Heike Hanold-Lynch

Acting

In New York I was so fascinated by processes concerning character development and performing that I spent nine years intensively studying various acting techniques.

After returning to Berlin I employed this expertise for the purposes of coaching other actors - until Stephen Daldry rekindled my passion for acting during the casting of "The Reader".

Since then I've played a variety of roles with exceptional actors in German, and international, film and television productions.

Performing with excellent actors is exhilarating and to suddenly improvise with Tom Hanks and Liam Neeson - simply because we feel gripped by the urge to perform - even more so.

Heike-Hanold-Lynch-the-grand-budapest-hotelHere is my interview with Moviepilot about the shooting of Wes Anderson's "The Grand Budapest Hotel".

The most Andersonesque film that Wes Anderson has ever shot.

Heike-Hanold-Lynch-the-grand-budapest-hotelWe talked to actress Heike Hanold-Lynch, a German actress who works in international film productions, among them The Grand Budapest Hotel by Wes Anderson, where she plays one of the "black sisters".

When the casting call came, I was over the moon - I'm a big Wes Anderson fan, and I love the lyricism of his films, especially The Life Aquatic. Because his aesthetic is unique, I thought a great deal about what to wear to the casting. The information I had was that the character is a spinster and the story takes place in the 1930s. So, in every casting round, I wore a severe grey suit, but I added a black fabric rose in cowboy-necktie style to the collar. My appearance fitted the historic period but it was a little eccentric with a Texan touch - Wes comes from Texas. But in the end, of course, it was down to convincing them as an actress, and improvising in English with some fellow actresses.

In real life, Wes Anderson has an extremely pleasant personality. He's a brilliant perfectionist and yet laid-back at the same time; he's very stylish, and he's attentive, friendly and witty. Sabine Urig, Michaela Caspar and I had the pleasure of rehearsing with him alone in the Hotel de Rome an hour before shooting began. When I asked him why the sisters always stuck together and weren't married, he thought for a moment, and then answered: "They don't trust anybody". A brilliantly simple answer that explains everything. While shooting, Wes Anderson sets the rhythm and choreography, but I still felt spontaneous and free. My description of Wes' working method is that he creates a beautiful, inspiring relationship with his actors that is spectacular in its perfection, and almost childish in its purity. His team are like shadows. I didn't even notice the sound people until the fifth day on set, for example.

Wonderful. I enjoyed every second of my seven days of shooting. I had great respect but wasn't afraid of rubbing shoulders with them - even though the stars were kept apart. In the end, we're all professionals in our own right, meeting at our place of work, and there's no space for fawning - in any case, I'd already worked together with Tom Hanks and Liam Neeson. It doesn't matter what country and what acting tradition you come from, I always think it's a terrific experience to work with outstanding actors - people with a real "generosity of spirit" - because it opens up space for creativity and humanity. So there was Ralph Fiennes, Adrien Brody, Willem Dafoe, Owen Wilson, Edward Norton and Jeff Goldblum - fantastic! And each and every one of these highly successful and talented people achieved his or her top form in surprisingly different ways.

Philip Seymour Hoffman was brimming with the desire to act, and long before he became famous, film students were vying with each other to work with him. Phil was brilliant - such a virtuoso and so touchingly human in his portrayal of characters. We studied for many years at the same time with Tony whose 'hardcore method', as we jokingly referred to it, was extremely subtle, high quality work - although it is not particularly oriented on results. During my New York years, I also studied acting techniques that were more concrete, and I've long since cultivated my own style. I've just shot a film with Oskar Roehler, Punk. This feature film takes place in the old West Berlin of the 1980s… It was good that I left Berlin and it's good to come back ten years later, although it's tricky for me to get into the rhythm here. Back then, I blew a few opportunities, like a screen test for the lead in Dominik Graf's Der Felsen. I wouldn't make the same mistake today! I worked as an acting coach for twelve years behind the scenes and on set - but then my passion to act was fired up again, and this time round it's looking pretty good for me: in the meantime I've played a whole range of roles, with fabulous colleagues like Edgar Selge, Christoph Bach, Tom Schilling, and I'm happy to be able to use my versatility to the full. Right now, I'm looking forward to my role as the Schlecker drugstore employee Marina, together with Josefine Preuß and Florian Lukas for a two-part ZDF series called Die Abrechnung, directed by Dror Zahavi. We start shooting the day after tomorrow.

My sisters Laetizia, Marguerite and I own the Grand Budapest Hotel, together with our brother, played by Adrien Brody. My character had the wonderful name of Carolina Desgoffe-and-Taxis. Tilda Swinton is our mother, Willem Dafoe our bodyguard, Jeff Goldblum our lawyer, Mathieu Amalric our butler and Léa Seydoux our chambermaid. I shrieked aloud when I first heard that! Then we were fitted for costumes: Wes and the costume designer legend Milena Canonero (three Oscars for The Clockwork Orange, The Shining, and Marie Antoinette) had thought up three different looks for the sisters (in one variation, the costumes were modelled on Adrien Brody's nose). The costume fittings - all original 1930s outfits - weren't done and dusted after a week: Milena tirelessly perfected our outfits until the last take of the last frame. She is brilliant and approaches her work like Wes. And the icing on the cake was that Sabine Urig, Michaela Caspar and I worked together like a dream, and we went through this unique experience together from the casting to the world premiere, bound together like loyal sisters.

Grand Budapest Hotel is terrific, a gem and an absolute cult film. Somehow, Wes Anderson has managed to multiply himself and coolly outstrip the high expectations people had of his next work. The film is exuberantly rich in ideas, very funny, elegant, droll, subtly political - the most Wes Andersonesque film he's ever made! Even though the story is not difficult to tell. It's a must-see!

And finally, a question that particularly interests the moviepiloten: What are your three favourite films? Three films that mean a lot to me: Firstly, Sophie's Choice because Meryl Streep is a sight to behold. Secondly, Somersault - Wie Parfum in der Luft by Cate Shortland because I love this film! And thirdly, Das weiße Band - Eine deutsche Kindergeschichte by Michael Haneke, about burgeoning fascism, with wonderful acting. The most important director for me at the moment is Steve McQueen. And the next film I'm going to watch is Philomena by Stephen Frears. And don't miss out on Lauf Junge Lauf by Pepe Danquart. Thank you all!

The original interview in german is here on www.moviepilot.de...

The Anke Balzer Agency represents me regarding all acting-related matters.

