelief. But still, most of the time the crowd is fascinated and pleased, having seen a movie like this. And although i cannot think of going a tougher road these days, where we see the glory of Script-Doctor-companies and 27- or 48- hours -Filmproducing -competitions all around the globe, with the horrible result that Film became an empty Party- event, there is bunch of actors and filmmakers who enjoy to go our ways. Christoph Bach, a TV- actor- award winner for his impersonation of “Dutschke” and internationally known for his part in “Carlos” by Olivier Assayas is very into the idea that acting should be art and an actor should be an auteur. And Christoph is fighting like a lion. I worked with him for my short film:”Der Adler ist fort” (“The eagle is gone”) in 2010. We will continue working together. I can mention her RP Kahl, an actor-auteur- director who already made some Films and who made the controversial “Bedways” last year, which is distributed worldwide.

Or Nicolette Krebitz, you British people will know her as the cover-girl of a NEW ORDER album back in 2001. She has made two features yet and as far as i know, she battles for her
new one against all odds and Business.

TGAB: It seems the situation here is very similar to Germany. I have actually been laughed at by my peers for suggesting that they should think of themselves as artists, back in my younger days when I was more naive. Also, the notion of the director being a 20th century invention, is extremely important – actors didn’t even used to rehearse together necessarily, the lead actor would rehearse alone then slot into the company at the last minute. . Fascinating aswell, that people didn’t really talk about the fact you were the main character in I Do Adore – perhaps they take your acting for granted, whereas perhaps making a feature is a rarer accomplishment… You make many points that we could explore further. But i would like to look at the idea of the “actor-auteur”. You mention your contemporaries, and you seem to be saying that if you’ve got balls and determination, it can be done. Having been through it yourself with I Do Adore, what advice would you give to a young actor reading this, who maybe is starting to think of himself as an artist, but is not necessarily in an environment which encourages this.

MM: First i suppose you are right concerning the response to my acting in my own film, the people seem to take it for granted. It suddenly appears to me that i already could have become an “actor-auteur” over 20 years ago with the first Feature i was starring in and i had co-written .But at those days me myself and the circumstances around me were not quite right. Now that i shall give an advice to younger actors who start to think of themselves as Artists , i will switch from gloomy to light now.

Yesterday an actor-friend of mine, who had been casted 8 years ago by old Guerilla Filmmaker Klaus Lemke and acted in 4 of his Features premiered his own written and directed Low Budget Feature- in which he also is starring- in Berlin and it was a blast. Of course he had been nervous. In the process of nearly 2 Years he had screened slightly different versions of the film two or three times to me and some friends. I always told him quite the same: your film is crazy indeed, and of script-doctors will miss the plotline-and twist on minute so and so, but i saw funny and astonishing situations and refreshing ideas, who the fuck says you have to make a masterpiece? And maybe it is….

The premiere the night before yesterday was a blast, and he is very very happy.

Actually , and not to forget, a good way is to start or join a Theatre Group with Actor and Writer and Musician and to focus on improvisational or new forms of theatre. A lot of groups are doing exactly this and even if you OFFOff doesn’t mean you cannot get recognition. If you tend to listen to everybody or to harsh and frustrating acting teachers or maybe your parents or your depressed colleagues whoever, i would rather tell you to try find another profession.

There is this guy , who had a small but important part in my film. In the 90s he had had quite a quick start at age 18 when he played the Turkish-Berlin kid that he was in two main roles in a row. Then nothing worked out for him for ages, 7, 8 years no film, no nothing. He tried to become a director, no Filmschool wanted him. He did not give up. Meanwhile he was doing his thing in Metalbands, banging the guitar and his head and walking around with attitude. Finally 2005 a theatre asked him to direct a play. Since this day he writes and directs and acts in his own Theatre Play. This year his second self produced and written Microbudget Feature will be premiered at Berlinale. Guess what, Volker Sattel is the cameraman. More advices?

