#i don't think that im capable of drawing this scene good enough so i decided to write it down instead

[sclki-op]

Ripples ran through his form and he was gone in a heartbeat– rivers of smoke spilling to the floor, seeping through seams, dripping to the deck bellow and past the rails, cascading to the pitch black waters that surrounded the ship.

Shouts sounded from above.

Translucent smoke drifted inches above the sea waves in a layer so thin it ripped– before sealing itself again. It stretched far, looking too much like a morning mist.

He struggled to maintain physical form, swirls of smoke blooming everywhere across his body. His face a distorted mass of thick white.

Questions woven out of worry gone ignored.

#i don't think that im capable of drawing this scene good enough so i decided to write it down instead #and I'm still trying to go easy on my eyes and wrist so I guess it's a solution while i can't draw much! #I'm no writer at all and my english isn't very good (it makes me feel much more confident than i am with my native language though..) #but god do i want to write sometimes #I admire people who can do this well and wish i could too #another zoro x smoker thing (though it can easily be anything else!) #it's post-sabaody but I'm changing the following canon events for the sake of angst in this story #smozo

[cazimagines]

After seeing @toobruhlforschool post the article, I had to translate it!

English translation by google translate below the cut

Daniel Brühl tried for the first time as a director - and he succeeds very well. His debut “next door” (in theaters July 15th) is full of black humor about how embarrassing, tricky and exhausting it can be to be a famous actor. Especially when you meet a neighbor in the corner bar in a Berlin neighborhood, played by Peter Kurth , who obviously hates you. The story is based on Brühl's idea, and very vaguely on his own experiences, from which the writer Daniel Kehlmann draws("Measuring the World") has made a script in which the price of fame is demonstrated with relish. In addition, allusions to Daniel Brühl himself are hidden in the film, who not only directed the film, but also plays the protagonist, a famous actor, in “next door”. Brühl, who last worked in the international Marvel series “The Falcon and the Winter Soldier” , speaks in an interview about what made him decide to make this story into a film and how to approach such a project.

Interview with Daniel Brühl: About the price of being in public and the success of projects

Mr. Brühl, in your directorial debut you investigate the price a successful actor pays for being in public. Why did you want to do this film?

One topic I've always been interested in is gentrification. The initial spark was an observation I made in Barcelona. That was about ten years ago. I moved to the city for a while. That made me very proud, because I've always felt very connected to Barcelona, ​​I was born there and finally wanted to say: “I'm a Barcelonian now”.

Instead, did you attract attention because the actor Daniel Brühl was recognized?

No, I just acted very silly, always walking through the streets with my key fob to show that I don't live in a hotel, I'm from here now, then I always talked loudly to the people in the market where Street, via FC Barcelona et cetera. Then I always enjoyed going to such a lunch spot and one day there was a crusher in front of me, such a real edge, and looked at me piercingly without blinking. Forever long. Like Clint Eastwood.

Just like in your film a man from the neighborhood, played by Peter Kurth, who takes on an actor who is very similar to you.

Yes, with the man in Barcelona back then, I immediately felt that he couldn't take me. As I sit there with my trolley suitcase, just flown in from Berlin. The jet set that somehow rattles around loudly with the waiters, makes each other mean and wants to please. That totally exposed me. Then my imagination started. I thought it was a scaffolding builder who had been able to look into our apartment from a construction site for months and now wants to confront me with everything he knows about me.

How do you relate this story to gentrification?

There is such a constant feeling that you are not to blame for gentrification but are part of the process. I've been dealing with this since I've lived in Berlin and I noticed it again in Barcelona. Then the mind game started that an actor, someone who is in public, offers a completely different surface to attack.

How do you translate that feeling into a project?

I enjoyed the way such a person was approached in a masochistic way. As he is told, “I found your film poop. I think you shit as an actor. " Then I moved the story to Berlin, the East-West topic was added, but at some point I realized that I couldn't write it alone and approached Daniel Kehlmann. He could do something with it immediately. While we were writing we noticed how much more was there. That was around the time some public careers were collapsing. That was an interesting component, people who outwardly have perfect lives, whose careers are ruined by rumors that come out about them.

Which personalities are you thinking of?

Well, of course the case of Kevin Spacey, the very different case of Harvey Weinstein. There have been many cases, some of them based on real crimes. It became an interesting topic for me because I wanted to play someone who would completely lose himself in his career and then be held up in the mirror.

If so much of you went into the script, why is Daniel Kehlmann the only one who has the credit and you don't?

There are so many Daniels. At some point I just felt uncomfortable reading my name so often. In addition, Daniel Kehlmann did the most on the script. I couldn't have made the film without him. That a Kammerspiel (From what I learnt in my film studies, Kammerspiel is a certain type of German cinema) remains exciting for over 90 minutes depends on the dialogues and they mainly come from him. I was a sparring partner who fed him ideas.

You have had a veritable career as an actor for over 25 years, appearing in blockbusters and playing a leading role in an international Netflix series. Then that's a fundamental step in deciding whether to direct. How do you manage to take such a new path?

You can't take a quick shot. I've been waiting for the right time, but you can't let it pass. That's what happens when you're too scared, too respectful. At some point you have to trust yourself. Now that I've done it for the first time, my humility towards directing is even greater. I consciously wanted to do something small. I would not have believed myself capable of certain other substances. Then I would have the feeling that I am falling out.

How do you know that you are on the right track and that you can get started with a project?

If an idea remains interesting for you after long deliberation and reflection, and does not suddenly become stupid or boring, you can ask yourself whether this idea is reasonable, i.e. whether you trust yourself to implement it. I knew this was a world and that there were characters - I just know my way around that. If you are also lucky enough to be able to set up a good team, then you are on the right track. It is of course a total luxury that someone like Daniel Kehlmann has promised me to write this. Peter Kurth replied with a handwritten letter within 24 hours. We met and hugged in his local pub.

The role actors and actresses play in public is not only the topic of your film, but was also discussed in the course of the #allesdichtmachen campaign, a campaign against the measures taken by the federal government to contain the corona pandemic. Were you also asked about this?

I was actually not asked, but I know many of those involved. I wanted to stay out of this heated Shitstorm number and clarified that privately with those I know. I not only found the action unsuccessful, but also the counter-action excessive and absurd. I can see that in many areas at the moment, how quickly such a thermal rises, which is toxic. That's a bit of the theme of the film.

Then again quickly an easier topic: What is the most absurd thing that has ever happened to you as a public person?

Haha, a scene that also made it into the movie. In Barcelona a couple came up to me in a park, two blondes, with a camera in their hand. It was immediately clear to me that they were Germans and they wanted a photo with me. I instinctively put my arm around the woman. They were Swedes, of course, who didn't recognize me at all, but wanted me to take a photo of them. It was so embarrassing and even more terrible than in the film because then I started to explain in English “You know, I'm a famous actor…” The way they looked at me! Haha, that was one of those moments when you notice how you blush. Well then I think I could tell you about embarrassment for an hour.

#daniel bruehl #daniel bruhl #daniel brühl