 

Resume

Acting-Resume

Eyes Hazel
Hair Light Brown Language Native German
Height 5'4" and Fluent General American English
Weight 128 lbs Voice Alto

Film - Selection

2016 Auf Wiedersehen, Deutschland! Sam Garbarski Samsa Film Luxemburg
2015 WALD Sarah Ben Hardouze HFF München
2015 Back for Good Mia Spengler Zum Goldenen Lamm
2014 Father Hyeck Joon Son HFF Potsdam
2014 Amok Zoltan Paul NextFilm
2014 Tod den Hippies - Es lebe der Punk Oskar Roehler X Filme
2013 The Grand Budapest Hotel Wes Anderson Neunzehnte Babelsberg Film
2013 HomeSick Jakob M. Erwa mojo:pictures
2011 Cloud Atlas Tom Tykwer X Filme
2011 Nachtwächter Eike Schulz Schwarzseher Prod.
2010 Niemandsland Toke Constantin Hebbeln Universal
2010 I Phone Y(o)u Dan Tang Reverse Angel
2010 Wer wenn nicht wir Andres Veiel Senator
2010 Unknown Identity Jaume Collet-Serra Warner Bros.
2008 Der Vorleser Stephen Daldry Senator
more:    www.IMDb.com

Television - Selection

2016 Volltreffer! Granz Henman Viafilm, Sat.1
2016 Wunschkinder Emily Atef X-Filme Produktion
2015 Stralsund "Schutzlos" Lars Gunnar Lotz Network Movie ZDF
2015 Polizeiruf 110
"Der Preis der Freiheit"
Stephan Rick Real Film rbb
2015 Die vierte Gewalt Brigitte M. Bertele Cinecetrum NDR
2015 Die letzte Spur "Klare Kante" Christoph Stark Novafilm ZDF
2015 Der Kriminalist
"Schneewittchen ist tot"
Filippos Tsitos Monaco Film
2015 Rosa, Die Hochzeitsplanerin Hans Jörg Thurn Wiedemann & Berg, ARD
2014 600 PS für Zwei director: Sophie Allet-Coche Wiedemann & Berg, ZDF
2014 Soko Wismar, "Femme Fatale" Hans-Christoph Blumenberg ZDF Cinecentrum
2014 Alles muss raus, Part 1 and 2 Dror Zahavi moovie - the art of entertainment
2013 Charlie - Trinken oder Ausziehen! Christine Lang HFF, ZDF Kl. Fernsehspiel
2013 Nachbarn süßsauer Granz Henman UFA fiction, SAT1
2013 Dyslexie Marc-Andreas Bochert Tellux-Film, ARD
2013 Ein blinder Held - Die Liebe des Otto Weidt Kai Christiansen Vincent-Film, ARD
2012 Frei Bernd Fischerauer Tellux-Film, ARD
2011 Die Erfinderbraut Thomas Nennstiel Comedy-Drama, ARD
2010 Familie Fröhlich Thomas Nennstiel Comedy-Drama, ZDF
2009 Weißensee Friedemann Fromm Drama-Series, ARD

Theater - Selection

1997 Drei Schwestern Irina Theater zum Westlichen Stadthirschen
1991 Savage in Limbo April White Synchronicity Space, NY
1990 Danny and the Deep Blue Sea Roberta Westside Theatre - NY

Training

1986-87 Neighborhood Playhouse School of Theatre NY, Sanford Meisner, Stetson, Gushee
1988-92 Method - Technique and Scene-Study, Tony Greco , NY
1992-93 Columbia University NY, Graduate Film Division "Directing Actors for Film", Leonore deKoven
1992 Camera-Acting for Film/Television, Danny Albee
1992 R. Larson & J. See  Commercial Basics,
Conservatory for Dramatic Arts
1990-93 Lilene Mansell, Voice & Dialect-Coach in General American English, (Author of: "Speak with Distinction")
1995-96 Ruth Diehl (UdK Berlin), German Elecution
1998 Keith Johnstone, Improvisation
1999 Sherilyn Franklin, Hollywood Acting Workshop
2009 Larry Moss, Masterclass

News

September 2017:

Filming with Annette Frier and Julia Richter! In the new ZDF-Sunday evening series Ella Schön, I play the judge and swimmer Greta Maier. Director: Maurice Hübner

Juni 2017:

Heike_Hanold-Lynch und André-JungHeike_Hanold-Lynch und André-Jung - Mata Hari - Tanz mit dem Tod, Preview at the French Embassy. On air: 19.6., 22h, ARD

May 2017:

Shooting with Antoine Monot Jr. in Ein Fall für Zwei as principle Frau Taubmann. Director: Thomas Nennstiel

March - April 2017:

Theatrical release on April 8th: Sam Garbarski's Bye Bye Germany

Tatort Kiel - Borowski und das Land zwischen den Meeren - Director: Sven Bohse, Casting Mai Seck. I am looking forward to Axel Milberg and my role as Margot Hilse, a special kind of custodian.

Heike_Hanold-Lynch und André-JungHeike_Hanold-Lynch und André-Jung - Berlinale Special Gala at Friedrichstadtpalast:
Bye Bye Germany by Sam Garbarski: I am Gerda Schütz with André Jung as my husband on my side.

Heike Hanold-Lynch in Heike Hanold-Lynch in Back for goodBack for Good by Mia Spengler is the opening movie in the Berlinale-Section Perspektive Deutsches Kino with me as the dance loving Uschi.

November 2016:

Mata Hari and Mademoiselle Docteur – After our highly acclaimed and much awarded Otto-Weidt-Film I am delighted to announce another cooperation with director Kai Christiansen and Vincent TV-Producer Matthias Martens as sister Leonide.

Die Vierte Gewalt, Nov. 30th, 20:15PM Airing the first time on ARD

October 2016:

Oct. 4th. Premiere Volltreffer! The romantic soccer comedy! Sat1, 20:15h

August - September 2016:

Featuring several identities in both films, I am happy to announce two premium TV productions:

26.08.2016: Die Vierte Gewalt, 20:15h, arte

02.09.2016: Asche zu Asche - Der Kriminalist, 20:15h, ZDF

Juni 2016:

Benno Fürmann, Brigitte Maria Bertele, Franziska Weisz, Heike Hanold-Lynch und Oliver Masucci (Foto: Filmfest München / Kurt Krieger)Die vierte Gewalt will be screening June 27th and 29th at Filmfest München, directed by Brigitte M. Bertele. I am looking forward watching our political thriller on big screen. VOLLTREFFER! The romantic soccer comedy featuring Axel Stein and Julia Hartmann includes my performance as bank manager. Sat.1, Director: Granz Henman, Casting: Uwe Bünker

April 2016:

Sam Garbarski the director of Irina Palm is shooting a new international feature film in which I play the housewife Gerda Schütz alongside the actors André Jung and Anatol Taubman - Auf Wiedersehen, Deutschland! Casting: Heta Mantscheff

In the X-Film production Wunschkinder - written by Dorothee Schön and directed by Emily Atef - I am portraying Marie's mother. Casting: Simone Bär

December 2015:

The feature comedy Back for Good is the graduation film of students from the Filmakademie Baden-Württemberg. I am looking forward to the shooting with director Mia Spengler and to act alongside my collegues Juliane Köhler, Ulrike Krumbiegel and Anne K. Gummich.

