Christoph Waltz explains the Difference between Stardom & Acting
ダニエル・バレンボイム＆クリストフ・ヴァルツが語る「Parallels & Paradoxes」シリーズ第2弾です。俳優とキャラクターの関係、スターになるとはどういうことでしょうか？(English) In part 2 of this series of "Parallels & Paradoxes", Daniel Barenboim & Christoph Waltz talk about the relationship between actors and their characters and what it means to be a star.
Christoph Waltz explains the Difference between Stardom & Acting - Parallels & Paradoxes Part 2/4
Ask a villain if he feels like a villain. Why should he? That's probably what makes him a villain; he doesn't know the difference.
//Summary - Level-C2//
In a conversation between Daniel Barenboim and Christoph Waltz, they discuss the similarities and differences between music and acting. Barenboim explains the process of learning a piece of music, from the initial shock to deep analysis and finally recreating the wonder in performance. Waltz agrees that acting follows a similar path but highlights the distinction between fame and acting. Both agree on the need for modesty and self-confidence in their professions. However, waltz emphasises that actors should focus on playing "the thing" rather than their opinion or judgement, while Barenboim stresses fidelity to the material in music.
1)
Daniel Barenboim: The process of learning a piece of music for me is if it's a piano piece and I read it... if it's a great piece if you get a shock because it's something new in your life.
It is entirely different from all the other things.
So you get the first impression, which is a shock.
And obviously, I can't play it because I'm just reading it.
2)
Then I start to analyse. And I say... what goes with what, what happens, what modulation, what happens with the music, what is the consciousness, how does it go... And I analyse it to a point where I hope; I think I've understood what I can understand.
I can't say I've understood the piece; we don't know that, but to a point where I can understand and explain what I'm hearing and seeing in this piece.
3)
And then, of course, to communicate it later to the audience.
But after you have done all the analysis and research work, all that.
A musician needs to recover from the first contact, the first shock you received, and then you can give an outstanding performance if you have managed to make the unity between the two.
In other words, you can recreate the shock of the first time... together with all that you have learned.
4)
Christoph Waltz: I would like to think it's similar.
After you have broken it down into as many details as possible, you reunite them...into that initial impulse.
I'm convinced it won't be the same.
It will not...the energy should be that kind of energy, but the expression will differ after work.
Otherwise, you wouldn't have to do the work.
5)
Barenboim: And I think humanly there is also something...similar, because to be a musician, a performing musician, you have to have an extraordinary modesty to distinguish between what you think, what you feel, what is in the text.
Without that, you cannot even try to do one per cent of justice to a great musical masterpiece. But then, the mere fact that you're having people announce your name, that you're going to play, conduct, or whatever it is.
That requires a kind of self-confidence that contradicts modesty. And I think it's the same with you.
6)
Waltz: Well, yes, with... maybe the exception that...
Look, in my profession; I always say that fame and acting are two different jobs.
And not everybody does both.
Not all stars are natural actors; they're stars.
7)
And they serve that image. Very often, actors want to be stars and neglect acting, maybe because of the lack of tangible elements in what we do.
With you, and I always notice this with great musicians, they have their mannerisms and this and that, and they throw themselves back and forth, roll their eyes, or breathe heavily.
8)
But once the music starts, it's all about the music.
With us, it's very often the case that once the performance starts on screen or stage, it's still the star playing the star.
9)
Barenboim: Oh, you have that in music too.
The combination of the necessary modesty and self-confidence, I would say, is challenging and quite rare.
Waltz: Again, because the actor and the character are so harmonious that it's tough to separate them.
So if the actor in his performance is acting out his desire to be in the foreground, that's the character he's playing, so it's wrong.
As you know, a musician acting out his personality can still separate the music from his character. Is that true?
10)
Barenboim: (Yes or no gesture) I've always wanted to ask a great actor something.
How do you manage to become one with the role you're playing when the character of that role is opposite to your own?
11)
Waltzing: That's why I say, "What am I doing?" is more productive than figuring out "how to do it."
I have a particular approach.
And I firmly believe that acting is fundamentally problematic.
