Sitting down at the Chateau Marmont in LA, Waltz discusses his life in England prior to his rise to fame, and his disdain for theater. He also speaks highly of Tarantino and comments on their friendship and understanding which has led to a growing body of collaboration between the two men.
“Take it as a metaphor for the spaghetti junction of opportunities now fanning out around the actor. Tarantino is known for refurbishing acting careers, of course, but even by his standards, the reboot for Waltz has been enough to give anyone the bends. For 30 years, the Austrian-born actor had laboured in the flatlands of German television and repertory theatre, grabbing film work when he could get it. Even Diane Kruger, his German co-star in Inglourious Basterds, had not heard of him. His collection of YouTube clips (“Christoph Waltz not as Landa, but as Santa”; “Christoph Waltz kisses girl with tongue”) are among the most colourfully obscure of any Oscar winner.”
Waltz then goes on to discuss his childhood in Austria, saying that by the time he was four he was sick of hearing about the theater. He also is critical of method acting, saying, “This method thing comes up again and again, and I don’t know what that is,” he says. “Nobody knows what it means, and everybody uses it to hint at the fact that it’s really deep and honest, what they do. Look at the play. Look at what the author has written. What are the significant elements that I can translate into action? That’s what an actor does. That’s why he’s called an ‘actor’. He’s not called an actor for having an opinion.”
He also remarks that he is wary of typecasting. “I’m trying to be very aware of not repeating myself. It’s a different story, a different character, a different movie. I’ve played that other character. I’m not going to try to slip it under the door just because it was successful. But I have to be a little careful that I am not going too far the other side — too restrained.”