The episodic film “GG19”, supervised by Harald Siebler, deals with the first 19 articles of the  “Basic Law”,  the constitution of the Federal Republic of Germany. Each episode was filmed in a different city in Germany, including Berlin, Görlitz, Regensburg or Karlsruhe. The cinematic experiment consists of contributions by 25 screenwriters, 19 directors, and well-known actors and actresses in front of the camera, including Anna Thalbach, Katharina Wackernagel, Anna Loos and Kurt Kromer. The film by Movie Members Filmproduktion was made as a co-production with BR-alpha, SWR, WDR and ZDF.

The episode “The Big Con” deals with the subject of censorship. Article 5 of the “Basic Law” enshrines the right to freedom of expression, which is repeatedly referred to in the court hearing in this episode, particularly by the accused. It reads: “Every person shall have the right to freely express and disseminate his opinions in speech, writing and pictures and to inform himself without hindrance from generally accessible sources. Freedom of the press and freedom of reporting by means of broadcasts and films shall be guaranteed. There shall be no censorship.”

The story takes place in a courtroom. On trial is the TV reporter Manfred Botz, who is accused by the public prosecutor of having falsified his reports with fraudulent intent. Botz, on the other hand, invokes freedom of expression and affirms that his reports were based on facts. Right here, the episode reveals the tension between lies and truth that could not be more up-to-date, as the system of the media has changed even further and detrimentally since the filming of this production in 2007. Fake news is being misused for populist purposes, even in politics, by the most powerful in the world. Think, for example, of the ex-US President Donald Trump or the Russian President Vladimir Putin, who have their own versions of the truth.

Additional examples include the German Querdenker movement (lateral thinkers), Covid-19 deniers and QAnon supporters, all of whom bring the most incredible conspiracy narratives to the public.

What the TV reporter Botz did to increase audience ratings is only a comparatively harmless harbinger of what happened in the mass media in the following years and which has reached unprecedented heights of harm today in terms of fake news.

That his “news reports” are very real developments is Botz’ defense argument, while the courts position is that the sale of fantasy stories is unethical and therefore fraudulent. Botz counters, that the judge, lawmakers and prosecutors have no idea how journalism works. That in fact “all news is actually staged”, sounds plausible, coming from such a confident, persuasive and handsome accused.  Botz , who defends himself claims that it were his “ staged television pictures on November 9, 1989, showing people crossing the border that had mobilized the masses and led to the opening of the Berlin Wall that same evening. This was true journalism, (he added) that was closer than reality itself”.

The fact that he is now also producing multi-million dollar PR campaigns, on behalf of unnamed employers to make the welfare state “leaner”,  backed up with false statistics in order to completely change the climate of public opinion, is all the more oppressive since these elements of the story are based on real facts, as the director explains in the credits of her director’s cut: “The trial was re-enacted – based on video recordings that were passed anonymously to the director.” Nina Franoszek emphasizes this aspect of the staging again in her interview (Conversation with Nina Franoszek, Page 110)

The female journalist, who sits as a spectator in the courtroom, plays a particularly important role in the story. She has previously put on a pair of glasses with a hidden camera in the restroom to (illegally) record the trial. The fact that the defendant Botz knows her, that the two of them are probably in cahoots, can be seen through furtive exchanges of glances between the two.

Here, the episode of the feature-length version and the director’s cut, which has the title “Meinungsmacher” (Spin Doctor), differ in one essential point. In the feature-length film, as the judge clears the courtroom, because the gallery had gotten unruly, the female journalist leaves to tell an unidentified person that the video recording didn’t work and throws the videotape into a trash can.

In the director’s cut, there’s this one brief moment in the courtroom when, in the commotion, Botz beckons her over and asks: ‘Give me the glasses!” to keep on recording. But she doesn’t comply, instead she leaves the courtroom. In the subsequent phone call with an editor-in-chief we find out that she refuses to participate in this kind of journalism. Here she demonstrates a professional ethic that the defendant has completely lost and the episode continues to raise important thought provoking questions that inspire viewers to reflect on the subject of: How far can journalism go and are there limits despite the freedom of expression enshrined in the Basic Law?

A conversation with director Nina Franoszek about her episode “The Big Con” from the compilation movie “GG19”

How do you remember the start of production in Karlsruhe?

