Ludwig Blochberger

Millions of TV viewers know him primarily for his role as a former detective in the series “Der Alte,” but he has also played Wernher von Braun, Chancellor Helmut Schmidt, and the Pope. The versatile actor Ludwig Blochberger is coming to the FILM OHNE GRENZEN festival this year, not with a film premiere, but with his passion project, a concert reading about Neil Young.

From Ralf Hermersdorfer

Ludwig, you just returned from an international film production. What can you tell us about it?

My current project is a French production called „Kabul,“ which I just spent three months filming in Greece. The series deals with the chaotic withdrawal of international troops from Afghanistan in August 2021, focusing on the final days before the retreat. The storyline follows an Afghan family; the mother is a prosecutor and is on the Taliban's death list. Across various narrative levels, everything revolves around the desperate attempts of people wanting to flee Kabul as the Taliban advance all the way to the capital within a few days. Across six episodes, the show tells how, among others, we as a German special forces unit try to rescue an Afghan general from the clutches of the Taliban, who once helped us out of a tight spot ourselves. It was directed by the wonderful Polish female directors Olga Chajdas and Kasia Adamik. I already worked with Olga last year in Auschwitz in the role of camp commandant Rudolf Höß.

How do you prepare for such a role?

It was exciting and challenging at the same time to deal with this subject matter. I had to do in-depth research and understand what happened in Afghanistan back then and what immediate effects that had on the people on the ground. Before filming began, we also had a military bootcamp and stunt rehearsals. Although I play a German, everything was shot completely in English – except for the Afghan roles, which were spoken in Dari. On set, during a break in filming, a colleague who played one of the Afghan roles told me the incredible story of his escape. Such personal accounts bring a completely different depth to the project and make it clear that it is not just fictional – these stories are real.

When you compare your experiences in international productions with the German film industry, where do you see significant differences?

Germany enjoys a good reputation worldwide for high-quality films and has produced many renowned directors. Nevertheless, there are numerous challenges that burden the German film industry in a global comparison. One crucial factor is financing. For monetary reasons, producers often choose to shoot in other countries—currently a lot in Poland, the Czech Republic, or even Greece—because films are cheaper to produce there. In contrast, costs here have risen exorbitantly, which means that the major studios are now increasingly steering clear of Germany.

The quantity of German productions on streaming services is modest by international comparison. What do you think are the reasons for this?

Competition has grown enormously – not only within Germany, but internationally as well. Added to this is the fact that a massive bubble has formed worldwide; many projects were produced without ensuring that they would actually find an audience. Over the past few years, streaming services have aggressively tried to conquer the German market as well. In 2017, „Dark“ was the first German Netflix Original and was significantly more successful internationally than at home. Its successor, „1899,“ was similarly successful in 2022, but was on such a large scale and so elaborately produced that Netflix likely canceled a continuation in Germany early on for cost reasons. „Die Zweiflers,“ on the other hand, a dramedy about a Jewish-German family, was produced by ARD and won the prize for „Best Series“ in Cannes, resulting in a subsidiary of its actual competitor, ZDF, taking over worldwide distribution. This shows that collaboration between different broadcasters is possible and should also be necessary.

How does this competition influence the quality and diversity of German film productions?

More and more productions have to try to appeal to as broad a target audience as possible. This can lead to creative risks being avoided and proven formats being copied instead – often crime thrillers or similar genres. I feel like German television has somewhat „patented“ crime shows, but real audience feedback often shows a desire for more variety in stories. There are numerous talented filmmakers and actors in Germany, but sometimes it seems as though we are limiting ourselves. For example, the critically acclaimed miniseries „Bonn“ did not get a second season because the viewing figures did not meet expectations. However, it is also the responsibility of the broadcasters to make room for these demanding productions. Not every production can be a blockbuster designed for the masses. Public broadcasting, as well as German film funding, should therefore be detached from the commercial pressures of marketing. Imagine if only Goethe or Schiller were performed in theaters, and only Wagner in opera? It would be desirable to show more courage and tell innovative stories – even if that means taking risks. The industry should be more open to new ideas and sometimes take unconventional paths. Only in this way can we hold our own in international competition while simultaneously captivating the audience.

