From Dennis Hopper to Versailles: A Career Defined by Collaboration

Kruger’s introduction to the world of film came through a formative mentorship with the iconoclastic Dennis Hopper on the 2002 film The Piano Player. “Dennis taught me everything – I’d never been in front of the camera before, and he was incredibly kind,” she recalls. This early experience instilled in her a valuable lesson about navigating the complexities of filmmaking. She also credits Ed Harris, with whom she worked on Copying Beethoven, for teaching her the importance of artistic conviction. “He taught me that you have to stick to your guns and defend your character. I was young – I didn’t want to get fired.”

Her career trajectory continued with notable roles alongside Brad Pitt in both Troy and Inglourious Basterds. “He’s very dedicated,” Kruger observes of Pitt, acknowledging his commitment to his craft. But beyond her on-screen collaborations, Kruger’s life has been deeply touched by her friendship with the late Karl Lagerfeld. “I met him when I was 16 and I thought he’d always be around,” she says, her voice tinged with sadness. “His creative force never dimmed.” Their connection, forged through proximity and a shared fluency in German, was profoundly intimate. “We always spoke German together, which made our friendship more intimate. He wasn’t afraid of anyone and was so cultured. There won’t be another Karl Lagerfeld. I really miss him.”

Revisiting ‘Les Liaisons Dangereuses’ and the Birth of Feminist Thought

Returning to the world of Les Liaisons Dangereuses with The Seduction presented Kruger with a unique challenge. Having encountered the story in school and appreciating the 1988 film adaptation starring Glenn Close, she initially questioned the need for another retelling. “When I was first sent the script, I wasn’t sure there needed to be another adaptation,” she admits. However, the script’s focus on Madame de Rosemonde, and its exploration of female agency, ultimately captivated her. “I was hooked by the way Madame de Rosemonde is more present than in the novel – and I also loved the idea of a sorority between the women, a sort of birth of feminism, if you dared speak that word in the 18th-century!”

The series’ exploration of power dynamics and female experience resonated deeply with Kruger, particularly in light of her own motherhood. “When I became a mother, stories about women started to interest me again; I want to make smarter decisions for my daughter and give her better tools.” This desire to shape a better future for her daughter also informed her recent work on Each of Us, a film about the Ravensbrück women’s concentration camp. “I felt like we hadn’t looked at that story through the female gaze. I’m curious to know about the women who came before me.”

Kruger finds a compelling parallel between herself and Madame de Rosemonde. “I relate to the fact that she has her own wealth and could, to an extent, choose not to marry and to take lovers as she pleased. She could live pretty much as a man would have done.” However, she also acknowledges the constraints placed upon women even within that relative freedom. “Equally, she’s very much confined by the golden cage of society that was built by men for the enjoyment of men.”

The production of The Seduction itself was a lavish undertaking, requiring mastery of period detail, including the intricacies of 18th-century French. “That specific French was incredibly difficult for me to master,” Kruger explains. “I can only think of comparing it to Shakespearean English. It has a certain rhythm to it, but it’s also very flowery.” The costumes, meticulously crafted from scratch, added another layer of immersion. “Each female character had six or seven beautiful gowns and matching shoes made to measure. It really did feel like we were living in this fairy tale, with two people dressing us each morning.”

Kruger also credits therapy with enhancing her abilities as an actor. “I haven’t done it in a couple of years, but I looked for it at a time when I needed tools to access, analyse and resolve the discontent and disconnect that I felt within myself. Afterwards, I felt aligned with my feelings for the first time in my adult life. I felt heard and seen. I highly recommend it.”

Looking ahead, Kruger is currently filming La Décision, an Apple TV series described as a French thriller akin to House of Cards, where she portrays the First Lady of France. “The scripts are like House of Cards, and we get to shoot in Versailles! It’s a look behind the closed doors of power and it’s great fun.”

What does it mean to truly embody a character, and how does an actor navigate the line between personal experience and fictional portrayal? And, considering the enduring relevance of stories like Les Liaisons Dangereuses, what responsibility do artists have to re-examine the past through a modern lens?

Frequently Asked Questions About Diane Kruger and ‘The Seduction’

• What is Diane Kruger’s role in ‘The Seduction’? Kruger stars as Madame de Rosemonde, a character previously a secondary figure in Les Liaisons Dangereuses, now taking center stage in this prequel series.
• How did early criticism about her appearance affect Diane Kruger’s career? While initially devastating, Kruger says she moved past the criticism and used it as motivation to demonstrate her acting abilities.
• What other notable films has Diane Kruger appeared in? Kruger has starred in films such as Troy, Inglourious Basterds, and Copying Beethoven, showcasing her versatility as an actress.
• What is the significance of ‘The Seduction’ launching on HBO Max? The series is a key offering for the new streaming service, aiming to attract viewers with a fresh take on a classic story.
• How does ‘The Seduction’ address contemporary themes like #MeToo? The series explores power dynamics and female agency within a historical context, drawing parallels to modern-day conversations about gender and equality.
• What is Diane Kruger working on after ‘Each of Us’? Kruger is currently filming the Apple TV+ series La Décision, a French political thriller set in Versailles.