Udo Kier Poster


Jump to: Overview (3) | Mini Bio (1) | Trade Mark (4) | Trivia (6) | Personal Quotes (6)

Overview (3)

Date of Birth 14 October 1944Cologne, North Rhine-Westphalia, Germany
Birth NameUdo Kierspe
Height 5' 11" (1.8 m)

Mini Bio (1)

Udo Kier was born October 14, 1944 in Cologne, Germany, during World War II. His entrance was just as dramatic as some of his roles. On the evening of his birth Udo's mother requested extra time with her new baby. The nurses had gathered all of the other babies and returned them to the nursery when the hospital was bombed. He and his mother were rescued from underneath the rubble. Udo didn't know much about his father. When Udo was 18 he moved to Britain in order to learn the English language. While there he took a few acting courses. He was eventually offered a role by director Michael Sarne as a gigolo in the film Road to Saint Tropez (1966). While the role was small, it was the beginning of his career in films. His first "hit" film was Mark of the Devil (1970) (Mark of the Devil). The film was rated "V" for violence and ticket buyers were offered vomit bags before the film started. It was banned in 31 countries but spawned two sequels (both without Kier). The film is notorious for its exploitation of sex and violence (the uncut version was remastered and re-released on video in 1997).

Kier met director Paul Morrissey on an airplane trip. Morrissey offered him the lead role in the 3-D Flesh for Frankenstein (1973). It was this film, along with its sister film Blood for Dracula (1974), that made Udo a cult figure. Both Morrissey films are also known as Andy Warhol's Frankenstein and Dracula; however, Andy Warhol was not involved in the production or creation of the films. Both were rated X when released. One of Kier's most vivid memories from "Flesh for Frankenstein" was the infamous "internal organ" scene. Real animal organs were used that were left unrefrigerated on the set for several hours. Udo had to pull the organs out of a prop dummy with his bare hands and hold them up to his face. He has said he will never forget that smell. When this film was finished the cast and crew began immediately filming "Blood for Dracula". Udo remembers both of these films fondly and regards "Dracula" over "Frankenstein" as his favorite of the two (in 1996 both films were released by Criterion on DVD totally uncut).

In the 1970s some of Kier's work included The Salzburg Connection (1972), The Story of O (1975) (The Story of O), Spermula (1976) and Trauma (1976) (House on Straw Hill). Much of his work has been dubbed with someone else's voice. In Suspiria (1977) there were some technical difficulties with the sound while his scene was shot. In the 1980s some of his work included Lulu (1980), The Strange Case of Dr. Jekyll and Miss Osbourne (1981) (The Blood of Dr Jekyll), The Island of the Bloody Plantation (1983) (Escape from Blood Plantation) and Seduction: The Cruel Woman (1985) (Seduction: The Cruel Woman). In the 1980s Kier did very little work outside of Europe. In the 1990s he had a lot more visibility in America and his breakthrough role was as Hans in My Own Private Idaho (1991) (the soundtrack includes the song that Udo performs in the film). Even Cowgirls Get the Blues (1993) reunited Kier with his friend Keanu Reeves yet again. Udo was cast as Pamela Anderson's sidekick in Barb Wire (1996) and played Ron Camp in Ace Ventura: Pet Detective (1994) opposite Jim Carrey. In the 1990s some of the films he was in included The Kingdom (1994), For Love or Money (1993), Breaking the Waves (1996), The Adventures of Pinocchio (1996), Blade (1998) and Armageddon (1998).

Over his 30-year career Udo has worked with several brilliant directors: Paul Morrissey, Charles Matton, Dario Argento, Gus Van Sant and Walerian Borowczyk. he continues to work often with Lars von Trier and is the godfather of Van Trier's child as well as a good friend. Von Trier is currently working on a film entitled Dimension which is a project that spans 30 years. Every year the cast and crew (including Udo) meet to shoot footage. The film will show the actors age 30 years without make-up or special effects. Approximately seen years of footage has already been shot. The premiere will take place in 2024! Kier's acting career ranges from art house films (Europa (1991)) to gore fests (Blackest Heart (1990) (German Chainsaw Massacre)) to television commercials. He says he loves horror films and wants to do more of them. He enjoys playing villains, as he feels it is more interesting because evil has no limits. Currently Udo lives in California and spends much of his time working in Europe, where he receives larger roles and more recognition.

- IMDb Mini Biography By: <BloodyOlga@hotmail.com>

Trade Mark (4)

Frequently portrays a vampire character
Piercing blue eyes
Often plays leading or secondary villains that ends up in horrible death
Eccentric characters and persona

Trivia (6)

Loves horror movies, and has a particular fondness for playing vampire characters.
Is the godfather of director Lars von Trier's daughter Agnes.
Starred in Paul Morrissey's back-to-back horrors, Blood for Dracula (1974) and Flesh for Frankenstein (1973). Of the two, Udo says he prefers "Blood for Dracula".
He was the subject of indie band Half Eye's seven-album repertoire: the first letter of the album names spell out his name: U.D.O. K. I. E. R.
He also sings.
Can speak at least three languages, including German, English and Danish.