Can one define it so clearly that the German film industry per se underestimates the audience?

It is indeed the case that audiences are often underestimated. To some extent, the impression is given that the focus is solely on the banal in order to serve the broad cinematic market. But if one relies solely on the numbers, it can lead to a decline in quality. Today, all sources of revenue must be tapped immediately, which makes it more difficult for independent productions and smaller projects. I am sure that many interesting projects are slumbering in drawers and never see the light of day because they do not conform to current quota regulations or the desire for political correctness. Often, an attempt is made to pack all sorts of themes – from diversity to social issues – into a single story, which sometimes leads to overload. This can result in the stories no longer feeling authentic and appearing more like an attempt to please everyone.

You addressed the challenges for young directors. How do you view the current situation for new talent in the German film industry?

The situation for young directors is complex. On the one hand, there are many talented filmmakers who bring fresh ideas. On the other hand, they are often poorly paid and have difficulty getting their projects approved by key decision-makers. It almost seems as if the older generation of filmmakers has had its day and the younger talents are under pressure to prove themselves – often without adequate support. Added to this is the fact that production conditions have not become any easier; many TV broadcasters act cautiously and rely on tried-and-tested formats rather than innovative approaches. As a result, creative risks are avoided and we are going around in circles. Audience acceptance may also be declining due to this stagnant development.

How do you see the future of cinema in competition with various streaming services?

I think that cinema will continue to exist. It is something special to experience a film in a theater together with other people – that is a different way of consuming than simply streaming a movie on the sofa or in bed. The shared experience creates a special atmosphere and focus on the moment. Digital media has made it possible to make films and music available „on demand“ anywhere and at any time. But it is different to sit in a concert hall, theater, or cinema and share this with other people. It is the same for me with my stage work, for example when I perform at the Vienna State Opera in front of two and a half thousand people or at a reading in front of a hundred people, it is live and there is no turning back. That is an incredible rush!

You are coming to the „Film without Borders“ festival this year with a musical reading. What exactly can the audience expect?

It is a combination of a reading and a concert, based on “The Book of Those Killed by Neil Young” by Navid Kermani. The book tells the author's fascinating story, connecting his personal experiences with the music of Neil Young. Although it is over twenty years old, it is still current and relevant today because it is not just about Neil Young himself, but also about universal themes of life. His music takes a central place in the program and complements the messages in a very special way. It creates emotions and reinforces the messages of the stories. It is important to me that the audience can enjoy both the literary and musical elements.

Can you tell us a little bit about the contents of the book?

The story is about Kermani himself, who tries to soothe his little daughter suffering from colic. He accidentally discovers that Neil Young's music has a healing effect and begins a journey of discovery between his role as a father and his passion for music. This connection between personal experiences and musical elements makes the story particularly touching.

How did you actually come up with the idea for this project?

The inspiration came from my great admiration for Neil Young's music. Back in my school days, I had a musical background that was encouraged by my music teacher. Later, I ended up with the Vienna Boys' Choir; although I received classical vocal training there, I primarily see myself as an actor. Music is an additional element that I bring into my artistic work.

Neil Young's compositions are known for their complexity. How did you actually learn to play the guitar?

At the age of fifteen, I discovered Neil Young's music through a compilation my father had in his collection and was immediately fascinated by it. I began learning autodidactically, supported by a friend who also played the guitar. In the process, I learned more by ear, meaning by chords rather than by sheet music. And through the internet, I was able to teach myself many techniques. Basically, I have to say that it's actually less about perfection and more about expression and passion in the music. You often don't even realize how much time you invest in practicing and improvising because you simply get lost in the music. Even though I certainly don't play at the same level as Neil Young, my playing nonetheless reflects my own interpretation of his music.

What makes Neil Young's guitar playing so special to you?

His style is unique and unmistakable. He manages to create a profound atmosphere with simple means—often just three chords. The partially imperfect nature of his playing contributes to the authenticity and leaves room for emotion. But what fascinates me most about Neil Young are his live versions and epic pieces that often last fifteen minutes. This, his passion for music, can be felt in every single note.

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Photo: Matthias Wehnert