Actor Matthias Matschke doesn’t like categories. It can do it all: Sunday night comedies and detective films, contemporary history series, hardcore theater and “heute-show”. Now he takes part in ZDF’s “Herzkino”. A conversation about clichés, pink dresses and the happiness of boredom.
And gradually, in the brawl, in the internal dispute between Matschke and the creature who likes pink clothes, for example, the figure emerges from the story of which Matschke becomes the unconditional defender. And paradoxically this character becomes particularly credible when Matschke plays against something completely distant from him. The dress, for example.
Or the basically very funny wig and practically unfunny mustache that Matschke wears in the second season of Uli Edel’s series “The Palace.” He learned this allusion to artificial hair for the benefit of theatrical veracity – “I am a theater animal” – at the Volksbühne, where for five years Matschke was a star with Castorf and company immediately after studying at the University of Berlin of the Arts – There’s a lot more costume shit than on public television.
“Herzkino” are romantic comedies for Sunday evenings, romantic comedies for people for whom the parallel broadcast of “Tatort” causes too much anxiety. Stories in which people, played by German actors, meet in wonderful places, especially on the coast of Cornwall or in the south of France, and eventually find each other again.
Playing with the drawers to light the fire
Matschke cannot do anything with these categories or even with genres. Because, he says, if as an actor and as a critic you believe in categories, you establish your limits and bind yourself. Matschke has managed to downplay every drawer in which he has been placed since his Volksbühne days, since he was young actor of the year and “actor of the next millennium” (as was written in this newspaper in 1999). Curiosity, he says, keeps him alive.
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Ariane Krampe, the producer of “The Barschel Case”, was also present on the French Riviera this summer. Even someone who doesn’t care about genre, who is interested in stories, in what is told, in how boundaries can be crossed through storytelling, in any context. For Matschke there is no dress, no sun, no southern France. But the text.
“What does he say? What is the character’s need? This already undermines all gender boundaries. You simply submit to the fact that there is a phrase there. And this must be said as clearly as possible for my 92-year-old mother, who has hearing problems. The phrase is said clearly, whether you are in France, at the Herzkino or the “Palast” or the Barschel or the “heute-show”. The requirement is the same everywhere. And this is salvation for every player.”
Which now makes it difficult to theorize again. Let’s go back to the suit. In “Summer on the French Riviera” Matthias Matschke plays Michel, a soap maker with a rather questionable image of women. He has a son whose life principle he doesn’t understand.
They probably would have successfully avoided each other until Michel’s death if Karoline Eichhorn had not appeared one day as Kristin. He comes from Germany, is no longer very young and is running away from his collapsed (love) life. Anyone who already knows how it will end has fallen into the trap of the ”cinema of the heart” clichés.
Of course you could also tell the story in a gin distillery in the Black Forest. You could tell him anywhere. After all, families are a global crisis area. And of course Matschke also had to listen to good stories, because he was allowed to work where others go on holiday (by the way, he certainly liked it).
If you put people like Michel, who everyone knows, but, says Matthias Matschke, in places of desire where you can’t get as quickly as Hinterzarten and where you don’t know anyone who lives there, the public coverage is lower, they will be more easily influenced from what they see, more accessible to stories that counter genre clichés.
You can create gray areas without anyone noticing. Moving away to get closer to a phenomenon, to people, would be Matschke’s theory on the potential of the cinema of the heart.
Back pain due to vision
You just have to use it, the veracity of the format. Kerstin Ahlrichs succeeds with Birgit Maiwald’s screenplay. Karoline Eichhorn succeeds with a magnificent smile. And Matschke gives his Michel a very clear outline, a haughty and upright posture that makes your back ache as you look at him.
Matschke’s Michel is what Matschke’s characters like to be, a lean figure who very gradually breaks down his exoskeleton of conventions. And Matschke chisels – as he always does even in the three-minute sketches of the “heute-show” – the sentences so that they appear three-dimensional in space.
