Max Riemelt: She’d ask the most random questions. She doesn't only give you directions, she would also ask you questions as we were shooting. Teresa Palmer: She definitely gave us freedom to put our own stuff in there. Did Cate let you guys infuse some of your own selves or your perspectives into these characters, too? I'd love to talk a little bit about Clare in terms of the evolution that we see. That's why you understand why she falls for him in this weird way. He's a human being with layers and complexity. You see him care about this little boy's well-being. ![]() In fact, he'd be irritated that someone would take his attention away from the job that he's currently doing. In a different movie, the captor wouldn't care about someone else. One of my favorite scenes, I actually only just picked it up the second time I watched it, was when we're in the forest and it's snowing and he has such empathy for that little boy who hurts his leg. Teresa Palmer: Things in this movie are not so black and white, just being a story about the captor and the captive. He’s not a stereotype at all, and I appreciated that. Max Riemelt: Yeah, he's a regular human being, very complex. You can see why Clare initially wouldn't even recognize what’s happening to her because of his likeability. There are some very deeply disturbing things that happen with him, but yet, there are still these moments of kindness and he’s very charismatic, too. Max, your character is very complicated, obviously. You get to think for yourself what it might feel like to be in this terrible situation like Clare, and how you might deal with it. To get to feel how Clare sees the world and how she could feel, might feel. All of this is from out of her eyes, out of her perspective, and that's what I liked the most. Max Riemelt: Yeah, but also there’s the perspective of Clare, and that is subjective. Teresa Palmer: There’s so much attention to detail. ![]() It allows the audience to get to think for themselves, especially as you’re digging through all the details Cate put into this movie. ![]() It is in a way unconventional that you don't see sometimes the horror in the face or that certain stuff when it comes to these kinds of movies. That's the lesson I learned yesterday while watching the movie at the premiere. ![]() What is not shown is sometimes even more important. Max Riemelt: It was, but you also never know what is going to come out in the editing. Going into this, was that something you guys recognized as well? We’ve seen a lot of movies with this idea of somebody being abducted, but it's always very entrenched in this big violent act. What you guys managed to create in this movie is just wonderful. Great to speak with you both, and congrats on the film. In Park City, Daily Dead had the opportunity to speak with both Palmer and Riemelt about their experiences working on Berlin Syndrome, their collaborative relationship together and with director Shortland, and the complicated connection their characters share in the film. Her latest project, Cate Shortland’s Berlin Syndrome, recently premiered at the 2017 Sundance Film Festival and follows her character, Clare, after she finds herself being subtly abducted following a night of passion with Andi (Max Riemelt), a teacher who wants to keep her tucked away from the world forever after their romp. Over the last few years, I’ve come to admire actress Teresa Palmer’s body of work, as she’s consistently taken on intriguing projects like Knight of Cups (with Terrence Malick), Warm Bodies, and last year’s Lights Out (as I entered the interview, she mentioned that work on a script for the sequel is currently underway).
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