To be honest, I was thrilled that we were allowed to shoot Article 5 of the Basic Law in the “City of Law”, the city that hosts, among other things, the Federal Constitutional Court and in a broader sense guarantees the Basic Law, the central civil rights and social values ​​such as diversity, openness and legal certainty for all citizens. From my perspective, it gave the court case in the film even greater importance and also the fact that Karlsruhe had taken on sponsorship for this episode’s film production, made us all very grateful.

I was very impressed by the “Platz der Grundrechte” (Square Of The Basic Law), Jochen Gerz’s work of art for public space, which, like the compilation film GG19, made a stiff subject come alive and I asked myself: “What do law and justice mean for the individual and for our democracy ?”

Unfortunately, I didn’t have much time for sight seeing in Karlsruhe. I was busy with casting decisions and meeting actors until the first day of shooting, because the actual lead actor, who was supposed to play the accused journalist, had unfortunately dropped out a week before shooting began. 

Luckily Nikki von Tempelhoff was ready to jump in one day before the start of shooting. He immediately threw himself into preparations for the role and reassured me by saying: “I can learn text incredibly quickly”. It was amazing. We discussed the background of the character, subtext, motivation and costume selection on the phone while each of us were packing our suitcases.

Besides that, I was very lucky that the three lead actors Karoline Eichhorn, Justus von Dohnányi and Nikki von Tempelhoff, were not only good friends, but also traveled together from Hamburg and used the train ride to go through the scenes together, so that Nikki had the chance to get a feel for the story, and everybody was well prepared for the table read, as well as the subsequent shoot in Karlsruhe.

At 7 am, on the first day of production, an hour before shooting started, the role of the video recording journalist was recast at short notice, by the producer, presenting an unexpected challenge for me. Costume and make up for this silent but meaningful role were discussed during set ups and in between individual takes. The Karlsruhe stage actress Farida Shehada, who was just cast and debuting her first film role, faced the particularly difficult acting challenge of making this non-verbal, subtle role, based on only subtext, credible with a few gestures and glances. Like Nikki von Tempelhoff, she completely got fully immersed in the role and I am very grateful for her extremely short-term and full commitment.

How did you come by this project? Were you approached specifically for the episode “The Big Con” and what attracted you to this story?

I had been friends with casting director Anja Dihrberg for years because of my work as an actor and I knew Harald Siebler, the producer of “GG19”, as a theater director. In 2003, I, like Jürgen Vogel and many others in the industry, wrote a “Letter of Intent” to get the project rolling – basically a declaration of willingness to participate in the project. I was a firm believer from the get-go and found it incredibly exciting. In 2006 I was invited to a GG19 event during the Berlinale as a supporter of the project. At that time, in addition to my acting, I had directed theater but not yet directed a film, and I was very grateful to Harald Siebler when he offered me to direct an episode shortly afterwards. That was, so to speak, the highlight that launched my film directing career.

I was given four scripts to choose from and initially chose the episode “Kaspar’s Legacy”, but then Harald Siebler convinced me to direct the intimate court room drama, where I could concentrate more on working with the actors. I accepted the challenge, started working on my cinematic concept and revised Falko Hennig’s movie script for the shoot. Upon agreement with production I added the character of the female journalist and alleged accomplice, as well as her POV through the video glasses. Script consultant Raimund Maessen and lawyer Katrin Mülders helped me to refine the corresponding legal backgrounds, motifs of the characters, and dialogues.

When my dream cast, Karoline Eichhorn and Justus von Dohnányi, accepted the roles, I knew: “Nothing can go wrong now!”, because as the saying goes, “Directing is 90% casting” and casting director Anja Dihrberg was simply unbeatable! Above all, because we all worked on a voluntary basis we accepted deferral contracts. In plain English, this is an agreement to defer all of our pay until the production has the money to pay us with potential distribution of profits (which, however, rarely happens), and as we all knew, “this was just for fun and for free”, I gave the renown cast great credit for participating.

In the credits you appear as “Alan Smithee”. Why is your real name not used here?

This is an indication that there is a “Director’s Cut”, in contrast to the “Producer’s Cut” that was used in the compilation film.

I had supported the project because I loved the idea for artists, writers, actors and directors to discuss and engage artistically with the Basic Law, and for everyone to be able to choose their own version, genre and style. 

In the end, however, it was certainly not easy for the producer to bring the very different film styles into an overall framework, after all it was his debut as a film producer. For this purpose, director cuts were changed and the various episodes were combined with the music of FM Einheit, which legally was a tightrope walk – which we were able to solve to everyone’s satisfaction in cooperation with the Directors Guild and the producer. 