Casting: Lisa Stutzki

November 2015:

In Stralsund - Schutzlos I will portray Vera Hidde. She is the wife of Karl Hidde who is played by Alexander Held. Direction: Lars Gunnar Lotz, casting: Sandra Köppe

Die vierte Gewalt, political drama: As part of a great ensemble I play the mysterious character of Doris who has a dual identity. Direction: Brigitte M. Bertele, script: Jochen Bitzer, casting: Bo Rosenmüller.

September / October 2015:

As part of a team with Maria Simon and Lukas Gregorowicz I am playing the police superintendent Diana Weber in Polizeiruf 110 - Der Preis der Freiheit. Direction: Stephan Rick, casting: Tina Böckenhauer

Letzte Spur Berlin, season: Klare Kante. Direction: Christoph Stark, casting: D. Weyers. I am playing the unemployed Lori Weigel, mother of a daughter who is reported missing...

Sam Garbarski, director of Irina Palm, is shooting a new international motion picture film Auf Wiedersehen Deutschland! in which I will be playing a German housewife.

July 2015:

In WALD, the graduation film of HFF München I am playing the mother of the main character. It is an exciting and complex script and is inspired by Permanent Vacation by Jim Jarmusch. Script and direction: Sarah Ben Hardouze.

May / June 2015:

Heike Hanold-Lynch als Der Kriminalist, direction: Filippos Tsitos. Yay: Actors' treats! I am playing the schizophrenic Verena Radczinsky and Torsten Michaelis is playing my husband. And in Rosa - Die Hochzeitsplanerin I will be Danni Sander who is a former ballroom dancer. Direction: Hans Jörg Thurn.

February 2015:

Our psycho thriller HomeSick celebrates its world premiere on 9 February at the Berlinale, being part of the section "perspective German Cinema". Script and direction by Jakob Erwa. Klick here to see the official trailer on YouTube ...

Heike Hanold-Lynch als Hotelchefin Sandra Carstensen in SoKo WismarSoko Wismar fans watch out: in the episode Femme Fatale, broadcast on 11 February 2015 at 6:05 pm on ZDF, I am playing Sandra Carstensen the main character of this episode who is an alcoholic and former hotel manager. Script and directoin: Hans-Christoph Blumenberg.

December 2014, January 2015:

Our series Alles muss raus - Eine Familie rechnet ab has been awarded for the Grimme Preis in the fictoin section!
A spate of awards and nominations also for our fantastic Grand Budapest Hotel, here a sample - please cross fingers for the Oscar Awards.

October 2014:

600 PS For Two, a TV-movie for ZDF and an adaption from the French road-comedy Une Ferrari pour deux features me as the boarding school headmistress. Directed by Sophie Allet-Coche.

Alles muss rausThe highly acclaimed TV mini-Series Everything Must Go in which I play a drugstore sales woman, premiers on ARD Monday, October 13th (Part 1) and Wednesday, October 15th (Part 2). Producer: Oliver Berben, Director: Dror Zahavi, DOP: Gero Steffen, Casting: Anja Dihrberg.


September 2014:

Grand-Budapest-HotelDyslexie, directed by Oscar winner Marc-Andreas Bochert will be shown on September - 12th on ARDalpha. Next to Christoph Bach I play a lead as the unconventional judge Elvira Donner.


August 2014:

Femme fatale, Soko Wismar, directed by Hans-Christoph Blumenberg. Thank you Bo Rosenmüller: I absolutely love my role as Sandra Carstensen, a former hotel manager, who is now disabled.

July 2014:

Grand-Budapest-HotelAlles versucht, a music video by singer - songwriter Maxim was realized by LMPIX, produced by Warner Music and shot in an old mansion in Berlin-Zehlendorf.

June 2014:

Dyslexie runs at the German Film Festival in Ludwigshafen.

March 2014:

Everything Must Go, directed by Dror Zahavi - Together with Josephine Preuß and embedded in an exquisite ensemble of actors I play the drugstore employee, Marina, who is in danger becoming a welfare case.

Oscar Roehler's new feature Long Live Punk by X-Filme will very definitely be worth seeing - and so will be Richard and his wife Karin... Opening Spring 2015.

In Father, a biographic shortfilm by Korean filmstudent Hyeck Joon Son at the film-School Babelsberg, I play the role of the mother.

Tilo Nest, is my partner in Amok - a psychodrama by Zoltan Paul.

Here is my interview with Moviepilot about the shooting of Wes Anderson's The Grand Budapest Hotel.

January / February 2014:

Grand-Budapest-HotelOur film about Otto Weidt has been met with enthusiastic reviews. I am greatly looking forward to the world-premiere of The Grand Budapest Hotel at the Berlinale and am also excited to start my next project, a film with Oskar Roehler about our early eighties West Berlin: PUNK.


November 2013:

Matthias-Martens_Lutz-Marmor-ARD_Henriette-Confurius_Volker-Herres_Kai-Christiansen_Heike-Hanold-Lynch_Uwe-BohmA great honor:
A Blind Hero - The Love of Otto Weidt will premiere on November 15, 2013 under the sponsorship of the Senatskanzlei and ARD in the ballroom of the Rotes Rathaus.
Television broadcast: 6. January 2014.


November 2013:

Shooting: In the Psychothriller HomeSick, written and directed by Jakob M. Erwa, I will embody the mother of the main character Jessica.

October 2013:

Alongside the BKM sponsored shooting of Charlie - Drink or Undress under the direction of HFF lecturer Christine Lang and my role as German teacher, Dr. Ortseifen, in the SAT1 comedy, The Chinese are Coming (Dir: Granz Henman), the trailer for the Wes Anderson film "The Grand Budapest Hotel" is now online. It will premiere on 7. March 2014.

May / June 2013:

In Dyslexie, an ARD/BR alpha TV networks drama directed by Marc-Andreas Bochert, I play the role of Elvira Donner, a committed and unconventional judge, who rightly puts Philipp (Christoph Bach), whose case she is deciding, through the wringer.