Because you have to get out of the way of the character and suffer yourself.
12)
You must suffer your shortcomings, dispositions, and complexes and avoid limitations to become the defining moment.
So get out of the way, get yourself out of the way, so that the authentic character you're supposed to play, created by a writer, can take place in the true sense of the word.
13)
Waltz: And because I have played so many bad people.
Barenboim: That's why I ask.
Waltz: Well, yes, but you know, that's a judgement.
You can't play a judgement.
You can't play that you like the second Beethoven sonata's second movement.
You can only play the second movement of the Beethoven sonata.
14)
That's what I mean by the rather long-winded and theoretical "blah blah".
You can't play your opinion.
You can only play "the thing".
15)
Barenboim: Yes, but I understand that, but do you have difficulties feeling like a villain when you're not one?
Waltz: Well, you know, I doubt that a villain...
Barenboim: You don't feel schizophrenic?
Waltz: No, no, I mean there is always that possibility, you know, or drugs.
But if you're just an average person doing your job.
16)
Ask a bad guy if he feels like a bad guy. Why should he?
That's probably what makes them a villain: they don't know the difference.
Don't impose... or that's what I try to do... avoid setting my framework, my psychology, my moral framework...
17)
Barenboim: But the cause, in a different way, is the same for musicians.
You must get into the piece and play the music, not what you feel about the work.
18)
What you feel comes from your intuition, knowledge of the piece, and your capacity for intensity, which you communicate to the audience.
But it's not about how I play a Beethoven sonata.
I have to get inside and be absolutely on the surface.
The fidelity to the material, which is these black dots on white paper.
19)
Barenboim: Thank you very much anyway!
Waltz: Thank you!
Barenboim: I hope we can continue this someday.
Waltz: Any time.
Add info)
Q1. In the conversation below, Waltz states that he doesn't consider villains as villains. He also says he shouldn't assume he's the wrong person or a bad person in our moral framework. What do you think about that?
15)
Barenboim: But do you have difficulties feeling like a villain when you're not one?
Waltz: Well, you know, I doubt that a villain...
Barenboim: You don't feel schizophrenic?
Waltz: No, no, I mean, there is always that possibility,
you know, or drugs.
But if you're just an average person doing your job.
16)
Ask a bad guy if he feels like a bad guy. Why should he?
That's probably what makes them a villain: they don't know the difference.
Don't impose... or that's what I try to do... avoid setting my framework, my psychology, my moral framework...
A1-> As an AI language model, I don't have personal opinions or emotions but can provide an objective analysis. Waltz suggests that actors should not impose their unique moral framework onto their characters. Instead, they should aim to understand and embody the character as written, regardless of whether the character is considered a villain in a personal moral framework. This allows the actor to bring the character to life more authentically and convincingly. It's a common idea in acting that the actor should separate their personal beliefs and opinions from the character they portray.
Q2. We judge right and wrong according to our moral framework.
However, sometimes it is a different opinion from other people.
What are the advantages and disadvantages of having preconceived notions and assumptions?
Also, if there is a disadvantage, is there a way to avoid it?
How should we have a kind heart when we have different ways of thinking and living?
And to what extent can it be tolerated?
A2-> Having preconceived notions and assumptions can have both advantages and disadvantages.
Advantages:
1. Quick decision-making: Preconceived notions can help us make decisions quickly in certain situations.
2. Comfort in familiar situations: Preconceived notions can provide comfort and stability in everyday situations.
Disadvantages:
1. Limited perspective: Preconceived notions can limit our view and prevent us from considering alternative viewpoints.
2. Bias and discrimination: Preconceived notions can lead to prejudice and prejudice towards certain groups of people.
3. Missed opportunities: Preconceived notions can prevent us from recognizing new opportunities or considering new ideas.
Challenging and questioning our preconceived notions regularly is essential to avoid the disadvantages. This can be done by seeking new experiences and perspectives and engaging in open-minded and respectful dialogue with people with different opinions.
Having a kind heart means treating others with empathy, compassion, and respect, regardless of our differences. It is essential to recognize that everyone has unique experiences and perspectives and approach others with understanding and non-judgment.
