sitting in his home in Palm Springs, a converted library built by Swiss architect Albert Frey. The German actor – whose more than 260 screen credits include films by Rainer Werner Fassbinder, Gus Van Sant, Lars von Trier and Alexander Payne – has connected by Zoom for our call, which I had been told was no certainty, due to his lack of technical savvy.
Kier recalls when Prudovsky came to see him on New Year’s Eve, after Kier had read the script, and liked it. “I realized he was very precise, he knew exactly what he wanted,” Kier says. “And my next question, the most important question, was: ‘Who is going to be my partner?’” Learning that it was Hayman – whose credits include “Sid and Nancy,” “The Boy in the Striped Pyjamas” and TV series “Taboo” – and having satisfied himself that this was the right guy, he signed up for the project.
“We had a wonderful journey. It was a love fest from the beginning,” Hayman says. “Udo is an absolute sweetheart. He is a pain in the ass as well. He never shuts up. He makes far too much noise on set. But he’s just a wonderful human being.” In one scene they try to strangle each other, in another Herzog sets his dog on Polsky, but by playing chess together Polsky and Herzog begin to bond, and it emerges that the reason Polsky survived the camps was due to his ability to play chess.
He adds: “Although the film is really witty and funny, also very mysterious and dramatic and entertaining, it carries a very current and important message, a beautiful message I think. Because here we have two people who hate each other because of their different pasts and the different ideas they have, and because of accents and culture, and just because they are different, and slowly they learn to know each other. Basically it is all about fear – we fear the different, we fear the other.
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