Diane Kruger reveals how therapy made her a better actor, the draw of her latest iconic role and her grief for Karl Largerfeld

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Pierre Choderlos de Laclos’s novel, Les Liaisons Dangereuses, published in 1782, has seen numerous adaptations over the years. These include the 1988 film Dangerous Liaisons, starring Glenn Close and John Malkovich, and Cruel Intentions, released just over a decade later with Sarah Michelle Gellar and Ryan Phillippe.

This new take on the story, called The Seduction, is designed to attract viewers to the HBO Max streaming service. It’s a reimagining of the original, focusing on Madame de Rosemonde – a supporting character in the previous version – and starring Diane Kruger.

RT spoke to Kruger to find out more about her new role and more.

You know, it really stung when an American critic told me I was ‘too beautiful to play a role with any real depth.’ As a film lover and someone who takes my craft seriously, it felt incredibly dismissive. It’s frustrating when people focus on your appearance instead of your talent, and it made me question if they were even seeing me as an actress, or just seeing… well, a pretty face. It definitely fueled my desire to prove them wrong and take on challenging roles that would showcase my abilities beyond just how I look.

I’ve moved past that issue a long time ago. It was really hurtful as a child to be evaluated based on how I looked instead of my accomplishments. But, life goes on, and I’ve learned to deal with it.

Your first acting role was in the 2002 movie, The Piano Player, alongside Dennis Hopper. Do you remember any advice he gave you?

I learned so much from my early experiences working with talented actors. Dennis was incredibly patient with me, as I was completely new to being on camera. Later, Ed Harris, while filming ‘Copying Beethoven,’ showed me the importance of standing up for your artistic choices and protecting your character, even when you’re young and worried about losing the role. I also had the chance to work with Brad Pitt on both ‘Troy’ and ‘Inglourious Basterds,’ by which point I felt a little more confident. He’s a really committed actor.

You were good friends with the late Karl Lagerfeld – what bonded the two of you?

I first met Karl when I was sixteen, and he felt like a constant presence in my life. He was incredibly creative and never lost his spark. As my neighbor, he’d often invite me over for dinner after I finished filming, and we always chatted in German, which brought us closer. He was a fearless and sophisticated man, and there will never be anyone quite like him. I miss him dearly.

We’re now discussing The Seduction, an adaptation of Les Liaisons Dangereuses. Which version did you like best?

I first encountered the story in school, but the film directed by Stephen Frears is truly excellent. Initially, when I received the screenplay, I questioned whether another version was necessary. However, I quickly became captivated by how much more prominent Madame de Rosemonde was in the film compared to the book. I also loved the concept of a sisterhood forming between the women – it felt like an early spark of feminism, even if using that term would have been bold in the 1700s!

The series centers around three generations of women, and one storyline strikingly mirrors the themes of the #MeToo movement. Given that the show is set in the past, was it challenging to portray a story that still feels so current and relatable?

Becoming a mother sparked my interest in women’s stories again. I want to be a more informed parent and equip my daughter with the resources she needs. I used to believe I’d never make a film about the Nazis, but I recently finished one called Each of Us, a project by four European female directors focusing on the Ravensbrück concentration camp. It felt important to explore that history from a female perspective. I’m fascinated by the experiences of the women who came before me.

How much do you relate to Madame de Rosemonde?

I understand her position – she had her own money, which gave her some freedom to choose her relationships and live independently, much like a man could. However, she was also trapped by the strict social expectations of the time, a world created by men for their own benefit.

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You speak fluent German, English and French – but was it hard to speak 18th-century French?

That particular style of French was really challenging to learn. It felt as complex as Shakespearean English – it had a musical quality, but was also very ornate and elaborate.

Wow, ‘The Seduction’ is just gorgeous! Honestly, I love getting all dressed up for it – the costumes and makeup are a big part of the fun for me. It takes time, sure, but it’s totally worth it to really get into character and help bring the show to life!

It’s enjoyable at first, but the appeal fades after about a month. Still, appearing in a period drama is something most actors want to do. What made this one special was the attention to detail – all the costumes were custom-made. The women each had around six or seven stunning dresses and perfectly fitted shoes. It truly felt like we were transported into a fairytale, with people dedicated to dressing us every morning.

You’ve said that therapy made you a better actor. How so?

It’s been a few years since I tried this, but I sought it out when I was struggling with inner turmoil and needed a way to understand and address my feelings. It was the first time as an adult I felt truly in touch with myself, like someone was actually listening and understanding. I definitely recommend it to others.

Other than Each of Us, what’s next for you?

I’m currently filming a French thriller for Apple TV+ called La Décision, where I play the First Lady of France – she’s also a key political strategist. The writing is really sharp, similar to House of Cards, and we’re actually shooting on location at the Palace of Versailles! It’s a fascinating look at what happens behind the scenes in politics, and I’m having a fantastic time.

Authors

Amy Raphael

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2026-03-16 20:36