Personal Quotes (6)

I think to be the devil you have to be angel. Only an angel can play the devil because the devil was a fallen angel.
Audition is the worst thing. It's like cleaning furniture in a department store.
Werner Herzog, I knew him for so many years, when [Rainer Werner Fassbinder] was at his highest moment. But we had a rule: An actor from Fassbinder could never work with an actor of Werner Herzog or Wim Wenders. Because if we would have done that, we would have been spies. AAh, you worked with Werner - how was it? How did he direct you? I was Fassbinder's actor.
(2010, on My Own Private Idaho) I was in Berlin, and I saw a film by the name of Mala Noche. And I thought "Wow. Wow, wow, wow. How independent can you get?" Then I went to a party and I met Gus Van Sant. He came to me and he said, "You know, you are one of my favorite actors. I'm making a movie with River Phoenix and Keanu Reeves, and I would like that you play, if you like, Hans." Of course, if you're German, your name in films is always Hans. Simple. If you make a film in Japan, your name is Hans-man. I thought, "Ah, I like him." Very intelligent man... So I said, "Okay. Here's my address." A couple of weeks later, I got- this was not the time of e-mail, and not even faxes. So he sent me the script, I read the script, and I was scared, I was so scared, thinking, "I have to go to bed with Keanu Reeves and River Phoenix?" My friends back in Germany said, "Fuck you! They are teenage idols in America! Every American actor would love to be able to do that!" Then I wrote Gus back. I love Gus, because he's the one who got me my work permit, and he's the reason that I'm living in America... So it was very funny, and I said, "Okay, I'm coming." I wrote him saying, "I just found a suitcase at a flea market, and Hans should have a suitcase." I brought all my clothes, and I said to him, "Hans should be always dressed very high, should cover his body," because I knew I had to be naked to have sex with Keanu Reeves. Amazing to have sex with Keanu Reeves and River Phoenix! So I came to Idaho, and I was sitting in a restaurant with Keanu Reeves and River Phoenix, and Gus introduced me, and River was amazing. He said, "Hans, sit next to me!" And Keanu didn't understand anything. Anyway, to make the story short, I made the film and I had a great time.
(2010) Shadow of the Vampire was a film we shot in Luxembourg with Willem Dafoe, and Malkovich playing Murnau, and I played the producer, Albin Grau. It was with Eddie Izzard, some very interesting British actors in it. Personally, I'm not an ensemble actor, because it's always a lot of ego when you're all together in the scene. It's kind of intellectual fighting for something. But it was very good, and I was only jealous that I didn't play the vampire, Nosferatu, which Willem Dafoe played, and he was nominated for the Oscar for his performance, which was an amazing performance. But the actor's always as good as the stories are. And so many important things, there is the light, there is the costumes, the makeup, there's the text, there's so many elements which the actor himself cannot control. But the script is the most important thing. First of all the story, and then you go from there. You know, it's like you stand in the kitchen, and say are we making a fish or do we grill a steak? And you go from there... Shadow Of The Vampire was an okay film. You never know. I made so many films I thought were great and they turned out horrible, and I made films I did not believe in at all, and Shadow of the Vampire was one of these films I did not believe in during the shooting. And then when I saw it I was surprised what they had made out of it. They edited for quite a long time. I like Willem. I did with Willem Manderlay, and I did with Willem My Son, My Son, What Have Ye Done, last year, a David Lynch production. And he's a wonderful actor, a good actor and a wonderful person.
(2010, on Barb Wire) So I got a call, and they said, "Would you be interested in making a movie with Pamela Anderson?" I said, "Of cou-u-urse! Any time!" So the first day of shooting I knocked at her trailer-which was enormous, as big as her breasts. So I knock and I hear from inside: "Hello? Come in!" So I stepped in the trailer and she was at least 25 feet away from me. So I went there and took both hands around her waist, which was like a transvestite, so small, and I said, "Wow! How amazing!" And I kissed her. When I touched her, all the producers, they fly to the wall because they thought she was going to hit me, and thinking, "How horrible! That foreign, German piece of shit is coming in my trailer!" And she loved it. I stepped out of the trailer, and the assistant was there and I said, "Send her 50 roses from me." Then we became friends, and I went to the director and I said, "I don't want too many directions on how to act with her. Can I just smell her in the film? Doesn't matter how far from me, let me just go like [sniffs deeply]." I smell her from far or from close. That was for me the only direction I could think of, because I could never be stronger than the biggest sex symbol of America. So I had to think of something... We had a beautiful scene. When the director asked me to be in the film, I said, "Okay, I'm going to shave my hair!" He said, "Would you really do that?" I said "Yeah!" I had so much hair, it's ridiculous. So I shaved my hair and the film started and I had a wig on, and she took two fingers and took my wig and said, "Curly, I don't think so!" And she swung my wig away. And that was our opening, which was amazing! There are certain people who I worked with, Pamela Anderson, Arnold Schwarzenegger, they are figures. And they know this. They don't pretend to be good actors. They were made by the industry into figures.

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