Helena Zengel on Puppets, Primates, and Willem Dafoe in A24’s Retro Fantasy ‘The Legend of Ochi’

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It’s no accident that The Legend of Ochi is set in 1982.

Isaiah Saxon’s family-oriented fantasy adventure, centered around Yuri, a 12-year-old girl who forms a unique connection with enigmatic ochi monsters – adorable, blue-faced primates – is an intentional tribute to the time period, characterized by movies like E.T. (1982) and The Dark Crystal, which captivated their viewers through traditional methods such as live-action, in-camera effects, and a sense of innocent enchantment rather than computer or AI-created illusions. Saxon has been eager to showcase the film’s authentic practical effects, refuting rumors of AI tampering by publicly sharing videos demonstrating the puppetry and animatronics utilized to bring his creatures to life.

In a rephrased and easy-to-understand manner:

The German actress Helena Zengel portrays Yuri, a character who defies her father Maxim (played by Willem Dafoe), an overly zealous hunter of creatures known as Ochi. Instead, she chooses to rescue and care for an injured animal, nursing it back to health. When her brother Petro (Finn Wolfhard) uncovers Yuri’s hidden act, she escapes with the creature, vowing to return it home safely. Emily Watson shares the screen as Yuri’s long-lost mother, who has secluded herself in the woods and formed a connection with the Ochi.

In select American cinemas, The Legend of Ochi will make its debut this coming Friday, courtesy of A24, before expanding to a broader release on April 25th.

As a passionate admirer, I’d like to share some insights about an extraordinary talent – Sophia Zengel. Although her lead role in an American film, “The Legend of Ochi,” marks her first significant appearance, this 16-year-old prodigy is no newcomer to the scene. Her breakthrough, at just 11 years old, was in Nora Fingscheidt’s “System Crasher” (2019), where she portrayed Benni, a troubled, aggressive young girl who consistently outmaneuvered society and its services intended to help her. Impressed by her performance, The Hollywood Reporter recognized Zengel as one of their 10 international talents to watch that year.

Her remarkable work in “System Crasher” earned her Germany’s equivalent of the Oscar for best actress, making her the youngest-ever winner, and paved the way for her first Hollywood opportunity: sharing screen time with Tom Hanks in Paul Greengrass’ Western, “News of the World.” This performance garnered Zengel a Golden Globe nomination.

Lately, Zengel has been featured in roles such as Pia Marais’ “Transamazonia,” where she portrays a healer living deeply within the Amazon rainforest, and the British romantic comedy “A Christmas Number One” on Sky, sharing screen time with Freida Pinto and Iwan Rheon. Soon, Zengel will delve into the realm of full-fledged scream queen with her upcoming film, “Bloody Tennis,” a teen horror produced by German director Nikias Chryssos.

Before venturing into that, she seized a chance in “The Legend of Ochi” to bring her “childhood aspiration” to life by collaborating with a “real-life” animatronic doll. As Zengel reminisced, she used to believe that all her stuffed animals could talk and were alive. Therefore, this experience was extraordinary for her. Growing up, she yearned for a puppet companion who could converse with her.

In an expansive discussion over Zoom with The Hollywood Reporter, Zengel touched upon topics like puppetry, portraying unruly characters, and gaining wisdom from Tom Hanks.

Much of the film is you interacting with the Ochi. What was it like acting opposite a puppet?

As a long-time enthusiast, I must admit I was intrigued from the start, unsure if it would be AI or an old-school puppet. Reading the script initially, I assumed it would be animated. But when I learned it would be a puppet, I have to say, it felt like a dream come true straight out of my childhood! You see, I used to have a whole menagerie of stuffed animals that I was absolutely convinced could talk and were alive. So, experiencing this live puppet performance was nothing short of magical for me. I’ve always yearned for a little talking puppet friend, and this was as close as I could get!

Undeniably, there’s a significant contrast between interacting with nothing tangible, as if playing with empty space, versus having something physical to respond to. In this case, what I encountered was far from an illusion – it was incredibly realistic. The object in question was equipped with electronics, enabling its eyes and mouth to move dynamically, and its facial expressions to change subtly. Remarkably, a team of six individuals controlled it. During my performance, if I disregarded the people nearby and solely focused on the puppet, it felt as if I were engaging with a genuine entity.

In your body of work, you’ve gained recognition for portraying characters who reside in the wilderness. This is evident in both “The News of the World” and “Transamazonia”. Given that you’re accustomed to city life, how does this contrast with your real-life experiences?

Indeed, I hail from Berlin, yet I find myself deeply enamored with the serene landscapes of the countryside. Being a city-bred individual, it’s quite unusual, but my passion for equestrian activities might explain this affection. We’ve kept horses for quite some time now, and I’ve had a horse named Easy for years. I frequent the countryside every few days, and at one point, I spent nearly every day at the stables. The allure of capturing authentic scenes on location is palpable to me – this production largely took place in the Carpathian mountains of Romania, with some studio work in Bucharest. It’s a distinctive experience, immersing oneself in the actual environment, as opposed to merely facing a green screen. This physical presence significantly influences performance; there’s a noticeable contrast between standing on the edge of a real cliff or in a jungle, compared to simulating such environments digitally.

Are there any similarities or links you perceive between Yuri and some of your notably intense characters, such as Johanna from News of the World, or Benni from System Crasher?