April 2013:

In the postwar drama FREI (director: Bernd Fischerauer), showing at the festival Bozener Filmtagen, I play an indestructible Berlin woman, who begins a new life in Buenos Aires.

March 2013:

In A Blind Hero - The Love of Otto Weidt, a production of Vincent TV GmbH, (director: Kai Christiansen) I embodied the character of Else Weidt: apolitical, self-absorbed woman overtaken by sympathy and good judgment, who protects her husband's beloved from the Nazis.

Heike-Hanold-Lynch-the-grand-budapest-hotelHere is my interview with Moviepilot about the shooting of Wes Anderson's The Grand Budapest Hotel.

The most Andersonesque film that Wes Anderson has ever shot.

Heike-Hanold-Lynch-the-grand-budapest-hotelWe talked to actress Heike Hanold-Lynch, a German actress who works in international film productions, among them The Grand Budapest Hotel by Wes Anderson, where she plays one of the "black sisters".

When the casting call came, I was over the moon - I'm a big Wes Anderson fan, and I love the lyricism of his films, especially The Life Aquatic. Because his aesthetic is unique, I thought a great deal about what to wear to the casting. The information I had was that the character is a spinster and the story takes place in the 1930s. So, in every casting round, I wore a severe grey suit, but I added a black fabric rose in cowboy-necktie style to the collar. My appearance fitted the historic period but it was a little eccentric with a Texan touch - Wes comes from Texas. But in the end, of course, it was down to convincing them as an actress, and improvising in English with some fellow actresses.

In real life, Wes Anderson has an extremely pleasant personality. He's a brilliant perfectionist and yet laid-back at the same time; he's very stylish, and he's attentive, friendly and witty. Sabine Urig, Michaela Caspar and I had the pleasure of rehearsing with him alone in the Hotel de Rome an hour before shooting began. When I asked him why the sisters always stuck together and weren't married, he thought for a moment, and then answered: "They don't trust anybody". A brilliantly simple answer that explains everything. While shooting, Wes Anderson sets the rhythm and choreography, but I still felt spontaneous and free. My description of Wes' working method is that he creates a beautiful, inspiring relationship with his actors that is spectacular in its perfection, and almost childish in its purity. His team are like shadows. I didn't even notice the sound people until the fifth day on set, for example.

Wonderful. I enjoyed every second of my seven days of shooting. I had great respect but wasn't afraid of rubbing shoulders with them - even though the stars were kept apart. In the end, we're all professionals in our own right, meeting at our place of work, and there's no space for fawning - in any case, I'd already worked together with Tom Hanks and Liam Neeson. It doesn't matter what country and what acting tradition you come from, I always think it's a terrific experience to work with outstanding actors - people with a real "generosity of spirit" - because it opens up space for creativity and humanity. So there was Ralph Fiennes, Adrien Brody, Willem Dafoe, Owen Wilson, Edward Norton and Jeff Goldblum - fantastic! And each and every one of these highly successful and talented people achieved his or her top form in surprisingly different ways.

Philip Seymour Hoffman was brimming with the desire to act, and long before he became famous, film students were vying with each other to work with him. Phil was brilliant - such a virtuoso and so touchingly human in his portrayal of characters. We studied for many years at the same time with Tony whose 'hardcore method', as we jokingly referred to it, was extremely subtle, high quality work - although it is not particularly oriented on results. During my New York years, I also studied acting techniques that were more concrete, and I've long since cultivated my own style. I've just shot a film with Oskar Roehler, Punk. This feature film takes place in the old West Berlin of the 1980s… It was good that I left Berlin and it's good to come back ten years later, although it's tricky for me to get into the rhythm here. Back then, I blew a few opportunities, like a screen test for the lead in Dominik Graf's Der Felsen. I wouldn't make the same mistake today! I worked as an acting coach for twelve years behind the scenes and on set - but then my passion to act was fired up again, and this time round it's looking pretty good for me: in the meantime I've played a whole range of roles, with fabulous colleagues like Edgar Selge, Christoph Bach, Tom Schilling, and I'm happy to be able to use my versatility to the full. Right now, I'm looking forward to my role as the Schlecker drugstore employee Marina, together with Josefine Preuß and Florian Lukas for a two-part ZDF series called Die Abrechnung, directed by Dror Zahavi. We start shooting the day after tomorrow.

My sisters Laetizia, Marguerite and I own the Grand Budapest Hotel, together with our brother, played by Adrien Brody. My character had the wonderful name of Carolina Desgoffe-and-Taxis. Tilda Swinton is our mother, Willem Dafoe our bodyguard, Jeff Goldblum our lawyer, Mathieu Amalric our butler and Léa Seydoux our chambermaid. I shrieked aloud when I first heard that! Then we were fitted for costumes: Wes and the costume designer legend Milena Canonero (three Oscars for The Clockwork Orange, The Shining, and Marie Antoinette) had thought up three different looks for the sisters (in one variation, the costumes were modelled on Adrien Brody's nose). The costume fittings - all original 1930s outfits - weren't done and dusted after a week: Milena tirelessly perfected our outfits until the last take of the last frame. She is brilliant and approaches her work like Wes. And the icing on the cake was that Sabine Urig, Michaela Caspar and I worked together like a dream, and we went through this unique experience together from the casting to the world premiere, bound together like loyal sisters.

Grand Budapest Hotel is terrific, a gem and an absolute cult film. Somehow, Wes Anderson has managed to multiply himself and coolly outstrip the high expectations people had of his next work. The film is exuberantly rich in ideas, very funny, elegant, droll, subtly political - the most Wes Andersonesque film he's ever made! Even though the story is not difficult to tell. It's a must-see!

And finally, a question that particularly interests the moviepiloten: What are your three favourite films? Three films that mean a lot to me: Firstly, Sophie's Choice because Meryl Streep is a sight to behold. Secondly, Somersault - Wie Parfum in der Luft by Cate Shortland because I love this film! And thirdly, Das weiße Band - Eine deutsche Kindergeschichte by Michael Haneke, about burgeoning fascism, with wonderful acting. The most important director for me at the moment is Steve McQueen. And the next film I'm going to watch is Philomena by Stephen Frears. And don't miss out on Lauf Junge Lauf by Pepe Danquart. Thank you all!

The original interview in german is here on www.moviepilot.de...

Jan. / Feb. 2013:

Following four rounds of casting, I was chosen to play a distinct, supporting role in Wes Anderson's new feature film The Grand Budapest Hotel, alongside Adrien Brody, Ralph Fiennes, Willem Dafoe, Jeff Goldblum and others.

