H:The passionate love between two women ina prime time TV movie.
What attracted her to this, that’s what I would like to know fromthe magnificent Ina Weisse.
A film that will be broadcast during the coming week, this comingwednesday, during prime time on ARD. Init you play a woman who get caught up ina passionate love affair with another woman even though both women are firmlyin hetero relationships.
What attracted you to this role?
Ina: Well that…what I particularly loveabout the script was this seesaw of her feelings.
It was this…she was drawn by this woman,and then she’d torn away, and she would make moves towards her again, thenwould be ashamed. So this whole amplitude, this whole up and down…
I found that very believable, very…and…andvery beautifully written. And what also interested me was actually theobsession. I mean not that she was now in love with a woman, it could have beena man, but it was a woman. But that she I found it very brave, to be in afamily. She has two children, she has a husband, she’s an architect. And thenshe meets this other person and is unable to help herself, she has to followthis feeling. And she’s torn. Yes, she’s torn by this seesaw,
as you said. I’m sort of giving this awayhere. She stay has to pursue this feeling. Even if she is torn. She retreats,but then move forward, she advance again.
H: I was surprised that ARD would air thisdory prime time. A film in which love between two women is such a significantpart. And I’m wondering, after watching these scenes. Because it does haveoutright love scenes. I mean, erotic ones, was that different for you? I mean,I think performing love scenes in front of the camera is never exactly thegreatest thing one can imaine.
Is it different doing that with a womanthan with a man ? A different level of inhibition ?
Ina: Hm, I didn’t find it to be. No, I didn’t.Because in that moment, these’s a focus on this person.
And naturally it is something different, Imean it’s not every day that I kiss a woman, but nonetheless, in that moment,it’s a focus on the person, and then it’s during that moment, it’s irrelevant.
H:You’re not alone, but are surrounded bythe crew, by the camera, how do you break that tension that’s of course there?Do you do it with humer, for example,do you make jokes in order to relievepressure from the situation ? Or how does that work ?
Ina:Well, of course, everyone wasanticipating it, because it turn out that it was actually more interesting foreveryone than I had realized that two women were kissing. So everyone waswaiting for this moment, and we were getting more and more nervous, and they doa bit more than that. Yes than kissing. Yes, I mean it always strange when abunch of people are standing around while you’re undressing. That’s I don’texactly love running around naked, and so it’s or at least not when otherpeople are around. It wasn’t …that’s won’t so enjoyable. Although, it has to besaid, Rainer Kaufmann was the director and he created a very nice atmosphere.That’s always a great thing, when a director is able to do that ,that there’sthis space where one feels relatively free. Although, I have to say, with thosescenes, in the beginning, we played them very romantically, these love scenesand then, at the end of all the shooting, realized when the film sort of allcame together, we realized that didn’t work well. And so, on the last day ofshooting when we were all sick. I had lost my voice, but didn’t need itanymore, either then we short all of the love scenes over again. And then allone day ? (LOL) A lot of work, then we really let everything..let all barriersfall away ,saying, He’s going to film whatever happens…which is what happened.It’s not as though…it could have also turned out pornographic. But I don’tthink so, hope not, believe it wasn’t too.
H: No, I think it turned into a wonderfulfilm, because it just strikes you as read. Because the way the variouspersonalities. I mean, by the two men as well, the way they’re portrayed.Incidentally, a really wonderful job, it was a great ensemble, that must besaid.
Ina: Yes, Olrich Noethen is great too.
H:It’s all believable, you know. Andnevertheless I was thinking. I wonder what that’s like for a woman to film arole like that. That really captivated me, I honestly have to say preciselybecause it isn’t something you see on television everyday. And we talk about ita lot, in the media homosexuality is more or less not an issue anymore. Butfilms like this are actually rare, one would have to say. And so, in thatlight, I’m thinking, a man did this film, Rainer Kaufmann and yet the lovescenes were exceptionally lovely and also passionate.
Ina weisse: Yes, yeah… I do have to say.
H: You also work as a director, not just anactor. Where are you able to be more analytical ?
As a director you’re fixated on a goal. Areyou that way as an actor as well, or are you an actor who plays from the gut ?
Ina: Hum, well, I think when you’re actingin that moment, you forget yourself, you just act. And for that reason, I wouldalso have difficulties, for example…because of course people sometimes ask meif it wouldn’t be nice to be directing, as well. But that really wouldn’t interestme much.
And I don’t think I’d actually be able to,either because when you’re directing, you’tre concentrating very hard on thepeople. And then to make that leap, where you’re acting completely closing offall awareness of what’s going on around you. This leap back and forth, I wouldfind that very exhausting, In other words, while you’re acting. You’reconcentrating on the part you’re playing. And everything else is irrelevant.
H: So you just said, you were acting, butyou also abserved yourself. You said.
Ina: That’s what I would be doing, if I hadto be directing myself at the same time.
H: Yes, But in this film, for instance, yousaid, we looked at it again, together. And saw that we couldn’t do it likethat, it wasn’t working right. We have to shoot it all again, and those of allscenes. Yes, that’s true, right. Was that hard for you? I mean to even watch ?Well, because it wasn’t right.
Ina: Because I noticed it wasn’t working,it didn’t work right for the film. Therefore it was good to watch. No, no, thatdidn’t bother me.
H: Then I wish you a good Wednesdayevening, you can sit there in relaxed peace at home and explain to your husbandhow it with that woman on set.
