All language subtitles for Blood For Udo

It happened like this: I got
the lead role in Frankenstein.

I was in the Piazza Navona in Rome,
in the center, with a beautiful fountain.

I had a completely different status.

People waved to me.

And suddenly I wasn't just in the
German daily press, but in Vogue.

I went from regular newsprint to
glossy, which was very pleasant.

And the actor who played
Frankenstein's monster

was supposed to play Dracula.

But then there were some
problems with the work permit.

Word got around and then everyone came
to Cinecitta and wanted to play Dracula.

Like Johnny Holiday, and a lot of
famous actors that I don't want to name.

Then the cameraman
came up to me and said,

“Tell me, why don't you play Dracula?”

I told him I was already very glad I
had the chance to play Frankenstein.

I didn't want to be rude.

But then came the last day of shooting
and I was sad that this glamour was over.

Andy Warhol said it: 15 minutes of
fame. For me it was 3 weeks, thank God.

It came to an end and
I went to the canteen

and ordered a small bottle of white wine.
I sat there sad, like Frankenstein sad,

between Fellini figures.

And then,

Paul Morrisey came in
and looked at the wine.

And he said, "Well,

I think we have a German Dracula!”

And I asked, "Who?"

He said, "You!

"But you need to lose ten
pounds in the next week."

"You're not allowed to have any more
energy because you're addicted to blood."

I said, “N0 problem!”
and I stopped eating.

I just drank water and had
a lettuce leaf here and there.

After a week I was so weak that I
had to be carried in a wheelchair.

So it's not just Robert De Niro.

Udo Kier also prepared for
his roles in his early years.

So I was in a wheelchair
because I had no strength.

And that's how the
second film came about.

The first one was called
FLESH FOR FRANKENSTEIN

and the second BLOOD FOR DRACULA.

And, urn,

we also filmed three weeks. Thank God we
didn't film in 3D, so we were much faster.

We shot in a mansion, not in
Cinecitta but in Frascati.

Which was really funny
because the owner was insane.

His family financed his
treatment by renting this mansion.

And at the same time a porn
movie was being shot there.

Every now and then I would
end up running into the wrong set.

I had to forbid them
from using my footage.

There were so many
secret doors there.

That was three weeks in
Frascati as Dracula.

Again with Joe

and four beautiful women,
Vittorio De Sica, and

a famous lady, a countess, Maxime
de la Falaise from New York.

Vittorio de Sica, God bless him.

He plays the father of four daughters
which all have different accents.

One was a Yugoslavian, one
was Italian, one was French,

and one from a beautiful
country in the east.

And the philosophy was that
Dracula was leaving Romania

because he couldn't find
any more virgins to bite.

And then he is advised to go to religious
Italy because all virgins are there.

Then I come into this
family with these four daughters,

but they do it in the garden with
the gardener, Joe Dallesandro.

So they are no longer
virgins. And then I bite them.

I do these interviews.
They sit on the bed and

I'm in a wheelchair in
front of them, asking,

“When you were little, didn't the doctor
touch you? There or there or there?"

I believed these young girls
and then threw them on the bed.

I bit them and sucked
out a few liters of blood.

Then I turned green, because
they weren't really virgins anymore.

And then I puked. That was Warhol's
famous puke scene in the bathtub,

where I puked liter after liter.

The scene was created by a trick
that I will of course not reveal.

And so Dracula just keeps
getting weaker because

he sucks the four daughters one by
one, and they're all no longer virgins.

And later a stake will be
struck through his heart.

And Warhol himself,

I'm only telling you this because

both films were called ANDY WARHOL'S
FRANKENSTEIN and ANDY WARHOL'S DRACULA.

Warhol had the original
idea of the beginning,

where this white-haired
man does his own makeup,

with his fingers and slowly
becomes a vampire at the end.

Revealing the
teeth was his idea.

And then he wanted,
and I would have liked it,

Dracula to always have an erection.

And there's always a droplet on his silk
pants. I really would have liked this.

Of course the pious Italians refused.

But those were Andy
Warhol's two ideas.

The good thing now,
when I think about it,

is that Dracula, like Frankenstein,
can't be made any better.

Coppola can't do that,
and neither can the Internet.

These were poetic films with
a seriousness and lots of blood.

Today it would all be CGI.
The vampire goes ARRGGH,

jumps down, becomes a wolf, and bites
somebody's leg. That's all bullshit.

I wouldn't make films like that.
I only let myself be persuaded once

for BLADE,

the first part, where I
play the lead vampire.

It was nice that I explode
and they tear my teeth out.

Well that's a different story.
Umm, it was wonderful.

Interviewer] But you still did a
few films with vampiric themes.

Oh, if you're so well informed
then why don't you tell me.

I think I was once killed by
Rod Steiger in THE REVENANT.

Not a good movie!
What else was there?

SLEEP OF IDIOTS
by Christoph Schlingensief?

I don't think so.

At least a homage?

Yes.

Can you please elaborate?

I don't remember. I think I was a
vampire driving on some board.

Dracula in a wheelchair
by Schlingensief.

It wasn't a real wheelchair. lt was more
like a board with wheels, wasn't it?

- You always know things better than me.
- I'm not sure.

I thought it was a wheelchair.

Well, if you think it was a
wheelchair then it had to be one.

You also did a German comedy.

Which one?

DIE EINSTEIGER. Here's a photograph.

Einsteiger?

Ah, yes, that one.

- Do you want to see the photo again?
- Why?

Why are you trembling like that?

Are you so in awe of me
that you tremble so much?

It was interesting because Thomas
G0ttschalk's wife, Thea, plays a vampire.

I liked the idea of two friends
jumping into all the films on TV.