In any case, my “Directors Cut” did not end up in the compilation film, therefore I identified the “production cut” with the official pseudonym “Alan Smithee” at the time. This is basically the hint for film insiders that there is also a “Director’s Cut” that was then screened in Los Angeles at the Goethe Institute.

What do you have to pay attention to when you are responsible for an episode of a movie that has to fit into the overall film?

Apart from the given length of exactly seven minutes, each director was completely free to express his/her artistic vision. However, it was important from the start that each episode had its own style reflecting the individual directors. During this time there were many other compilation films such as “Paris, je t’aime”, where it was known that this is now the Tom Tykwer part and this is the episode of Gus van Sant or of Gérard Depardieu. In this format the audience looks forward to the interpretation of each director, even if they are not well-known.

What was it about this episode that attracted you overall and how did you implement your vision?

My episode is about freedom of expression, if you will, which I personally had been concerned with for a long time. What’s happening today and what you see on Fox News, for example, is a manipulation of opinion that produces fake news under the guise of freedom of the press.

At the time we made this film, there was a scandal with a large-scale neo-liberal campaign “The Initiative for a New Social-Market Economy (INSM)” founded and funded by the metal industry employers’ association in 2000 to shape public opinion and policymaking, which was actually campaigning for unemployment and social benefits to be abolished, tuition fees to be introduced for traditionally free college education and taxes to be reduced for employers.

As it turned out, they surreptitiously paid to have the scripts and dialogues of actors changed in Germany’s most popular daily soap opera, Marienhof, to positively represent the dogma of the INSM, fully intending to manipulate the opinion of the audience. This was very explosive for me at the time and I worked it into the script.

Initially the arguments of the accused seem plausible in my film, he seduces us, until we learn from the prosecutor how manipulative and dangerous he is, and that in fact, he was also the one who was placing the false reports on behalf of the INSM. The female journalist who illegally films the court hearing for him through video glasses, realizes from the statements of the public prosecutor, what she has become involved with and then decides not to go along with it.

During the filming, as a big fan of Sidney Lumet, I kept thinking of his feature film “12 Angry Men”. However, for me it was not about the group dynamic of jurors in the US courts, but about the personal responsibility and civil courage of the individual. In this case, the female journalist decides, during the hearing, not to contribute to the fake news and a manipulation of the facts, but to destroy the material she recorded.

The film was shot in the district court of Karlsruhe-Durlach. How was the hall redesigned for the film? In the original state it looks a little different …

Yes. That’s correct. Interesting that you ask about it. Albrecht Silberberger, the cinematographer, was already there in Karlsruhe, had seen the location and sent me the photos. When I saw this white courtroom, it was too sterile for my aesthetic vision for the film, and I asked that it be painted. That was done and it looked great. The city authorities looked at it in disbelief and asked: “Why did you paint the courtroom so dark?” I reassured them, “it condenses the atmosphere in the film, makes the tension more dramatic and the actors expressions more pronounced”. It worked perfectly and I love the light that Albrecht created to this day. It was a great collaboration.

How many days of filming were available for the episode on location in Karlsruhe?

We only had three shooting days for the film that included a short guerrilla shoot (without permits and a bare-minimum crew) to round off the scene of the journalist’s departure with images of a gate nearby which, thanks to Albrecht Silberberger’s lighting, looked like the entrance to the court even though it was actually a drive-through. And then we had to quickly relocate up to the Turmberg castle and film our pan shot over Karlsruhe before sunset. Filming remained exciting until the last shot was in the can.

Another challenge was the filming of the video clip with the immigrants and right-wing extremists in the courtroom, since I hadn’t another shooting day, but preferred a video clip over photos as evidence. I remembered that my friend Dani Levi had shot a scene like that in the anti-fascism compilation film, “Germany in Autumn” (episode “Without Me”) on which we had worked together, among other films. He was so kind to make the video clip with the right-wing extremists, that is shown during the trial, available to me. It was a wonderful gift from another director, and I am grateful to him for it to this day.

The episode is about the right to freedom of expression, which was very much discussed last year in light of the many fake news reports that were spreading via some media. The episode was almost prophetic in terms of the development of the reporting … Yes, exactly! Maybe also because I was living in the USA at the time. The Swiss star journalist Tom Kummer had just been exposed as a purveyor of fake news causing one of the biggest media scandals in Germany. It turned out that his interviews with well-known celebrities were largely fabricated, and his lack of insight on the theory of “redefining reality” made him a perfect model for the role of the defendant Manfred Botz’s alter-ego.

