Frank Giering

Born and raised in Magdeburg (Germany), Frank Giering gained first stage experience as a background actor at the former known "Maxim-Gorki" theatre Magdeburg". During this time the desire arose to become an actor even though he said at a later time, that this desire was mainly animated due to his hunger to get visible and noticed combined with the unrealistic belief to get more interesting for the womankind. Nevertheless he started his studies at the "Westfälischen Schauspielschule Bochum" (Germany) but changed short time after to the "Hochschule für Film und Fernsehen" (HFF) in Potsdam Babelsberg (Germany). But again he felt quite uncomfortable with the education methods. Some exercises led him to his physical and mental limits. Furthermore he failed on his teacher's demands to "fill up the space of the theatre". As he realized that he clenched more and more as soon as he got instructions to "give more" or to become "louder" he decided to break off. His last public theatre performance before leaving the HFF Potsdam in summer 1994 was the turning point. He gained the attention of an assistant director, which gave him the possibility to attend a casting for the television film Der Verräter (1995), in which he starred an instable young man searching for acceptance and affection who got into the claws of a neo-Nazi gang. Finally - in front of the film camera - he was able to live out his own belief of acting which was the opposite of the requirements at school. He loved to reduce and to express feelings solely by glances and a minimum of gestures and facial expression. According to his teachers in the theatre he was only able to catch the first row. But now he met the facility - not to gain the last rows by broaden himself - but to bring them closer using the camera. At last he felt like coming home. With his first role he gained the attention of the Austrian director Michael Haneke, who cast him for two of his productions. After the Kafka adaption The Castle (1997), Giering starred the cine film Funny Games (1997). With the figure of the sadistic murderer he became popular over night. The final breakthrough followed 1999 with his performance as Floyd in Gigantic (1999) by Sebastian Schipper, a small but particular film about friendship, longing and farewell and a very last but magic night in Hamburg. For a short time he was announced as one of the promising up-and-coming actors of Germany. Comparisons were drawn with James Dean, much less due to similarities in visual nature but due to an aura of "lostness" and lonesomeness which both actors surrounded. Giering felt quite overstrained to live up this expectation. He described himself as extremely shy and uncertain, full of feelings of inferiority and melancholia. Only in front of the camera he felt really free and secure. Aside of the camera he suffered from fear of loss and anxiety about the future, which also led to the break of several relationships. Actually he said once that he couldn't believe in being loved by someone. Due to the fact that he never had faith in the skills he owned but only in those he lacked. His alcohol consumption - to compensate his uncertainties and the emptiness between the films - raised more and more a problem. In 2001 he decided for a half-yearly rehab. In the following he always stood by his struggle against alcoholism (and his very own demons) in a quite public way, also to give impulses and courage for people in the same situation, something he sadly missed in his own setting. Giering attended twice at the film festival Berlinale (Berlin, Germany), 2002 starring Andreas Baader in Baader (2002), 2004 with the Jon Fosse adaption Nightsongs (2004). Both films were failed by the bigger part of the press and leads to controversial discussions. Especially the production of "Die Nacht singt ihre Lieder" (about the shattering of a love affair and the cruelty of silence in occasions something rather should have been said) was a matter close to his heart due to some parallels in his own vita. After this negative experience Giering mainly gave up the cinema business and focused on television productions. In his opinion he was much less attackable on the smaller screen. From 2006 until his death in June 2010 Giering played - next to Christian Berkel - the role of "Kommissar Henry Weber" in the TV series Der Kriminalist (2006). After his sudden death during the current production, the figure of Henry Weber died, too. For paying deep respect and sympathy the production company decided not to impute a fictional ending. For that reason episode 7.3 "Tod eines Begleiters" opened with the funeral of Henry Weber. In many obituaries was read - due to the quantity and deficient diligence by selecting his roles - Giering undersold himself and burned out by less important featured parts. Indeed he seemed not to care about what he was acting as long as he was acting and able to forget his fears and lonesomeness for just that moment. Just as many times it was mentioned that scarcely anybody else in Germany was able to act with such an intensity and depth. Due to the fact that he never ever played (simulate) emotions but lived it in the moment of acting he offered much more of himself than usual and allowed the audience to get adamantly close to him. That and the fact that hardly anyone else ever radiated such a sadness and lonesomeness might be the reason that he was able to deeply move even in his least roles. Frank Giering died on 23th of June 2010. The official cause of dead is given by multiple organ failure due to an acute bilious colic. On 9th of July 2010 he was buried at the "Neustädter Friedhof" in Magdeburg (Germany).