Currently playing in movie theaters:
Cloud Atlas


Coaching

For over thirty years, I have been helping actors to develop credible character embodiment and dramaturgically intelligent roles, as well as to strengthen and grow personal talents. In addition to also preparing individuals for castings and screenplays, I offer career-related counseling and unique Authenticity Training.


Coaching for Professional Actors

Casting and Shooting Preparation

Make dramaturgically intelligent, bold, and powerful decisions. Thoroughly understand acting situations and roles. Be dramaturgically convincing. Enjoy yourself while acting.
Be excellent.
The confidence you gain from proper preperation will enable you to leave behind a great impression, because you will be able to sieze upon critical moments during performance and demonstrate your unique nature in the best possible light.

Career Coaching for Professional Actors:

With her extensive experience in the field, as a coach and as a working actress, Heike Hanold-Lynch is able to provide astute advice relevant to the growth of an acting career.

Authenticity Training and Schedule

Actors need an especially nuanced sense of the everyday and the existential, of their own and of unfamiliar lived realities. Actors must command an instinctive understanding of human nature beyond psychological explanations and beyond personal emotions.

In Authenticity Training, this consciousness is systematically cultivated and trained through practical exercises.

Drawing from the deeply-seated self within one's own personality, Authenticity Training uses various creative means to harness the immense, artistic wealth that lies beyond language and reason.

The result is trust in one's own personality, artistic freedom, directness, and genuine presence in front of the camera.

How does Authenticity Training work?

By referencing personal experiences and events, we systematically deepen and expand character-relevant dimensions, exploring and defining them more precisely. We strengthen specific innate capabilities such as: impulses, perception, concentration, imagination, timing, intuition, empathy...

By deeply concentrating on authentic, personal simplicity, we are able to tap into our inherent artistic wealth. Taking advantage of this knowledge, we can greatly improve our performance niveau. We thus gain natural authenticity and certainty, while developing clarity, strength, and a sense of the fundamental.


Authenticity Training is not a method-related approach. It is beneficial for castings, screenplay analysis, preparing for roles, on the set and in front of the camera. Rational actors become more animated; emotional actors gain a footing and structure.

Authenticity Training is made up of four equally important parts which deal with different components of role development. The parts can be booked individually or together - their contents are not repeated.


Contents of the four parts

  1. Will and Perception - The Foundation of Character Building:
    Self-reliance * Facts / Interpretations * Drive * Incentive* Decisions * Systematic Intuition * Emptiness * Associations * Sources of Inspiration * Obstacles * Concentrated Attention Span Variations * Firm Convictions *
  2. Relationships to People and Places- dynamic, lively, multifaceted:
    Experiencing Space * Perceiving Spaces * Making Spaces Personal * Areas of Safety * Mutual Wavelengths * Prejudices * Producing Convincing Love and Other Relationships * Utilizing and Referencing * Making Demands * Substitutions * Life and Death
  3. Bodies and Objects - physical genuineness, camera suitability:
    Character Development and Body Intelligence * Improving Relationships to One's Own Body * Active Props * Clothing * Eating * Contact Points * Pains * Professions * Habits * Body Language * Mannerisms, Automatism * Beauty * Allure *
  4. Emotions and Subtext - precise, honest, free and dense:
    Simple and Effective Camera Presence * Expressing the Inexpressible * Principles of Strength * Pauses * Voices and Emotions * Grief / Envy / Joy / Guilt / Jealousy / Curiosity / Fear / Enjoyment / Insecurity / Repulsion / Shame / Love / Boredom / Passion / Fury / Hatred / Longing *
    (With every course, the participants choose their own preferred areas of focus.)

Schedule: April to May 2015

Part 1: Will and Perception
April 02. to 04.
May 29. to 31.

Part 2: Relationships to People, Places, and Objects
April 10. to 12.

Part 3: Body
May 01. to 03.

Part 4: Emotion and Subtext
May 22. to 24.

General Conditions

Authenticity Training is held on weekends, Fri. from 5 p.m. to 8 p.m., Sat. from 11 a.m. to 7 p.m., and Sun. from 11 a.m. to 3 p.m.

The four parts of the course can be booked in any order. Please complete your registration or cancellations by mail no later than a week before the course begins:
Register now... or send an E-mail to .
The maximum number of participants per course is six.

The first Thursday of every month is an exercise day focused on the topic "Will and Perception," from 6 p.m. to 8 p.m. for € 20. Participants are welcome to bring along their own scene material. To register requires no more than an SMS or phone call.

Actors live from Contacts...

Actors live from contacts.
Every actor's most important contact, however, is the contact with oneself, with one's own
deeper wealth of experiences and creative strength.
We and we alone carry the responsibility for this contact, regardless of the roles we play.

Only through us do our characters receive their voice.
Only through us do they receive even more than their voice.

Heike Hanold-Lynch

Coaching for Productions

Working Where the Work Takes Me

For the last twelve years, I have been coaching, developing, and teaching actors in leading roles for specific productions on a contractual basis. I assist them in aquiring and mastering the skills needed for a successful career in film & television. My clients range from established and well-known experienced actors to children and teens at the beginning of their careers.

I provide an atmosphere of trust, confidence and security. Additionally, I help the actor fulfill all his obligations on the film set.

My purpose is to help each actor reach their highest potential with smart choices and emotional intensity. I also help them to infuse a character with their own signature, while meeting and surpassing the requirements of the production.

Whether the producer, director or the star hires me, my job is to help the actor overcome any obstacles so they may give their best performance.

Services:

Studio


 

 


Heike Hanold-Lynch

Heike Hanold-Lynch was born in 1962 in Berlin. As a child she already had a gift for finding creative solutions for herself and others.

At the age of 16 she struck out on her own, and at 21 moved to New York, where she spent nine years studying diverse acting techniques and actors' training.

After returning to Berlin, she worked more than twelve consecutive years as an acting coach for film and television productions, preparing actors prior to shoots and on sets.

Since 2011, Heike Hanold-Lynch has been a freelance acting coach and lecturer. Her passion is the targeted strengthening of personal talent. She performs as an actress in German and in international productions.



Statements & Press

Coaching-Statements

A very good year is ending and I would like to thank you for having been on my side. You played a crucial role in many of the successes I could chalk up this year. I sincerely thank you for carrying out your work with such passion, honesty, and such a generosity of spirit. That rarely happens!

Alessija Lause

I am a theater actor by trade. There one has six to eight weeks of rehearsals before showing oneself to the audience. But with television shoots there are often only five minutes. Well, that's just great! So I call you. In two hours you replace the crafty dramaturges, the uncompromising director, the secure acting partner, and make my role bulge from all sides, in a way I had never imagined before. To put things selfishly, I should never recommend you to anyone, so that you always have time when I need you. Thank you for the postural stability and delicacy of feeling of the roles, which we explore together.