The original script written by Falko Henning was inspired by the journalist Michael Born, who in his “fake news” showed alleged child slaves in India knotting carpets for IKEA, staged a Ku Klux Klan meeting with friends in the German Eifel for which his mother had sewed the robes and many other falsified documentaries. Born justified himself by saying that at the beginning, the focus was not on the fun of counterfeiting, but on concern for one’s own safety and journalistic zeal. After four years in prison, however, the media landscape had changed so much that he no longer understood why he had actually been convicted.

I believe that conspiracy narratives or alternative facts generally bring good ratings, especially because traumatized people want to hold on to something when they are afraid or very insecure. You are then the one who already knows everything or who already has access to the truth, which gives you the feeling of control, or a scapegoat for the respective situation. This in turn protects against having to face reality, one’s own helplessness and loss of control. But life is of course much more complex. We all are limited in our understanding. We all have fears or are directly impacted by the events around us and always have more questions than answers. It was important to me back then to question this and raise awareness. That was, so to speak, and still is today, one of my passions.

More bout the book

What inspired you to become an actress?

I think it’s important to briefly mention that I was born and raised in post-war West Berlin as a child of young flamboyant artists, because that shaped my questions about life and how people treat each other and later my decision to pursue acting.

We were surrounded by the Berlin wall, that marked the border with the “death strip” behind it, with victim-activated anti-personnel mines and watchtowers from which Germans who tried to escape from East Germany were gunned down by their own countrymen. Although being an iconic center of the cold war, West Berlin was the freest city in the world, We even painted the Wall surrounding us with colorful Graffiti and making it part of our expression and daily life.

The thriving artistic scene attracted a lot of people who pursued alternative lifestyles, and artists like my parents, who were also active in the ’68 student movement. They were war children and revolted against everything they believed their parents represented, they rejected traditionalism and German political authority which included many former Nazi officials. They lived in open relationships and their parenting was “anti-authoritarian”. Like Jackson Pollock, they threw paint on canvases as an abstract expression of the silent cries of their inner children’s souls, as a protest against degenerate art (“Entartete Kunst” a derogatory term adopted by the Nazi regime in Germany), as an expression of a new area in which love, peace and mind-expanding drugs were salvation.

When I was 12 years old, I saw the first films of concentration camps and tried to understand why people commit those atrocities and how it could have happened. I wanted to understand the human condition and the nature of life and had questions like: Where do we come from, why are we here  and where do we go?

Shortly after I learned that the word theatre comes from the Greek theatron and means “Seeing the place we live in“ or “The Seeing Place”. People go to this place to see the truth about life, social and political situations.

With my questions about Germany’s past and witnessing the student protests against the Vietnam war, the women liberation and flower power movement from a teenagers point of view, I thought it was the most important and most needed place for society.

And theaters played a vital part in my unique upbringing, especially the Schaubühne, where they played experimental pieces, and new approaches to stage performances and the Grips-Theatre, a well-known streetwise and well-respected emancipatory children’s and youth theatre, where everyday problems and children rights are still skillfully explored on stage.

I knew I was an artist like my parents, but expressing myself on canvas wasn’t completely fulfilling for me. I wanted to understand people and embody them, and was already exploring different physical expressions practicing martial arts, then Butoh dance, and later Korean theater.

When I was 15 years old I met Samuel Beckett, who directed “Waiting for Godot” at the Schiller Theater and and ex con and former San Quentin inmate actor/director Rick Cluchey, who brought his plays “The Cage” and “The Wall is Mama” to the Schaubühne in Berlin.

It seemed to me like Beckett had captured these questions I had and threw them back at me – like a mirror – reflecting the bleak and hopeless and its absurdity, that my parents, the children of the war, were trying to overcome – by magnifying them in the “Seeing Place” and by doing so, he was deeply reaching my soul.

Rick Cluchey, who was serving a life sentence in San Quentin for armed robbery and kidnapping discovered the work of Samuel Beckett, after the San Francisco Actor’s Workshop staged a production of “Waiting for Godot” for the inmates. He had became an actor, writer and director in prison and was redeemed through theatre. (Nick Nolte played him later in “Weeds”, a movie inspired by his real-life story.)  Although deeply impressed by his personal transformation, I felt a bit intimidated by him at first, but curious about his play that he had invited me to.