Just the other day, I was chatting with someone about how characters Yuri and Benni from System Crasher aren’t all that dissimilar. They’re both damaged kids, though Yuri keeps to herself while Benni is more outspoken. Yet, they’ve both got families weighing them down. They’re two souls tarnished by life. It’s fascinating how Ochi and Yuri find solace in each other in this movie; I believe it’s a mutual saving grace.

I adore stories that pack an emotional punch yet leave you with hope at the end. For Yuri, she finally finds the friend she yearned for, and they embark on a global adventure together. That scene resonated deeply within me when reading the script; it echoes the heartwarming friendship between E.T. and his human companion.

Does this film seem reminiscent of tributes to E.T. and DIY family films from the early ’80s – the kind I used to watch when I was your age? However, you’re part of a completely different generation. If you had seen those movies before taking on this role, were you familiar with them at all?

I’m well-acquainted with the movie E.T., though I can’t recall exactly when I first watched it. To prepare for this role and several others, including Gremlins, a film about a girl who tames a wild horse (The Black Stallion might be the one), I revisited these movies. I did so to grasp the intricate bond between humans and creatures that can’t verbally communicate – it’s quite challenging. Isaiah [Saxon] encouraged me to study how other actors have portrayed such relationships on screen.

Do you have a favorite scene from the film, one that was the most fun to shoot?

I found it challenging to select a favorite since there were numerous entertaining moments involving Ochi, but the supermarket scene stood out as the funniest. The absurdity of the half-functional mock store and our playful chase with the shopping cart while carrying Ochi made it unforgettable. The ending scene, where everyone reunites, was perhaps the most moving. It was heartwarming to see Yuri return with Ochi, and the presence of the parents added a poignant touch. Off-set, that moment was particularly emotional for me.

How do you manage the balance between your work and your regular life, with school, family, etc.?

I’ve since graduated from school, and I’ve been employed since last year. Frankly, it’s been a great relief. Since homeschooling isn’t practiced in Germany, students who wish to make films require special permission and must maintain their grades. This wasn’t an issue for me, but it adds quite a bit of workload for the production teams.

Currently, it’s all about keeping things organized and ensuring smooth collaboration. If your team is aware of your preferences, such as your fondness for horses, or if they know you’ll be absent for three weeks due to some commitment, they can adjust their plans accordingly. However, there will always be instances where sacrifices need to be made. It’s a job, after all, and while I wouldn’t give up my life for it, I adore it enough to adapt my schedule. Given my accustomed fast-paced lifestyle, I’m comfortable with spontaneity.

Are there any roles, or kinds of films, you’d love to try that you haven’t been offered yet?

I’ve had a lot of experience with dramatic roles, which I truly enjoy, but I also find excitement in exploring new territories. A horror film or a comedy are genres that particularly interest me. Given my lifelong connection with horses, I dream of creating a movie involving these magnificent creatures someday. My team and I tend to be choosy about the projects we accept, and recently, I’ve been eager to delve into diverse roles to figure out what suits me best. Dabbling in different areas has been invigorating and it feels liberating not to always play the dramatic lead.

You just shot your first horror film, Bloody Tennis, which looks like a big jump for you.

Indeed, the experience was quite unique. Contrary to my expectations, I found myself not afraid during the filming of horror scenes. Instead, it turned out to be amusing. After a day’s work, we would head for lunch, our clothes splattered with artificial blood and presenting a rather fearsome appearance. However, we were well aware that the blood was just part of the act. We starred as five tennis academy students in the movie “Bloody Tennis,” which was an enjoyable experience working within an all-female crew. Each of us had distinct roles to play. Moreover, it was exhilarating to engage in daily tennis practice and learn something new. I would gladly take up the opportunity again. I eagerly anticipate viewing the final edit, transitioning from being privy to every backstage secret to watching the completed horror film, perhaps even experiencing a genuine sense of fear.

In the early stages of your acting journey, you’ve had the privilege of sharing screen time with two esteemed figures in the Hollywood industry, Tom Hanks and Willem Dafoe. Could you describe your experiences working with them, and perhaps share some guidance they offered during filming?

It’s not an easy question to answer, but let me try to break it down. In terms of their acting roles, Willem tends to play villainous characters or unusual, expressionistic ones like in Nosferatu, while Tom is less frequently the antagonist, though he did portray a villain in Elvis. However, when it comes to personality, they are quite similar; they are both charming, intelligent, and have a great sense of humor, always making jokes. Willem has a more European vibe since he resides in Rome and seems closer in some way. Tom, on the other hand, embodies classic American values, attending football games and such events. I maintain contact with both of them; I talk to Tom quite frequently, and we have grown close, becoming good friends.

From Willem, I didn’t receive explicit advice, but what I gleaned was an instinctive approach to performance. He consistently performs with an uncanny intensity, following his gut feelings, and amazingly, he can deliver the same powerful emotion in a scene, over and over, without ever showing frustration. Remarkably, he remains incredibly polite and respectful towards everyone around him.

I recall Tom offering me some guidance regarding my career. He emphasized that regardless of one’s fame, it’s crucial to always arrive ahead of schedule (on time, but ideally early), be well-prepared (know your lines), and stay informed about the ongoing production (what’s happening on set). Even if you’re experiencing a difficult day, in a film production, everyone is collaborating on a shared project – creating an exceptional movie – and that can only be achieved collectively.

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2025-04-18 11:25