Tolerance can be described as the ability to accept and respect others' beliefs and lifestyles, even if they differ from ours. Of course, the extent to which it can be tolerated will depend on the individual and their values and beliefs. Still, striving for tolerance and understanding in our interactions is essential.
Q3. "Villains don't think of themselves as villains. They don't know the difference. That's probably what makes them villains."
I think what Waltz said applies to everyone.
We don't think of ourselves as the wrong people.
When something unfortunate or wrong happens, we blame it on other people or fate.
However, is that the case? Is it not true that we are the cause of that misfortune?
What is the difference between good and evil? Are bad things terrible?
What do you think is the best way to handle bad things?
A3-> Waltz's statement is a common perspective in psychology and philosophy. It suggests that people tend to see themselves in a positive light and may not be aware of their negative actions or behaviours.
However, it is also true that people can be self-aware and recognize their own mistakes and harmful actions. The distinction between good and evil is subjective and can vary across different cultures and moral systems. Some people believe bad things are not inherently terrible but can be opportunities for growth and learning.
The best way to handle bad things is subjective and will depend on the individual and the specific situation. Some people find it helpful to take responsibility for their actions, reflect on their behaviour, and work to make amends. Others may find solace in forgiveness, both for themselves and for others. Some people may find support in therapy or counselling, while others may seek comfort in spirituality or religion. Ultimately, the best way to handle bad things is a personal decision and will depend on individual circumstances and beliefs.
Christoph Waltz explains the Difference between Stardom & Acting - Parallels & Paradoxes Part 2/4
https://www.youtube.com/watch?v=04e7o61i04o&t=323s
In part 2 of this series of "Parallels & Paradoxes", Daniel Barenboim & Christoph Waltz talk about the relationship between actors and their characters and what it means to be a star.
Daniel Barenboim & Christoph Waltz on Beethoven and the Inner Ear
https://www.youtube.com/watch?v=WCZF2XKOH90&t=319s
In Part 3 of their conversations, Daniel Barenboim and Christoph Waltz discuss how conclusions drawn from the composer's life about music can be dangerous and explore the ability to hear with the inner ear by the example of Beethoven.
Daniel Barenboim & Christoph Waltz on language, music and purpose
https://www.youtube.com/watch?v=aR50R3BKPuk
In the final segment of their conversations, Daniel Barenboim and Christoph Waltz focus on the power of language and its influence on the way of composing in structure and sound, finding the anglicised globalisation detrimental. However, both agree that music gives way to individual reactions and cannot be used for other purposes.
5 Minutes On... Beethoven - The Moonlight Sonata (C# minor) - Daniel Barenboim
https://www.youtube.com/watch?v=EZsBi50VbXw&t=15s
Daniel Barenboim - 5 Minutes On... Beethoven - Piano Sonata No. 14 (C# minor) op. 27 No. 2
Barenboim was inspired to create a new piano after playing Franz Liszt's restored grand piano during a trip to Siena in September 2011. Struck by the vital differences in the sound of an instrument constructed with straight, parallel strings rather than the diagonal crossed ones of a contemporary tool, he set out to create a brand new device that combines the best of the old and the new and offers a natural alternative for pianists and music-lovers in the 21st century.
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https://www.youtube.com/watch?v=q5OaSju0qNc
5 Minutes On... Debussy - Clair de Lune - Daniel Barenboim
https://www.youtube.com/watch?v=XiWfPJLp2ko
'How to Listen to Music' by Daniel Barenboim
https://www.youtube.com/watch?v=h3OidpRYxx8
https://www.youtube.com/@DanielBarenboim/videos
Daniel Barenboim
As one of our age's leading conductors and pianists, Daniel Barenboim is well known for his ability to challenge listeners to take an intense interest in music. He is now pursuing this approach for the first time with several formats specially developed for YouTube:
In the case of both "5 Minutes On" and "Deconstructed", Barenboim will explore works and basic musical terms, explaining them at the piano.
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https://www.youtube.com/watch?v=uBI4Smdjvps&t=122s
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