Thorsten Merten

For an historical film, Heike prepared me for the role of an American woman who speaks German with an accent. I had enormous respect for this task, and found in Heike not only a terrific teacher, but also a coach and confidant in one. She not only pedagogically but also playfully and passionately examined all the obstacles with me, and whenever things got difficult she could rekindle a complete joy of acting. In addition, Heike explored the role with me, and I found this thrilling and helpful and a lot of fun. It was a very, very beautiful and positive collaboration.

Christiane Paul, Actress

Heike Hanold-Lynch became an important colleague during an early stage of my material's development. She has an extremely confident and precise way of looking at characters and their development in the overall dramaturgical structure of a screenplay. She is indispensable for introducing actors to shooting preparations and during the shoot. During difficult scenes, together with the director she cares for the actors and instills a sense of security and a joy of acting among them.
Because her appeal, in the interest of the project, lacks all trace of vanity and has a decidedly supportive effect on the actors, I can highly recommend her as coach and authenticity trainer.

Käte Caspar / Producer Distant Dreams Filmproductions

In many of my productions, Heike Hanold-Lynch's wise coaching brought the actors impressively close to the performing characters. It made no difference whether she worked with children, young people, or adults. She helps and advises actors on a theoretical as well as practical level, and allows them to shine on every set. She offers coaching in which no questions go unanswered.

Thomas Nennstiel, Director

Statements on Authenticity-Training (german)

„Sehr persönlich, aber niemals vorführend und sauhilfreich im Konkreten und Abstrakten. Ohne Dich hätte ich es nicht geschafft, mir wieder ehrlich zu begegnen und damit dann auch der Figur.“

Liv Lisa Fries

„Das Training stärkt in der Arbeit als Schauspieler mein wichtigstes Werkzeug, mein ICH.“

Ernest Allan Hausmann

„ Inspirierend und aufrichtig. Ein wunderbares Coaching für ausgebildete Schauspieler, die sich selber aus den Augen verloren haben.“

Katja Sallay

„Rollenarbeit wird durch dieses Training und diese Methoden wesentlich erleichtert und es hilft, authentisch zu sein.“

Christopher Reinhardt

„"Dein Training ist für mich eine sehr universelle Arbeit, da sie am Leben anknüpft und den einzig richtigen, oft vernachlässigten Schritt verlangt - nämlich vor der Arbeit an der Figur zu schauen, was habe ich zur Verfügung, was sind meine Ressourcen, was kann und will ich wirklich erzählen? - Danke dafür!!!“

Karoline Teska

„Das Authentizitätstraining holt Dich ab, wo viele Methoden aufhören! Zusätzlich zu einem vertieften Vertrauen in die eigene Persönlichkeit und Intuition werden hochwirksame Techniken vermittelt, um glaubwürdige und berührende Figuren zu gestalten.“

Ina Geraldine Guy

„Der Kurs "Wille und Wahrnehmung" bietet viele wunderbar praktische Übungen um in der Vorbereitung und am Set in den Fluß, in Präsenz, auf 100% Betriebstemperatur zu kommen und das auf der Basis einer echten Verbindung mit sich selbst. Großartige Werkzeuge.“

Marlene Marlow

„Die Arbeit mit Heike Hanold-Lynch berührt nicht nur die Thematik um eine Rolle herum, sondern sie unterstützt auf behutsame Weise auch die Schauspielerpersönlichkeit. Professionell gekonnt und hochsensibel bietet Heike viele Techniken an, mit denen Schauspielkunst möglich wird.“

Uta Janietz

„Heike schafft eine gesunde fröhliche Atmosphäre, das Training ist locker und entspannt. Vielen Dank für die tolle Arbeit.“

Max Claus

Press

Article in the "Thüringer Allgemeine", from Aug.16th.2003
„SCHÄTZE HEBEN“ by Ute Rang
English translation:Digging For Treasures

For the new prime time TV-series shot in former East Germany, the production company Polyphon hired an acting coach for their underage actors, as her work has proven to be extremely helpful for the series and the young actors.

Heike Hanold-Lynch is not a substitute mother to Marie Seiser and David Bode, even though she will gladly listen to their heart-aches at any point. She’s rather an alert guide to the talented newcomers to support their first steps in front of the camera.

“I prepare the children for their characters in order for them to not only be unproblematic and time efficient, but to understand the fictitious situations and relationships, to truthfully and authentically embody their characters, to learn basic tools and techniques as well as still having a lot of fun at the, mostly, stressful set. It’s incredibly important to acknowledge when they have been acting well. It’s also important that the children understand that, even though they’re getting a lot of attention, they’re part of a team. I teach them to take responsibility for their actions and talent. My charges therefore don’t behave like divas, but develop a healthy and grounded self-confidence, that is based on their actual skills and achievements.”

To do the job well one has to be made for it. Heike Hanold-Lynch says: “Either you have a certain sensitivity for human nature, or you don’t. Maybe I developed this because I grew up in a family where there wasn’t much laughter and conversation. Since I was able to speak I had a desire for things to be alive and truthful. Questions like: What is he thinking? Why doesn’t she speak? What’s actually going on here? have kept my mind busy and informed my personality since I was little.”

When she was 16, Heike ran away from home, financed her own high school diploma, fell in love with a Japanese painter and left the country with him in 1984 to go to New York. She was 21: “I didn’t like New York too much before, but I thought: The city is gigantic. If I want to, I’ll find my place in life here.” She perused an education at the prestigious Neighborhood Playhouse, acted in the theatre, and took two semesters directing with a focus on acting at Columbia University, and, upon her return to Germany, she found the set coach to be her tailor-made job.

Heike Hanold-Lynch doesn’t manipulate. She observes, spots talents, weaknesses, strengths, she motivates, gives advice, helps and supports without doubting the authority of the director, whose work she aids and, in a way, completes. An example from the schedule: Marie Seiser, in the series Kleist’s daughter Lisa, is acting in her first love scene. Her partner is Martin Goeres. His character is Gregor. Marie and Martin meet for the first time on the evening before the shoot. The next morning they’re supposed to nuzzle in a boat, fondle each other, kiss and consider whether they should make love for the first time. That’s not easy, not only for two seventeen year olds, even with their talent!

