Agility video from this weekend’s trial! No Q’s in Standard but we got our final Excellent Q on Saturday to move up to Masters, and on Sunday our first Masters run we got a Q and our first Championship points towards a MACH! Whoo! Django has really picked up speed (especially in the weaves!!) during competition which makes me very happy to see! We’re slowly getting this thing down ;P
Hey chaps! Me and my grandma translated GQ’s German interview with Christoph Waltz! The German is probably a little off, so please let me know if it is (any German speakers) and I will make the changes. Enjoy!
Title: Jungle Fever
Main: At the top of Hollywood, and at the edges
of civilisation, Christoph Waltz talks about the dark new ‘Tarzan’ film,
and his often strange adopted country.
Blue writing: Many steps of his career have been climbed,
but not yet all; Tarantino-darling, Bond villain, God of Massacre. Wait and see
what else is coming.
Main: He travelled to the US as a young man, after
New York, to get acting training at the legendary Lee Strasberg Theatre and Film Institute. Christoph Waltz really arrived when he was 50 years old, after
he managed, under the direction of Quentin Tarantino, to make his antagonist appear as noble and interesting characters. In films of Roman Polanski and Tim
Burton, he shows further facets of his own art, and escaped the danger of being
typecast. This darker version of the Tarzan Legend shows him again as the
unpleasant type, but with finesse, and a bit too much power. As a Belgian
colonial master, he appears in spite of Lions and Gorillas as the greatest
danger of the African jungle.
CW: “The decision for a part is a bit like a plane crash, there is not only 1
single factor, it is the interconnections [chain] of circumstances”
writing: Producer in his own job, Christoph Waltz shows himself as a serious actor in
the coming works. He is different and breaks the trend of the normal in
Hollywood, instead of following glamour.
writing: He knows that he has been typecast as shady characters, but why
complain if you are brilliant at doing it?
Bottom white writing: His attitude towards
Hollywood is conflicting. There he works with professionals, like before in
German TV-Films with German working bodies. But his homeland? L.A. is a place
of work, not more.
Top white writing: A descendant of an old
theatre family, he learnt the work of acting at the Vienesse Max Reinhardt
Seminar Theatre School - A world star of
a solid kind.
Page 6) - The Interview:
Interviewer: The new films tells one of the
most well known stories, but one has the impression that Tarzan wants to make
statements about modern things in our time.
CW: Yes, and that’s also an honourable venture.
Entertainment must not always be brainless. Not that here a great undertaking
is negotiated. The most important point is about entertainment, but this most
of all is a German speciality; to separate entertainment from more serious
valuable things. The Germans have the tendency to leave entertainment to a
lower priority, while the higher aspiration is more valuable. This is only in
the German culture, this “either-or” attitude. Such visualisation may have
advantages, but I can’t see any.
Interviewer: In the Tarantino films
‘Inglourious Basterds’ and ‘Django Unchained’, the historical and political
backgrounds are apparent. Which social statement does Tarzan make?
about colonialism, exploitation, enslavement by Euro-centric abuse . And yet
there is an adventurer film. And I am very glad, for me this is all a
contradiction. The dark entertainment is therefore the best, because it reaches
beyond itself. You want more than to just entertain.
Interviewer: Don’t you have the impression
that the Germans are getting nearer to this principle?
CW: No. That is a cultural thing, which is
possibly anchored in the language. I don’t think it is necessary to adapt itself
to other cultures.
This answer continues to Page 7)
CW (cont.): The Germans separate this neatly, and it isn’t necessarily
crap). But this doesn’t correspond with my temperament, as I originate from
Vienna. It pleases me that countries and regions in Europe maintain their
differences. I like that those in Hamburg are so different than Bavaria. I lived in Hamburg for three years, and to state that they don’t have
humour is idiotic. They have lots of humour, only a completely different one,
that you may not initially understand. And that’s wonderful! As Georg Christoph
Lichtenberg said: “When a head and a book collide, and it sounds hollow, it is
not necessarily the book’s fault”.
Interviewer: Meanwhile, for you, there seems to
be a lot of doors open. How do you handle that?
CW: With a sense of responsibility and in some
ways, unexcitedly as it is concerning my work. But I aim to be happy with these possibilities.