There was a vampire film on TV.

And then suddenly Mike Kruger
and Thomas Gottschalk said,

“Look, a vampire!”

Thea played my wife, and they were
walking through a castle of vampires.

That's just a brief appearance.
What else do you have?

SHADOW OF THE VAMPIRE.

Yes, SHADOW OF THE VAMPIRE.

Oscar nominated.

Malkovich. I have to
confess that I was very jealous.

Willem Dafoe was
nominated for an Oscar.

He played Nosferatu, and
I just played the producer.

And there I really was,

well, not exactly dying of
jealousy or fuming with rage,

but I was really a little jealous.

Because I would have
loved to play the role.

Willem Dafoe went into makeup

and 2.5 hours later he came
out as Nosferatu. I liked that.

If.' 'I

A title that is maybe a
little too sensational.

Why is that? We've been
talking about fucking all day.

SPERMULA is a part 0f it.

People expected that...

You don't fuck without a Spermula.

I'll tell you a story, so I can pass the
time while I'm sitting in the spotlight.

We should have some
smoke to make it more exciting.

Does anyone have a cigarette?
N0? Do any of you smoke?

Yes? Who then?

[Sound-man] I'm recording.
I can't smoke right now.

But I can smoke.

[Interviewer] Does anyone
have a cigarette for Udo?

The addiction. Oh no,
I can't do that, it's too distracting.

A normal cigarette?

Please go outside and tell
them I need a cigarette.

And if you don't find
one, go outside.

No, you don't have to go
that far. He's just teasing you.

Where were we?

If.' 'I

SPERMULA, that's a
nice story. I was in, um,

Alejandro Jodorowsky,
for me one of the best and

most discussed directors,

asked me to go to
Cannes for the film DUNE,

which was later not made
by him but by David Lynch.

I was in Cannes walking with Jodorowsky
and then I see an advertisement.

Umm,

A little plane with some kind
of flag. What do you call it?

Banner! With a banner on
the plane and it said SPERMULA.

Then I said to Alejandro
that it was so rude!

"After DRACULA, are they
making SPERMULA now?”

I was living in Paris at the time and got
a call from a director, Charles Matton,

who wanted to meet me in a very good
restaurant, the Laco Paul de Matre.

I met him and asked, “What is
the name of the film you want to make?”

"SPERMULA!"
I said, "You can't be serious!"

And he told me that the title SPERMULA
was just the producer's idea.

He would have rather called the film
LOVE IS A RIVER IN RUSSIA.

But then he wouldn't
get any money.

Then I shot SPERMULA. I played
the agent of a group of women

from another planet
who exchange art.

Like the Mona Lisa, for example. And
I played Werner, their agent on earth.

They're some sort of vampires.

They put the man's genitals in their
mouths which makes them vampires.

Just to put it nicely.

[Interviewer] There was a project
with George Moorse for WDR.

GHOST STORIES, an anthology series.

Ah yes! Do you have one?

And a light, too? Ah, wonderful.

- That was...
- Should we take a break?

No, it's a documentary, it's
cool. A cigarette comes into frame.

But I'll get into trouble
with the producers.

Why's that?

[Interviewer to Assistant] You just can't
walk into the frame with a cigarette.

Relax, it's a great shot.
Now it's getting exciting.

George Moorse. GHOST STORIES.

That was an important story for me. One
of the most important stories of my life.

Not the film.

Umm, I never met my father.

Somebody helped me
find his phone number.

I was already in my 40s.

Then I called this number.

I was very nervous. Sitting on the phone
in Cologne, drinking wine and smoking.

A woman answered the phone and I told
her I wanted to speak to Mr. Dechine.

She asked why.

And I told her I'm his son.

"On, he'll be happy!"

He wasn't home and would call
me back. But the waiting was tough.

Because I knew the phone would ring at
any moment, and it would be my father.

And when he finally called I said
to him, "I'll be on TV tomorrow night.

There's a vampire movie

with a blond and a dark-haired young man.
I am the dark-haired young man. Your son."

I never spoke to him again
after that because he died.

That's why this film is so important
to me. But I don't remember the plot.

I made another very nice film
with George Moorse called PAN.

That's a good cue to
come back to DRACULA.

You had to interrupt the filming of
DRACULA in order to be able to shoot PAN.

And that's why they filmed with Polanski.

Yes, you're right.

Wait, I'll put the ashes
into the empty bottle.

Polanskii...

It happened like this.

I promised George
Moorse to shoot his movie.

I didn't want to be a poser, telling him
because of Warhol I can't do his film.

I told our producers I had
to do this and flew to Munich.

And Polanski said, "Let him go. I'll
shoot a scene with you instead."

Then he did a cameo together
with the writer Gerard Brasch

and Andy Braunsberg, the producer.

FLESH FOR FRANKENSTEIN and
BLOOD FOR DRACULA would have been

a good start to a horror career.

I assume that you received offers
like that. But you didn't start one.

I didn't want to, because

I knew Fassbinder from Cologne when I
was 16, and I wanted to make other films.

I did DR. JEKYLL & HIS WOMEN
with Borowczyk.

I also played Jack the
Ripper for Borowczyk in Paris,

no, Berlin actually, in LULU.

And I mean,

playing vampires is nice,
but you also want to...

When I went to America, I
also played bad guys.

Embodying evil as an actor is much
more interesting for the audience.

Everyone loves the evil.

Because nobody is allowed to be
evil, they love the evil on the screen.

No, we're talking
about Dracula today.

We can't talk about
my entire filmography.

I'd still be sitting here tomorrow
and my plane would be gone.

Thank you! Thank you!

Interviewer] That was good.