INTERVIEW WITH ANDREAS PEGLER (role: ULI)
How was the shooting for you?
I enjoyed it a lot. I was very impressed by the work of the crew, to start with Roland and Mira, but also all the others who seemed to communicate silently. And the colleagues in front of the camera were also great, professional and unpretentious. Despite the sometimes not easy circumstances (nearly nude night shootings with 4 °C in a scrapped fabric hall) never a bad word, nobody seemed to be stressed out, and if they were then they wouldn’t let you notice. A very special experience which I don’t want to miss.
Tell about your role. Are there parallels to your own life?
The obvious: Uli is a pitiful guy, whom nobody – and especially no women – would even look at. But in his visions it is exactly what they do. Parallels? I never played a role in which I didn’t discover innumerous parallels to my own life. It were always primates of the species homo sapiens who breathed, ate, drunk, were hungry, were thirsty, digested, pooped, loved, hated, regretted, despised, admired, left, were left etc.. lived and died. Oh yes, I grew up close to the training ground of the FC Bayern and therefore I’m obviously a “red one”. Just like Uli, the character I play. But Uli is not a real Bayern supporter; it is only a projection of his wife, if I understood that right.
Is there an anecdote of the shooting?
Perhaps not an anecdote, but a situation which I think tells a lot about how Roland develops his scenes, lets the scenes develop themselves. On the first day of the shooting he asked me if I knew songs of soccer supporters. I said no, not really. But I could remember a scene during the European soccer championship 2012, when Ireland hopelessly lied adrift 0:4 against Spain and suddenly a “battle song“ intoned by thousands of Irish voices sounded though the stadium. Nothing of the kind “Hi, ha ho, Dortmund is k.o.” or “Tear Bayern off their Lederhosen” but the chorus of a beautiful, very sad Irish song, ‘The Fields of Athenry’. For 15, 20 Minutes the game became irrelevant and the grass of the Danzig stadium turned into the ‘ Fields of Athenry, where once we watched the small free birds fly. Our love was on the wing, We had dreams and songs to sing, Now it’s lonely on the Fields of Athenry.’. Yes Roland said, he remembered. And I should sing this song at the end of the scene. And that is why, after a sequence of talking at cross purposes with my film wife Maja, I end up sitting alone in the bathroom with my Bayern Tricot humming ‘The Fields of Athenry’. And damn it, I had this incredibly satisfying feeling one has from time to time in our profession: God knows why, but it is true. It is absolutely true! Don’t you dare, dear Mira, don’t you dare cutting out that scene in the editing!