Watching “The Wall is Mama”, that plays in Mother’s Bar in NYC’s lower Eastside in 1978 was an unbelievable experience. It was such a precise milieu study created from Rick’s intimate knowledge of the language and psychology of America’s ghettos and prisons that it felt absolutely real. I went into a theater in Berlin and entered the lower Eastside in NYC. He made us, the audience, part of the performance by making us bystanders- in this bar where a violent conflict breaks out between a drug dealer, a transvestite, a black crippled preacher, a mafiosi from uptown Manhatten and a racist Vietnam sergeant, who feels above them –  the acting was so real… I had never seen anything like that… it was raw, true and authentic and had a profound effect on the audience.

I experienced that acting and theater had the power to transform your life and the life of the audience. I later learned that film will do that too. I went home and told my parents, that this is what I was going to do.- And I did.

Who are your acting inspirations?

Children, animals, people from other cultures and heroines: Remarkable complex mature women, who push their limits and overcome the challenges of life and society, women who make an emotional, psychological and social impact and/or expand consciousness.

I’m tired of the underrepresentation of mature women on screen. And when cast, only to see them in stereotypes who are ambitious, bitchy, bitter single business women and witches, or with storylines that revolve mostly around maternal or matriarchal themes.

I’ll be 60 next year and I’ve made it my mission to portray the beauty, intelligence, humor and wisdom of mature women – no more clichés, but cosmopolitan, complex, women who know, who they are and what they want – who have a high level of intelligence and strength that makes them appreciated and attractive.

And if I don’t find those roles, as a protagonist in a great movie script and/or limited streaming / TV series, I’ll write them myself.

What is your favorite thing about acting?

Acting allows me to embody many lifetimes in one lifetime, express the best and worst of human nature without bearing the consequences, and in doing so to understand humanity and myself more deeply.

I love to tune my “actors instrument” exercising my imagination, working on my emotional “library”, my sensory expression, empathy, voice and intelligence, and constantly learning new skills from martial arts, to dance and instruments, to side sattle riding and motion capture performance, working in different cultures and languages.

I’m a lifelong learner, I explore and contemplate life, studying literature, film, theater dance, art, psychology,  ethnology, shamanism and other sources of inspiration to transform myself and  the audience.

What was your first acting job?

I was 18 years old applying at national conservatories of dramatic arts, when I was cast in three films at once: a TV movie and 2 feature films.

I played a motorcycle girl who ambushes and seduces the lead, played by Heinz Hoenig in the feature film “Be Gentle Penguin” by Peter Hajek.

In the feature film “Domino” by Thomas Brasch, whom I admired deeply since I had read his book “The Sons Die Before The Fathers”, I was allowed to play Katharina Thalbach’s dresser in a theater scene. I was so impressed by both of them and their work I didn’t want to leave the set.

In the TV movie “Repetition”, I played the female lead based on a script by Detlef Michel and directed by Host Schwab. The barkeeper Conny not only turns her customers’ heads but uses their lottery money for her own purposes until a rude awakening occurs.

What made that TV movie so special was that we were trained in “method acting” which was at that time not yet really known in Germany, except for a small group of actors that Lee Strasberg had taught for two weeks at the theater in Bochum in 1978.

We were trained for over a month in his technique, a self-exploring emotional journey and developed our characters and on camera acting by living our characters throughout. It was, so to speak, the first German “Method Acting” film, followed by a talk show discussion on television, which discussed the extent to which my realistic way of acting differed from German film acting.

What is your favorite project you have ever done?

I can’t decide between those:

Buster Bedroom – Rebecca Horn’s motion-picture homage to Buster Keaton. It was my first role in english as a tap dancing nurse, working with such an amazing cast & team I’ve learned so much from: Sven Niqvist behind the camera and co-starring with actors like Geraldine Chaplin, Donald Sutherland, Taylor Meat, Martin Wittke, Amanda Ooms, and Valentina Cortese meant the world to me.

