For all the actors, the work on SPAIN began with intensive preparation. What did your research consist of?
Cornelius Obonya: It all went hand in hand. I always wanted a role that demanded this kind of preparation, and with SPAIN we were given the time. Anja and I went to talk to the police unit in charge of immigration and find out what their responsibilities were. We also talked to a pressure group that fights for human rights, SOS Mitmensch, where we got a completely different picture. This research really helped us understand both sides. As a left-wing liberal, one tends to view the police as the enemy. And it might be true to a certain degree, but for the most part it isn’t. Then I talked to two psychiatrists about Albert’s psychological disorder and about how he would behave – through minor but revealing outbursts, strange answers. He is a sick man, but you could recommend that he go see a therapist. We didn’t attempt to create a specific type but tried to keep him on the edge, ready to tip either way.

What was it about the screenplay that made you want to accept the part?
Cornelius Obonya: The characters in this movie are all in a similar state of mind, albeit for different reasons. They collide and ricochet like balls in a game of pool. What appealed to me was the concept of God interwoven in the story, a religiousness floating freely through the film. There is this constant symbolism being used without it ever being the real issue in the movie. The religiousness is a part of human beings and it is them the movie focuses on.

Albert is searching for the words people say to each other when they love each other. Why does he think he can solve his problem with words?
Cornelius Obonya: Because he is speechless. He’s cut off from himself and the people around him. The subtlety of Anja’s characters is that they suffer from some form of “-lessness”: speechless, visionless, etc. They all lack something and are searching for it. In Albert’s case it is words because deep inside he has no words for what happened to him.

How does one immerse oneself in the role of a negative character?
Cornelius Obonya: With a lot of passion. I love it. When I play a character like this, I don’t want the viewer to identify with him but rather to reject him. In order to play the role, however, you always have to love the negative character unconditionally.

Despite the sobriety of the subject, there is also a lot of humor in SPAIN. Was that something that particularly appealed to you?
Cornelius Obonya: Even with a complete asshole you have to be able to smile a little. I know from personal experience – terrible or tragic situations can sometimes be unintentionally funny. If one loses one’s sense of humor, that is when the real psychological problems begin. In a miniature situation humor intensifies discrepancies in terms of a lot of little problems that would otherwise be tedious to narrate. It introduces a breath of fresh air, and then you go back to the oppressive situation you’re struggling though.

This was Anja’s first feature film, having made only documentaries until now. How did you perceive her approach to directing?
Cornelius Obonya: Through her enormous experience in composition she radiated a wonderful sense of calmness. And that’s a good foundation. I would work with her again in an instant, and I hope she keeps her way of working without thinking about trying to devise her own distinctive style as a director. I’ve had so many long conversations with Anja, but it was never empty talk. You don’t stumble across this sort of thing very often, and it was a lot of fun, a unique and valuable experience.