Ina: Thank you very much.
What attracted her to this, that’s what I would like to know fromthe magnificent Ina Weisse.
A film that will be broadcast during the coming week, this comingwednesday, during prime time on ARD. Init you play a woman who get caught up ina passionate love affair with another woman even though both women are firmlyin hetero relationships.
What attracted you to this role?
Ina: Well that…what I particularly loveabout the script was this seesaw of her feelings.
It was this…she was drawn by this woman,and then she’d torn away, and she would make moves towards her again, thenwould be ashamed. So this whole amplitude, this whole up and down…
I found that very believable, very…and…andvery beautifully written. And what also interested me was actually theobsession. I mean not that she was now in love with a woman, it could have beena man, but it was a woman. But that she I found it very brave, to be in afamily. She has two children, she has a husband, she’s an architect. And thenshe meets this other person and is unable to help herself, she has to followthis feeling. And she’s torn. Yes, she’s torn by this seesaw,
as you said. I’m sort of giving this awayhere. She stay has to pursue this feeling. Even if she is torn. She retreats,but then move forward, she advance again.
H: I was surprised that ARD would air thisdory prime time. A film in which love between two women is such a significantpart. And I’m wondering, after watching these scenes. Because it does haveoutright love scenes. I mean, erotic ones, was that different for you? I mean,I think performing love scenes in front of the camera is never exactly thegreatest thing one can imaine.
Is it different doing that with a womanthan with a man ? A different level of inhibition ?
Ina: Hm, I didn’t find it to be. No, I didn’t.Because in that moment, these’s a focus on this person.
And naturally it is something different, Imean it’s not every day that I kiss a woman, but nonetheless, in that moment,it’s a focus on the person, and then it’s during that moment, it’s irrelevant.
H:You’re not alone, but are surrounded bythe crew, by the camera, how do you break that tension that’s of course there?Do you do it with humer, for example,do you make jokes in order to relievepressure from the situation ? Or how does that work ?
Ina:Well, of course, everyone wasanticipating it, because it turn out that it was actually more interesting foreveryone than I had realized that two women were kissing. So everyone waswaiting for this moment, and we were getting more and more nervous, and they doa bit more than that. Yes than kissing. Yes, I mean it always strange when abunch of people are standing around while you’re undressing. That’s I don’texactly love running around naked, and so it’s or at least not when otherpeople are around. It wasn’t …that’s won’t so enjoyable. Although, it has to besaid, Rainer Kaufmann was the director and he created a very nice atmosphere.That’s always a great thing, when a director is able to do that ,that there’sthis space where one feels relatively free. Although, I have to say, with thosescenes, in the beginning, we played them very romantically, these love scenesand then, at the end of all the shooting, realized when the film sort of allcame together, we realized that didn’t work well. And so, on the last day ofshooting when we were all sick. I had lost my voice, but didn’t need itanymore, either then we short all of the love scenes over again. And then allone day ? (LOL) A lot of work, then we really let everything..let all barriersfall away ,saying, He’s going to film whatever happens…which is what happened.It’s not as though…it could have also turned out pornographic. But I don’tthink so, hope not, believe it wasn’t too.
H: No, I think it turned into a wonderfulfilm, because it just strikes you as read. Because the way the variouspersonalities. I mean, by the two men as well, the way they’re portrayed.Incidentally, a really wonderful job, it was a great ensemble, that must besaid.
Ina: Yes, Olrich Noethen is great too.
H:It’s all believable, you know. Andnevertheless I was thinking. I wonder what that’s like for a woman to film arole like that. That really captivated me, I honestly have to say preciselybecause it isn’t something you see on television everyday. And we talk about ita lot, in the media homosexuality is more or less not an issue anymore. Butfilms like this are actually rare, one would have to say. And so, in thatlight, I’m thinking, a man did this film, Rainer Kaufmann and yet the lovescenes were exceptionally lovely and also passionate.
Ina weisse: Yes, yeah… I do have to say.
H: You also work as a director, not just anactor. Where are you able to be more analytical ?
As a director you’re fixated on a goal. Areyou that way as an actor as well, or are you an actor who plays from the gut ?
Ina: Hum, well, I think when you’re actingin that moment, you forget yourself, you just act. And for that reason, I wouldalso have difficulties, for example…because of course people sometimes ask meif it wouldn’t be nice to be directing, as well. But that really wouldn’t interestme much.
And I don’t think I’d actually be able to,either because when you’re directing, you’tre concentrating very hard on thepeople. And then to make that leap, where you’re acting completely closing offall awareness of what’s going on around you. This leap back and forth, I wouldfind that very exhausting, In other words, while you’re acting. You’reconcentrating on the part you’re playing. And everything else is irrelevant.
H: So you just said, you were acting, butyou also abserved yourself. You said.
Ina: That’s what I would be doing, if I hadto be directing myself at the same time.
H: Yes, But in this film, for instance, yousaid, we looked at it again, together. And saw that we couldn’t do it likethat, it wasn’t working right. We have to shoot it all again, and those of allscenes. Yes, that’s true, right. Was that hard for you? I mean to even watch ?Well, because it wasn’t right.
Ina: Because I noticed it wasn’t working,it didn’t work right for the film. Therefore it was good to watch. No, no, thatdidn’t bother me.
H: Then I wish you a good Wednesdayevening, you can sit there in relaxed peace at home and explain to your husbandhow it with that woman on set.
Ina: Thank you very much.
