Lars Eidinger (Dr Oskar Huth)
Lars Eidinger plays Dr Oskar Huth
Published: 13 February 2017
I think it is very interesting to deal with personalities like Huth, because he is a very complex character full of contradictions, which attracts me as an actor of course. Sometimes Nazis in movies are quite one dimensional and clichéd, but Huth is a very authentic person, with a lot of facets and several layers.
What appealed to you about this project?
The director Philipp Kadelbach called me and asked me to meet him to introduce the project to me. To be honest, as a German I am quite cautious with stories that take place during the Second World War because I think that artists who re-enact the Third Reich carry a great responsibility. I think that in particular showing the cruelty of the Holocaust is not possible in a filmic way because it is something that is beyond imagination. So I was very happy that SS-GB is not founded on historical facts, which makes it much easier to interpret it and frees you from the risk of falsifying history.
Tell us about your character.
I think it is very interesting to deal with personalities like Huth, because he is a very complex character full of contradictions, which attracts me as an actor of course. Sometimes Nazis in movies are quite one dimensional and clichéd, but Huth is a very authentic person, with a lot of facets and several layers.
Do the costumes and setting help you get into character?
Absolutely. I admire the work of costume designer Emma Fryer. For me the costume is 80 per cent of getting into a character. I remember that I asked Emma during the fitting, whether we could give the whole uniform a slimmer cut, to give Huth a sharp silhouette, which we did. That helped me a lot, because it led me to his physicality. Of course, the aesthetic of the Nazis uniforms is still very powerful because it was an important part of their propaganda machinery that seduced millions to follow them. Pieces like the leather coat were something I could use as an actor to help me to present somebody with an angst-inducing authority.
In the script Huth always has his cane with him. That gives me a lot of playing opportunities and a kind of theatrical touch, which I enjoyed.
What was it like working with this cast?
It was great. Since I saw him in Anton Corbijn’s Control I have been a huge fan of Sam Riley and I was thrilled to meet and get to know him. Fortunately, it was love at first sight on both sides. We became really close friends, and it was very challenging and satisfying to act with him. He is a very sensitive player with a great awareness for his partner, which is an absolute intense and playful experience to share with him. He is very truthful in his way of acting, which is the biggest goal to achieve as an actor. He is always believable and mystical at the same moment, which creates an immense tension and is a wonderful paradox to witness.
What stood out about Neal and Robert's script?
The language. I prepared myself with my German dialect coach Ernestine Kahn and we loved the material from the beginning on. The situations and conflicts they describe are a wonderful invitation to enter that world. If you trust the words, they are strong enough to lead you to another level. The dialogue is subtle and thrilling, because there is always something underneath or behind to awaken your interest. This creates a huge tension. The characters are wonderfully brought to life and developed in an unpredictable way throughout the story.
Did you enjoy working with this team?
Definitely. From my first shooting day I felt very welcomed. I realised that they are real team players and they created a very inspiring atmosphere on set, which gave me a lot of freedom and provoked a lot of creativity. Their interest and curiosity made me really euphoric. Over the years of working as an actor, I have become aware of how dependent I am on the atmosphere on set. If it doesn’t work for me, it’s very difficult to perform and to deliver a satisfying performance, but with this crew I felt no limitation at all.
Was it very helpful having a German director?
Yes. I hadn’t worked with Philipp before, but we absolutely harmonized from the beginning. I think that it was helpful to switch into German from time to time to make communication easier and faster, although we spoke English most of the time.
Philipp is very concentrated on actors and their performance and takes a lot of time to rehearse on set. From an actor’s perspective, these are perfect conditions, because you do not feel at any time pressure from the production side. Technically he is very fast and virtuoso and also very open to actors’ proposals and brave in trying out things. He also risks failing and does not play safe, which I think is the base of creating something which is artistically valuable. I am very proud of what we’ve done and am really looking forward to the reactions of the audience.