Mad Man – being part of this magnetic, cinematic, Emmy Award winning 1960s period drama was just a bliss. Matthew Weiner’s exceptional writing, precision and attention to detail, Jon Hamm’s humor, professionalism and being a Mensch and all of that in Frank Sinatras house. The JET SET  episode was described as “intriguing” a Fantasy a la David Lynch with a Fellini-esque touches – I couldn’t have ask for more…

Martha – a modern Mrs. Robinson story with an interesting twist, based on a real woman, by the award-winning director and screenwriter Mara Eibl-Eibesfeldt. Mara’s vision of the film and how she made us explore these two characters was such a deep and interesting experience. I yearn for more leading roles and collaborations like that.

What are some qualities you look for in a project?

When I’m acting I look for compelling leading roles that have an arc, depths, complexity, and truly resonate with an audience; vital, strong, outspoken characters that let me show their growth/ change with my emotional range.

As a director I look for character driven stories with strong writing, original ideas and a Unique Point of View that have the capacity to transform others, may speak to their souls or raise important thought provoking questions that inspire viewers to reflect on the subject of the story.

Which character that you have played so far has been the most similar to you

None – I  put my whole heart, mind, and soul in everything that I do and that will serve the character, but …I guess I’m currently waiting for my Christoph Waltz moment- a role where I can bring my complexity and whole skill set to.

I am known for portraying strong female characters, complex women – sensual and sophisticated, forthcoming mothers, assertive teachers and outgoing socialites, if needed in different European languages.

The roles are nurtured by me and my experiences, but I’m always at the service of the author, the director’s vision, that doesn’t mean I don’t get fully immersed, but I make myself an instrument, let “IT” play and therefore make often deep new experiences about people and the reasons behind their decisions – acting makes me more emphatic and at the same time teaches me how I want to be and how not, because I could make it tangible.

How would you describe yourself in three words?

Determined Inspirational Sage – a true artist embracing humanity

What are your social media handles?

@ninafranoszek  @thehollywoodconnectress

Where do you see yourself in ten years?

acting, directing , teaching , enjoying my life with family, friends and inspirational projects, a huge garden, dancing at the beach and a lot of fun and pleasure – its exactly what I’m doing right now.

What are three qualities every actor should have?

Curiosity, courage and to be absolutely truthful

 Do you have any advice for an aspiring actor?

Be so good they can’t ignore you – Steve Martin

“Study the science of art. Study the art of science. Develop your senses — especially learn how to see. Realize that everything connects to everything else.” —Leonardo Da Vinci

Learn from the best, from working actors, film professionals, who are really playing in the “arena.” and have successful careers.

Listen!

Get to know, love and embrace yourself.

Don’t do it for fame or money, but negotiate well.

Find your tribe.

What’s next for you?

Playing a part in a show that I can’t disclose yet.

Writing the strong female characters I talked about. I’ve already have two historical projects and write about my life in West Berlin.

I aspire to direct again and currently put my directing reel together.

I also develop a VR Experience / Game that interacts with reality. It evokes awareness, communication, action and change.

And I’m coaching and consulting actors and film professionals who want to work in Hollywood.

RAPID FIRE QUESTIONS

Who is a director you would love to work with?

A director, who

• has a strong vision, but is open to better ideas that come along
• knows how to get what he /she wants with what he/she has
• understands real human behavior
• allows the actors to explore their instincts, knows where they need to be emotionally and in the story, can communicate the needs of the scene and lead to strong performances
• leaves a mark on their films that are unique and unmistakable
• has a good team of people who work well together
• has an audience.
• don’t need to raise their voice – when he/she speaks everybody listens

What is something you can’t live without?

Love, inspiration, nature, the ocean, my family and friends

What is your biggest pet peeve?

IGNORANCE –  people who disrespect other beings and the environment and when conscious people become radical

Do you have any hidden talents?

 good teacher

Do you play any instruments?

jaw harp

What is your favorite pastime?

paddle boarding, horseback riding, dancing at the beach and doing nothing

Do you have any pets?

Yes, a cat named Bowie, as she has a green and a blue eye.

What is your biggest fear?

to not trust or follow my intuition

What is your favorite film genre?

Dark Comedies – and movies/ series that will feed your heart, mind, and soul.

Interview online

KCRW Berlin, Monika Müller-Kroll: You might know Nina Franoszek’s face from the TV drama “Weissensee,” from “Mad Men” or Roman Polanski’s “The Pianist.” The German-American actress and acting coach has appeared in over 100 films and TV shows over a career spanning 20 years.