One would want to force him to play in all genres if one didn’t know that Matschke avoids all coercion like the devil avoids holy water. Matschke remains free. He continues to photograph – like Bernadette Ypso – above all people. Reads mountains of books. He writes – his autofiction novel about a young man in West Germany in the Seventies and Eighties has just been published, it is called “Falschgeld”; Turns.
“I’m not doing anything right now.”
Boredom, he says, is something he almost longs for now. Once upon a time he was bored. This happened decades ago. At some point in the night, when he has turned off his cell phone and the book is far away, he sometimes thinks, “I’m not going to do anything now,” which doesn’t make sense because he’s thinking something. “The brain,” says Matthias Matschke, “says thank you for allowing me to say something briefly.”
“A summer on the French Riviera”:
“Counterfeit money”: Hoffmann & Campe, Hamburg, 254 pages, 24 euros.
How does Matthias Matschke believe the setting impacts storytelling in romantic comedies?
Interview Between Time.news Editor and Matthias Matschke
Editor (E): Welcome, Matthias! It’s a pleasure to have you with us today. You’ve worn many hats throughout your career, from theater star to film actor. How do you feel about being categorized into these different roles?
Matthias Matschke (M): Thank you for having me! You know, I actually have quite an aversion to categories. When you restrict yourself to a particular genre or role, you limit your potential and creativity. I’ve always believed that curiosity keeps me alive as an actor.
E: That’s a fascinating perspective. You’re currently involved with ZDF’s “Herzkino,” which is known for its romantic comedies. Do you find that this format allows you to break free from those usual categorizations?
M: Absolutely! “Herzkino” is one of those genres that appears simple on the surface but is rich in storytelling and character dynamics. It’s about the journey of the characters—like in my role as Michel, a complex character with a questionable view of women—more than just the romantic clichés you initially see.
E: Speaking of clichés, you mention that “Herzkino” stories often take place in picturesque settings, like the French Riviera or Cornwall. How does that influence the storytelling?
M: Those beautiful backdrops certainly add a layer of charm, but I believe the core of a good story transcends the scenery. If you’ve got compelling characters and a solid narrative, the specifics of the location become secondary. You could just as easily set these stories in the Black Forest or even an ordinary neighborhood. It’s about the emotional resonance and exploring complex familial relationships.
E: So you see potential in moving these narratives to places we wouldn’t typically associate with such romantic tales?
M: Exactly! When you put familiar characters in unfamiliar settings, it challenges both the character and the audience to expand their understanding. It’s a way of pulling away from conventional genre expectations and introducing nuance.
E: It sounds like you’re challenging the audience to engage more deeply. In your view, what’s the responsibility of an actor within that framework?
M: As actors, we have a duty to communicate the essence of the character. If I play a role like Michel, it’s vital to express his needs and motivations clearly, even if that means stepping into perspectives we might not personally agree with. It’s all about conveying the truth of the moment, whether I’m in a romantic comedy or a more serious drama.
E: You also mentioned the importance of clarity in your performance. How do you ensure that the essence of your character reaches everyone in the audience, even those who may struggle with understanding?
M: That’s crucial! I strive to deliver lines with such clarity that even if someone has hearing difficulties, they still grasp the character’s intent. The message needs to be universal. No matter where I am—whether in “Herzkino,” “Palast,” or even “heute-show”—the communication remains paramount. It’s about connecting with the audience emotionally.
E: It seems like your approach to acting is deeply rooted in authenticity and connection. With your extensive background in theater, do you have a preference between stage and screen?
M: I often say I am a “theater animal.” The immediate feedback from the audience in theater is exhilarating. Yet, I also appreciate the depth that film allows. Each medium has its own beauty, and I relish the opportunity to explore both!
E: Before we wrap up, I want to touch on the process of storytelling. What excites you the most about storytelling in film and TV today?
M: What excites me is seeing boundaries blur. We’re diving into stories that deconstruct traditional narratives and explore the gray areas of human experience. It’s a rewarding time for storytelling, and I’m eager to be part of narratives that embrace complexity rather than shy away from it.
E: Thank you so much, Matthias. Your insights into the world of acting and storytelling are truly refreshing. We look forward to seeing what you bring to the table next!
M: Thank you for having me! I’m excited for what’s to come as well.