Oliver Masucci
Originally he didn’t want to shoot “Schachnovelle” at all
Oliver Masucci embodies the notary Dr. Josef Bartok.
© Studiocanal GmbH / Julia Terjung
In “Schachnovelle” Oliver Masucci plays a notary who goes mad in isolation. That’s why he almost didn’t want to take on the role.
Director Philipp Stölzl (54) dared to make a real classic with the film “Schachnovelle”, which starts in German cinemas on Thursday (23 September). In the remake of the last work by Stefan Zweig (1881-1942), Oliver Masucci (52) plays an Austrian notary who is held in solitary confinement by the Gestapo.
A chess book is the salvation from madness, but at the same time drives it into it. The literary adaptation is one of the great hopes for the German Film Prize – and is even hoping for an Oscar. In an interview with the news agency spot on news, he reveals why Oliver Masucci initially did not want to play the role, how he was able to switch off after filming and what the big problem of German film is.
Do you play chess privately?
Oliver Masucci: No. As a 16-year-old I once played against the chess master of the class in the school camp, it frustrated me so much. I don’t have the patience or the planning foresight, because I tend to act from my gut. But I don’t have to be a professor to play “Faust” either.
What did you like about the role of Dr. Bartok fascinated?
Masucci: At first I didn’t really want to play the role. During the first rehearsal, I noticed that it was actually too deep for me. I didn’t know if I wanted to deal with schizophrenia that far because I am so glad that I have myself under control. It’s a difficult subject for actors. I wasn’t sure if I really wanted to play this for five months.
Then what convinced you to take on the role?
Masucci: Half a year after the first rehearsal, Philipp Stölzl called and said to me: ‘We couldn’t find anyone. Don’t you want to do it? ‘ Then he sent me the storyboard in which the film was broken up, every camera position was painted as a comic, which I thought was extremely successful. That really interested me.
Then what was it like playing a schizophrenic for five months?
Masucci: That was very strenuous work. They weren’t exactly fun.
How could you get back down there in the evening?
Masucci: My girlfriend and my children keep me down. And red wine – or in Austria Grüner Veltliner. But actually it’s hard to get out of there. After twelve hours of shooting, you prepare for the next day in the evening. Actually there is no escape during that time. After we played the first phase of detention and the opening credits, I then had to work off some weight. I could relax a bit there.
How did you go about it?
Masucci: I did that while Nordic skating in Switzerland. I still had weight on my previous project “Enfant terrible”, which I had to keep for the first few months of filming for “Schachnovelle”. Physical work helps me a lot in coming down. That’s why I think it’s a shame that you don’t get coaches for German films. They should be hired by production. This is quite common in the USA or England.
You are now also involved in several international productions, you have just shot a vampire film with Jamie Foxx and Snoop Dogg in the USA, and you can be seen next to Mads Mikkelsen in “Fantastic Beasts 3”. Have you noticed any more differences to the German film industry?
Masucci: There are films that would never be financed in Germany. Basically we only have three genres in Germany: Tatort, i.e. crime, fucking drama and comedy. Unfortunately, there is often no money for other genres. With international productions you can draw on the full, everything is there.
Do you see your future as an actor more in international film?
Masucci: It depends on the roles. If the German film offers great roles, then I will remain loyal to it. We just have to invest more money in German productions. In the land of poets and thinkers, art is still totally poorly subsidized, in other countries the funding systems are much better. A film is only made every jubilee years, like “Schachnovelle”. I hope it goes to the Oscar as a German contribution.
Do you actually like going to the cinema yourself?
Masucci: Yes, very much. That was just not possible for a long time. The year before last I got an annual ticket for a cinema in Munich from Torsten Koch, the boss of Constantin, and I was really happy about it. Then Corona came and I only went to the cinema exactly once with my annual ticket. I have now bought a projector and created my own cinema at home.
Is this what the cinema of the future looks like? Everyone has their own projector at home?
Masucci: No, I don’t think so. The concepts will change, more will come out at the same time, the films will not stay in the cinema that long. But I see the future of cinema just as I see the future of theater. Going to the cinema satisfies a different need than watching a movie at home. It’s a collective experience. And it will continue to do so.
Do you actually miss acting?
Masucci: Not the bean. I can already imagine a future at the theater, but at the moment I just don’t have the time for it. I’ve been on stage for 30 years since I was twelve and have smashed and rebuilt all the classics. I really enjoyed doing that, but actually I wanted to be on the canvas.
Which director do you still want to play with?
Masucci: There are so many. Tarantino is of course one of the greats. Or Scorsese. However, wishing that is useless. In my career I have found that wherever I wanted to be there, I wasn’t there.