Nowadays Franoszek has also become a de facto ambassador for the German film community on both sides of the Atlantic. We caught up with her to talk about rejection, life in L.A., loving Berlin and being typecast in Hollywood. “I don’t particularly come across German,” she says. “I’m a little bit too warm for German, so I play a lot of French.”
You can listen to the KCRW Berlin interview here.

Hollywood Reporter Interview: Wolfenstein Stars Brian Bloom and Nina Franoszek Address Nazi – Controversy

The main antagonist, Frau Engel,  is played by the magnificent Nina Franoszek in a performance that conjures the majesty of Jessica Lange from season 4 of “American Horror Story.” Frau Engel makes you want to kill her from the moment she walks on the screen and – well I won’t spoil that for you either.” – Tristan Greene TNW Gaming

“She’s a villain worthy of Tarantino, simultaneously cartoonish and terrifying. Even her Nazi comrades are afraid of her callous, murderous enthusiasm. It’s hard to imagine how MachineGames will be able to top Engel in the inevitable follow-up.” – Jake Leary, The Ithacan

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Nina Franoszek, was already an established film and TV-actor in Germany when she made a fresh start in the USA

I quickly felt comfortable in Los Angeles. The people’s inviting approach to life attracted me, their positive attitude. On the other hand: Who ever has a bad attitude, nags too much or criticizes, is left out pretty quickly, especially at a film set. My outspoken, direct Berlin attitude wasn’t in demand.

In Germany it’s the other way around: If you want to be accepted as an artist you need to be critical and question everything and everyone. Most people find too much optimism suspicious and a pessimistic attitude towards your own career saves you preemptively from disappointment – the so called calculated pessimism.

Here in California nobody dwells on negative aspects, not even for a second. To the contrary: If there is a conflict or a problem, you focus on the potential of the situation and foster that.

You act solution-oriented – and in my experience that applies to almost every situation in life. German actors who try to make it in Hollywood receive usually mocking from German media and colleagues: You think you’re a cut above now; we aren’t enough for you anymore. Often envy and malice resonate.

And yet I didn’t come to Hollywood 16 years ago to lead a glamorous life. That is another German idea – either you become a “star” or you have “failed.” I am here – as I am in Germany – a working actress, sometimes with more, sometimes with less success.

Besides, I know the inner voices that want to undermine my confidence all too well: “You can’t do that! Who do you think you are! Cobbler, stick to your trade!” By now I listen to those voices like I listen to an annoying radio station I cannot switch off. Instead of following them I trust my intuition.

And that one often tells me: Nina, go for it!

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 Get the PDF here.

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“I find the optimistic attitude of Californian’s towards life very refreshing” – Nina Franoszek from Berlin; roles among others in “Mad Men,” “The Brink,” “The Pianist”

You are from Berlin and were very successful in Germany. Why did you go to Hollywood?

That unfolded gradually. First of all, I experienced Hollywood as an expansion of my playing field, not as a rejection of Germany. But then I noticed how quickly I felt at home in L.A. And at the same time I was somewhat shocked: Why here, in this infinite maze of a city?

And what was the reason?

Particularly people’s tolerance and this fundamental optimism, the positive attitude. I still find that very refreshing compared to the rather critical approach which somewhat belongs to many artists in Germany. And the light, the sun, the proximity to an insanely beautiful nature. The beaches of the pacific ocean, the blooming desert, snow-covered mountains – it’s just phenomenal.

Have you come to appreciate the city L.A. in the meantime?

Yes. I’m always fascinated by the multicultural presence of film, literature, music, architecture, spirituality and lifestyle – at each corner, always different – and of the permanent innovations in film and new media which give me the feeling to have my finger on the pulse of time and I’m grateful to be part of it.

Nina Franoszeks tips for L.A.

Farmers Market

The most beautiful market in L.A. with specialties from around the world. And a place with history: This is where the German-Jewish immigrants met. Today you can hear old movie directors debate in the cafes.

6333 W 3rd St., open daily, www.farmersmarketla.com

 

Schindler House

To me this bungalow is the quintessence of Californian architecture: the play with interior and exterior, with sliding walls and glass – amazing. Built in 1922 by an Austrian, today field office of the Austrian Museum of applied Arts.

835 North Kings Rd., closed mondays, tuesdays, phone 001-323-651 1510, www.schindlerhouse.org

 

The Rose Café

My favorite cafe – and probably the last relict from the times when Venice was still a kind of Kreuzberg by the sea.

220 Rose Ave, Tel. 001-310-399 0711, www.rosecafe.com

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