Only with these possibilities, you get a kind of knowledge/realisation. This
does not mean that all is gold. Shine though it does. I gladly remember one
moment with Sylvester Gort [Goebbels in IB] in front of the studio Babelsberg
briefly before we did our first scene in ‘Basterds’. There we stood and said “is
it not unbelievable that we are really here?”. But then two seconds later of
quiet, we giggled and said “Yes but we wouldn’t be anywhere else, as this is
Interviewer: How did it happen that you are now
in this role in ‘Tarzan’?
CW: Gradually and organically through various
approaches over a long period of time. I really like it when someone isn’t putting
a script in front of me and I have to say yes or no immediately. To accept a
role for ones self isn’t like the purchase of a car – the decision for a part
is a bit like a plane crash, there is not only 1 single factor (unlike terror
attacks), it is the interconnections [chain] of circumstances. These are
leading to the event. There isn’t one thing, you can’t say “I always wanted to
work with this director”. Otherwise you will end up with a lousy role in a
lousy story. You can’t lead your life by looking after your image, though.
Interviewer: Are you cultivating/maintaining an
image [in your work]?
CW: I rather ask “what can I do? Where and when
must I do it? What do they really want from me? Do they only want to confirm/have
a certain image/conception of me confirmed?”
Interviewer: You mean the role of villains with
a German accent!
CW: There I must watch out. I am completely
indifferent to the eternal villain thing. I am interested in the details. The
moral spectrum of roles does not bother me. One could spend their whole life
only playing villains. But they should be different from each other. For
example, one can very well follow this spectacle in the US Election campaign;
there are only complete idiots but with different characteristics from each other!
Interviewer: Are they fantastic actors, or?
CW: No, they are awful actors but they follow
Interviewer: Are you comfortable in your new
chosen homeland when you’re surrounded by/following this drama?
CW: We are used to a lot in Europe. But what is
happening here is terrible/unacceptable. It will be the end of civil intercourse.
I only read reports in the paper, and think “My God, I am pleased that I don’t
have a television so that I can’t follow these events live”. One would be
ashamed to belong to the same species.
Interviewer: You live here just for
professional reasons. Is that okay for you?
CW: To be jetting around is laughable. You lose
too much time by flying. I find it exhausting. I always have to go “hither and
dither” [here and there] because of my job. That’s why I don’t want to widen
the difficulty of the job with another difficulty (flying).
Interviewer: They say you will direct soon
CW: I have worked very hard to create my own
film. On one side, I was successful to get it financed. On the other, I could
not stick to the beginning of the directing regime. I invested ¾ of the year in
this project to come to the conclusion that I have to postpone the whole thing
another 6 months. I don’t envy those directors who are always in such a limbo.
At least I can do something in the meantime!
I can think of only one person who
can make a film under his own conditions: Quentin Tarantino.
CW: I can think of no one else. Even Woody
Allen, who makes a movie every year, has difficulties of raising money in the
U.S. for his projects. He needs to go to Europe, where they still believe in
him. The French and the Italians will give him money. Here, he gets a little
here and there, and then makes a small movie. But we still have to talk about ‘Tarzan’.
Interviewer: What was particularly meaningful for you about this film?
CW: It reminded me about the traditional methods of filmmaking. There is a new technology, 6K. And that allowed the material to be outstandingly reworked so that one didn’t have to rely on an empty green screen for the background. One can now really create and combine new perspectives and movements in pictures. When you are lucky enough to have the money for it, then you can create really excellent digital scenes.
Interviewer: Can you really see the difference?
CW: Yes, the film does look really fantastic. They had two sets in London built with jungles, rivers, and waterfalls. And in that, they created monsoon rain. It really poured it with rain. You really can’t imagine what that was like.
Interviewer: Is it true that you had lots of fun making ‘Tarzan’?
CW: Yes, yes. It was great. It was like going back in time to old Hollywood!
That’s a bingo! Hope you enjoyed the article, and I hope our translating made sense! Really interesting answers from Mr Waltz here! Thank you for reading!
Django, Boxer (2 y/o), Spring & W Broadway, New York, NY • “She’s incredibly protective of my son, Skyler. If I scold him, she gets in between us and stares at me like I did something wrong. She looks at me like, ‘If you get closer, I’ll f*ck you up.’”