More Advices, get content. Read. Interviews with actors you admire or do not admire read Novels, Autobios, Philosophy, Religion, Sociology, get into Mathematics, Metaphysics, even Esoterics. But read. Now as i write this down, i remember Werner Herzog, who did good challenging work the last years, is preaching this like a mantra: Read.

TGAB: I totally concur about reading. Has enormous impact.

I think watching movies away from the mainstream, or prescribed “independent films”, is also very important for the actor.

Having watched your film, I could see in the aesthetics that it was made by cinephiles, ie – people with a broad and diverse knowledge of cinema, and an acute appreciation of it. In my experience, it is unusual for an actor to be a cinephile, and to want to make, let’s say, auteur films. Here in London, few actors would even have heard of somebody like Godard, and it can be a real problem attracting actors to arthouse productions, especially when budgets are low. In my experience, a lot of actors are unnerved by anything other than industrial production processes. I wondered if the situation was similar in Germany? Also, I think screenings of important auteur films should be part of an actor’s training, partly to awaken him to alternative forms. Would you have a view on that?

MM: By the way, remember MADE IN BRITAIN as being a motor for me a 19year old German kid secretly aiming to work for Film? My friend Stewart Home, a London-based writer and novelist just titled movies by Alan Clarke like “Meantime”, “Scum” “Made in Britain” as luvvie style-staging. (here in a hilarious bad
review on Steve Mcqueen’s HUNGER which i didn’t watch out of sheer ignorance).

Hilarious statement, it reminds me of Susan Sonntags famous essay about “Camp” and her prognosis that the “method” of Marlon Brando would be seen as “Kitsch” in the future. Marlon Brando was very aware of this, but Klaus Kinski was overrated for sure. I mean did you see his directorial Actor-Auteur’s Debut and last film ever: “PAGANINI”? Oh i can imagine Stewart Home, who claims to be inauthentic will love it for its Mega-Kitsch.Realism and Authenticity in Films is surely overrated like Lars von Trier is surely “kitsch” nearby in the future. I am a cinephile because i hung out more with filmmakers, filmbuffs, artists, writer and nerds than with actors. Nowaday i got some actor’s friends and it is the directors who bore me now in freetime. And narrative Films bore me more and more. Since 10 years, I am more into experimental and Artfilmsor in the films and writings of Jean Epstein. The hysterical craziness in early Phillipe Garrell or Werner Schroeter Films, the dark eroticism of Frans Zwartjes or a music label like “Family Vineyard” are more thrilling for me than to watch the next nominated OSCAR Film or Arthaus Flick. But that is obvious. These new Films are not made for me, i am neither a kid nor a senior You wrote: “screenings of important auteur films should be part of an actor’s training, partly to awaken him to alternative forms.” I totally agree, but it should be a must for producers in particular and directors too. And not only Films by Godard, Antonioni or Fassbinder but also Films by Dario Argento, Tinto Brass, Alain Robbe-Grillet (do you know: “Transeuropaexpress”?), Val Lewton, yes and why not Jean Rollin or Porn by Radley Metzger? Fuck taste and what is a masterpiece anyway? Eric Rohmer was once claiming to watch films and not “masterpieces”. Okay , Dario Argento is boring today but so is Scorsese. You wrote that actors are unnerved by anything other than industrial processes. Yes because they only think of feeding their divorced wifes or husbands and families and to keep their lifestyle established.

But i tell you such an actor was begging me, when we met at a dinner party, to write a part in one of my poor Films for him because he couldn’t stand the painful bullshit of acting in a TVseries, Main part actually, any longer.

I think i let him play a “fucky” vampire in an Jean Rollin inspired Movie.

If you would like to find out more about Mario’s work, please visit www.mariomentrup.de

Tags:

James

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The Great Acting Blog: “I Think I Let Him Play A F***y Vampire” – Mario Mentrup Q & A – Part 2