Heike Hanold-Lynch had met up with them the evening before, to carefully prepare them for their scene. “I helped Marie and Martin to trust each other and to establish a truthful connection, without the fear of time pressure and without invading each other’s privacy. Certainly we also discussed technical aspects, but in order to be on the same wavelengths one has to fully commit to the moment. Even after perfect preparation: the moment is all we’ve got.“ Heike Hanold-Lynch laughs.

The next morning, after the rehearsals for the scenes in the boat, Vera Löbner, a very experienced director, is highly satisfied. There are only a few professional actors that can sustain such an intense scene with such sensitivity and presence. Marie and Martin are relieved.

Article by Gerhard Haase-Hindenberg in Welt-online, from March.4th.2006
English Translation: "Coaching For the Dream Factory"

Heike Hanold-Lynch established a new profession in the German television industry: the Set-Coach. In the beginning of the 90s a new theatre company with the rather strange name “Tiki Ti” drew attention in New York’s off-Broadway theatre scene. A new venue opened on Mercer Street, where original pieces of New York’s very own writers were to be performed. Not many actors in the Big Apple originated from upper-class families, and could therefore personally identify themselves with the everyman’s tragedies. A progression, that gives the stage its authenticity till the present day. During these events you find an actress, director, dramaturgic and stage designer: a young woman from Berlin with the snappy articulation of a Marlene Dietrich.

Careers of a different nature are known to start in the area where Heike Hanold grew up, the outskirts of the rather anonymous tower block community Gropiusstadt. The one of drug addict Christiane F. from Bahnhof Zoo for example. A similar destiny could’ve been assigned for her, says Heike Hanold, after she ran away at the age of sixteen from a family that would’ve been described as problematic; according to Heike Hanold an underestimation. As an aspiring grown-up she wanted to take responsibility for her life and pursue her dream, one that her family despised: reading, acquiring knowledge and attacking the challenges of everyday life with curiosity. She lived in shared flats, earned her living through cleaning, and finally earned the German high school diploma. Young people in a similar social situation usually find themselves studying psychology related subjects or throw themselves into the surreal depths of art. The girl from Gropiusstadt’s outskirts followed both paths, one after the other. She was studying psychology at the Free University Berlin, where she fell in love with a Japanese artist, whom she accompanied to New York. In the American metropolis she soon found herself working along side Jackie O. and Donald Trump. She took a catering job for an event-agency for VIP’s, and for those who would like to be one.

Her true passion was dedicated to New York’s innovative art scene. She therefore enrolled herself in a part-time acting education at the Neighbor Playhouse in order to take part. She studied the art of improvisation, explored character relationships and developed an ability to playfully tackle dramatic literature. After ten years in New York’s art scene, Heike Hanold-Lynch (which she had been named after marriage) returned to her hometown. Possibly to take care of her ill grandmother, she says, or because the booming German TV industry was offering well-paid jobs for actors. A producer from Hamburg, who was amazed by the variety of her experience, spotted her and made a rather strange offer. He wanted to put inexperienced actors with “unused faces” under contract for the hospital series “St. Angela”. The newcomers had to prove their skill next to experienced actors. Heike Hanold-Lynch got her first job in the German TV industry, but not as an actor. As a Set-Coach she prepared the young, inexperienced actors for their parts.

The working conditions of her job have changed in the past seven years, after establishing her profession by coaching a variety of TV films and series. “Time is money” is not only called for at the RTL-series “Hinter Gittern”, where Heike is currently working. She rehearses scenes with established actors parallel to other scenes being shot. Through this development her wage is constantly inflating. Now she is writing a study guide for young, aspiring actors, since the industry will always be looking for “unused faces”.

Links

Anke Balzer Agency for actors in Berlin
IMDB.de International movie database (german)
IMDB.com International movie database (english)
BFBS.de Federal Association of Film- and TV-Actors
Casting-Network.de Casting Network
Crew-United.com internet platform for professionals in the
german-speaking film and television industry
Filmmakers.de Filmmakers.de - Heike-Hanold-Lynch
ISFF-Berlin.eu ISFF Berlin,Institut for Film- and TV-Professions
"Coaching for the dream factory"  Article by G.Haase-Hindenberg in "Welt-Online",
March.4th.2006. for english translation click "press"
www.schokosport.de Dance and und movement for women, Berlin

                                                    

Expertise

"A high standard of quality, a comprehensive knowledge of the material, a composure achieved through experience, and unceasing enthusiasm for the richness of our human nature are the cornerstones of my work and give it its meaning."

Heike Hanold-Lynch

Well-founded international training and years of professional experience - as coach and actress - allow Heike Hanold-Lynch to work in Europe and abroad in English as well as in German.

Distinguished Experts in New York

At the age of 21, Heike relocated to New York, where she dedicated herself intensively to studying many different acting techniques during her ten-year stay. While studying at Sanford Meisner’s Neighborhood Playhouse she was still able to experience the founder of the Meisner Technique himself as an instructor. Afterwards she deepened her acting capabilities at the side of Phil Seymour Hoffman, under the tutelage of the likewise legendary Tony Greco , who Lee Strasberg personally trained as an acting teacher and who coached Phil for his Oscar-winning performance in “Capote”. At Columbia University, Heike enrolled in the two-semester seminar “Directing Actors for Film” conducted by professor of film Leonore DeKoven. This was followed by training in front of the camera under pioneer soap star Denny Albee, as well as under Joan See, founder of the New York Conservatory for Dramatic Arts. In addition, together with Lilene Mansell, author of “Speak with Distinction” and dialect coach for countless Hollywood productions, Heike worked four years on her German accent and general linguistic presentation in American English.

Mastering Difficult Leading Roles

Heike coaches children and young people performing leading roles in sophisticated, film and television productions addressing potentially burdensome themes, one example being the at that time 15-year-old leading actor Elin Kolev in the multiple award-winning film "Child Prodigies" by Marcus O.Rosenmüller, honored with the Audience Award at five international festivals.

Accomplished Actors

Heike likewise accompanies and coaches accomplished actors according to their specific needs, on the set as well. For Uli Edel's two-part film "The Adlon" she gave Christiane Paul an American accent. Heiner Lauterbach booked her as dialogue coach for the sitcom "Mitten im Leben" (In the Prime of Life). She also stood by the side of comedian Janine Kunze during the preparing and shooting of the dramatic television-movie "Kisses à la Carte" in Amalfi, Italy

Ratings Successes

As acting coach, Heike gave a professional push to several German television series with excellent ratings such as "Familie Dr. Kleist", "Anna und die Liebe", and especially to successful seasons of series with new, main casts such as "St. Angela". But there were also many successful television films, for example "Das Glück am anderen Ende der Welt" (Fortune at the Other End of the World) with Maja Maranow and Heiner Lauterbach, shot in 2007 in South Africa.

Lecturer with an Original Concept

Since 2010, Heike is a regular lecturer at the Berlin school for film and television professions, Institut für Schauspiel, Film- und Fernsehberufe (ISFF). For the iSSF course "International Castings" she developed a technique which enables a credible processing of foreign-language roles. In the framework of the SAT.1 television station's "Actors' Day", she conceived for the 2001 Munich Film Festival live coaching sessions featuring young people from the audience and recorded on film.

Based on her experiences and successes, Heike Hanold-Lynch has developed a unique and new coaching method: Authenticity Training, which grants the acting talent of every participant, regardless of language, age and limits of experience, a new and immense perceptible power. Sessions will be held regularly starting October 2012.

Complete Summary of Productions

8-9/12"Run boy run!", Motion Picture, bittersuess pictures, Coaching, Dir.: Pepe Danquart
7-9/12 "Das Adlon. A hotel. two families. three fates." MOOVIE-the art of entertainment, Dialogue-Coach, Dir.: Uli Edel
09-11/10 "Wunderkinder", Motion Picture, CCC Filmkunst, Preparation of teenager leading first-time actor, Dir.: Marcus O. Rosenmüller
5/08-5/10 "Anna und die Liebe", Producers at Work, SAT1, Telenovela, Character & Scene preparation & On-Set Coach for leading and supporting actors
12/08-2/09 "House of Boys", Motion Picture, int. co-Prod., Dir.: Jean-Claude Schlim, Casting Consultant, On-Set-Coach, Character & Scene preparation for lead actors
4-5/08 "Küsse à la Carte", TeamWorx, SAT1 On-Set Coach, Character & Scene preparation for lead actress, Dir.: D. Klein
5-8/07 "Verliebt in Berlin", Grundy UFA, SAT.1 (Telenovela), Producer-Consulting, On-Set Coach, Character & Scene preparation for leading and supporting actors
6/07 "Meer der Lügen", Schiwago-Film, ARD Mini Series (Thriller), On-Set Coach, Character & Scene preparation for leading child actor, Dir.: Jörg Grünler
11/06-1/07 "Mitten im Leben", Radical Comedy/RTL (Sitcom), On-Set Dialogue-Coach for star and teenage lead actors, Dir.: Chr. Schrewe
5+10/06 "Schmetterlinge im Bauch", Producers at Work, SAT.1 (Telenovela), On-Set Coach, Character & Scene preparation for leading and supporting actors
6-8/06 "Das Glück am anderen Ende der Welt", TeamWorx, ARD 2-Teiler, South-Africa, On-Set Coach and Character & Scene preparation for english speaking actors and teenage leads, Dir.: D. Klein
2/04-3/06 "Hinter Gittern" GrundyUFA, RTL, Producer Consulting, On-Set Coach, Character & Scene preparation for leading and supporting actors
08/04 "See der Träume", Ziegler-Film, ARD, On-Set Coach, Character & Scene preparation for lead child actress (character with behavioural disorder), Dir.: Wolf Gremm
11/03 "Liebe süß-sauer" Metropol Film /SAT 1, Character & Scene preparation and On-Set Dialogue-Coach for Chinese actors (22-80 yrs.) Dir.: S. Tafel
4-11/03 "Familie Dr. Kleist" Polyphon Leipzig, ARD Primetime (13 episodes), Casting-Consultant, On-Set Coach, Character & Scene preparation for lead teenager and child actors (50+70 shooting days) Dir.: E. Keusch, V. Loebner, S. Bartmann
10-11/02 "Tigeraugen sehen besser" NFPtv/ZDF, TV-movie, On-Set Coach, Character & Scene preparation for lead child actor (stutterer) Dir.: Thomas Nennstiel
7-8/02 "Tochter meines Herzens" Provobis, ARD, On-Set Coach, Character & Scene preparation for leading twin child actresses, Dir.: D.Klein
2-3/02 "Zu nah am Feuer" TeamWorx, ARD, On-Set Coach Character & Scene Preparation for leading child actors, Dir.: Dietmar Klein
8-9/02 "Victor der Schutzengel - Ohne Netz und doppelten Boden" Zeitsprung/ SAT1, Character & Scene preparation, On-Set Dialogue-Coach for American Lead actress Dir.: M. Wenning
7/01 International Film Festival Munic: "Kamera läuft!" Panel, Workshop and Presentation for SAT1 TALENTS at the ACTOR'S DAY. Live-Coaching workshop: Professional acting techniques - WORKING LIVE with teenagers from the audience
6/01 "Väter" Motion Picture, X-Filme, Leading Child Actor Coaching and Casting Consultant for Director Dani Levi
99-00 "St. Angela" Rhinestone/NDF, ARD, Acting teacher and On-Set Coach for 39 episodes, One-on-One and ensemble training for leading and supporting actors

Training

1986-88 Neighbourhood Playhouse School of Theatre, NY, Sanford Meisner, Stetson, Gushee
1988-92 Method -Technique and Scene-Study, Tony Greco
1992-93 Columbia University NY, Graduate Film Division "Directing Actors for Film", Leonore deKoven
1992 Camera-Acting for Film/Television, Denny Albee
1992 R. Larson & J. See  Commercial Basics,
Conservatory for Dramatic Arts
1990-93 Lilene Mansell, Voice & Dialect-Coach für General American English, (Autorin von: "Speak with Distinction")
1995-96 Elecution with Ruth Diehl (UdK Berlin) 
1998 Keith Johnstone, Improvisationstechniques
1999 Sherilyn Franklin, Hollywood Acting Workshop
2009 Larry Moss, Masterclass

Background

1962 Born in Berlin - university admission 1981
1981-84 Studies of psychology and german language at "Freie Universität Berlin"
1984-94 Training at Neighborhood Playhouse, NY
1994 Returning to Berlin, actress for film- and TV-productions
since 1999 Coaching actors for film- and TV-productions
2011 Tutor at the ISFF for international Castings in Berlin

 

 


In all matters concerning my acting contact my agent

Anke Balzer - Agency for actors

abalzer@snafu.de

Joachimstrasse 17a - 10119 Berlin
phone: +49 30 44017027     fax: +49 30 44017028    



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Heike Hanold-Lynch Olympische Straße 4   14052 Berlin   phone: +49 30 31807848

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Englisch-Übersetzung durch: Twigg's Translations

 

 


In all matters concerning my acting contact my agent

Anke Balzer - Agency for actors

abalzer@snafu.de

Joachimstrasse 17a - 10119 Berlin
phone: +49 30 44017027     fax: +49 30 44017028