Opening image: Jumpsuit Yves Saint Laurent necklace Loren Stewart rings vintage
Words Leelou Reboh
Starring in Sky’s adaptation of The Tattooist of Auschwitz, Anna Próchniak reflects on the responsibility and emotional toll of portraying Gita.
When Anna Próchniak was approached to portray Gita in Sky’s series adaptation of Heather Morris’s best-selling novel The Tattooist of Auschwitz, the young Polish actress couldn’t pass up. ‘I feel lucky as an actress because those types of projects don’t come by very often’, she explains to OVERDUE. Throughout six episodes, the show tells the poignant love story of Gita and Lale Sokolov (Jonah Hauer-King), the man tasked with tattooing the prisoner ID numbers at the concentration camp of Auschwitz. Finding strength in the moments they share together in secret, the unconditional love they bear for one another becomes the ultimate act of rebellion in a place where all hope seems lost. In her depiction of Gita, Próchniak becomes a symbol of endless resilience. ‘We can always choose love over hate’, she says.
In times of hardship, The Tattooist of Auschwitz reminds us of the power of love, and that it will always be our best option.
What made The Tattooist of Auschwitz different from the other projects you worked on?
I read the book when it was first published and it immediately became a bestseller. I completely understood why. It’s such an important story. It’s extraordinary and truly inspiring. The Tattooist of Auschwitz had a huge budget, with a cast and creatives from all around the world. We were able to work with the amazing Tali Shalom Ezer who directed all six episodes of the show. Hans Zimmer and Kara Talve were also involved, and they created an amazing score for the show. So I’d say that what made this project different for me was mainly the scale — it was just huge!
How would you describe the overall atmosphere of the series?
As I said, this is such an important story to tell, not only in terms of the subject matter but also because of the fact that it gives a glimmer of hope. It was definitely challenging and daunting at times because it’s a heart-wrenching story. It tells the story of two brave souls who find love and hope within each other, and this is what sustains them in the darkest of places. Throughout the series, we were always looking for the balance between hope and the heaviness of the topics the show delves into.
What initially drew you to this role then?
I love getting a script that challenges me and getting the opportunity to play a character that makes me step out of my comfort zone. Gita is definitely one of those characters. I’ve loved the story ever since I first read the book by Heather Morris, and I thought that Gita was such an incredible person. She’s so multidimensional and complex. She’s strong and resilient, but at the same time, she’s vulnerable and fragile. Her character is so compassionate and kind, and committed to helping others, even when she finds herself in these dreadful situations. To me, she’s also extremely brave, because her decision to give love and receive it is her personal act of defiance in this horrible place.
You being Polish, I suppose filming the series was a deeply personal experience. What were the emotional implications for you to interpret a role that is so closely related to your country’s and perhaps also personal past?
I think it’s so important to keep telling stories like this one. I’ve been to Auschwitz, and some of the other camps and it’s a huge part of the Polish education system. Going there was an upsetting and unsettling experience, that cannot be described in words. Once you go there you won’t ever be able to forget it but it is crucial to spread awareness about the Holocaust. I would have been naive not to think that it would be very challenging and difficult. It’s so important to respect the stories of Holocaust survivors and this is just one of many incredible ones. We have a responsibility to make sure people will understand the nature of a place like Auschwitz. It’s so brave of Lale Sokolov to have shared his story with the world and to face the ghosts of his past. We have to accept it and respect it.
You were talking about the huge responsibility of taking on such a role. How did you prepare for it both mentally and physically to connect to your character in the most authentic way?
For me, it’s always essential to create a comprehensive backstory for the character and, in this case, playing a real person. It’s a great responsibility and it’s very scary. I did a lot of research: I watched a lot of documentaries, and read a lot of books… I worked with a cultural and historical consultant. I talked with the author Heather Morris about her relationship with Lale and his memories of his wife. I watched Gita’s testimony and those of many other survivors — dozens of them, because when I started watching I just couldn’t stop. It was so extremely emotional and intense. t felt very intimate to be able to watch how they changed when they were remembering the events from the camps. It’s so moving because you start to grasp that you’re looking at a real person on the screen. You see the real emotions they had suppressed for a long time. It was a lesson on humanity and an experience that truly changed my life.
That sounds extremely challenging. How did you cope with all of that?
I feel very privileged as an actor because those types of projects don’t come by very often. Gita was an incredible character to portray. Despite how challenging it was at times, I felt safe because we worked in a controlled environment. I felt supported by my director and my co-stars. We would check on each other’s well-being and be present as much as possible. I think that when I work, I’m extremely focused and I need to stay immersed in the mindset of the subject and my character, so there weren’t a lot of moments of relief. I really needed this safe place to work with Tali. I felt ready to explore the darkness of the story, but I couldn’t have done it without her and Jonah’s support.
How long did filming take? How many months did you live in that mindset?
It lasted five months.
That’s quite a while.
Yes. It was a long period of time… But it was a collective effort. We knew we were in this together, and that we were here for a reason. We just wanted to pay the story justice and tell the story as authentically as possible. It just felt right. We just really wanted to give the characters all of our tenderness, love, and compassion.
How did you find moments of hope within your character’s story and throughout filming as well?
I think that balance is important. All those stolen moments Lale and Gita share are the most precious moments, for them but also for the audience. They’re moments of light within all this darkness we were — and the audience will be — immersed in. They’re what makes this story so special. It’s beautiful because their relationship is so pure and authentic, like them.
How did you find that switch when you were acting, to let hope and lightness in the story?
It was very organic. I could really relate to it because I immersed myself fully in the story. So I was looking for that glimmer of hope, and now I completely understand why they chose love to survive. That’s how I found relief in this process actually, those stolen moments between Lale and Gita…
Has their family already been able to watch the series?
We met Lale and Gita’s son, Gary. We spent some of the press week with him and that was the most incredible and emotional week. He’s very happy about the show and that his parents’ story is being adapted to the screen. It was the most amazing thing to get his blessing, and to hear from him that he’s proud of it… And also for him to see his ‘parents’ on screen, you could see how much he relates to it. Meeting him in person and being able to simply hug him felt like the perfect closure.
Can you share any memorable moments from the set?
There was a moment in preproduction when we first decided to shave my head. Our make-up and hair designer Frances Hounsom asked me whether I wanted to cut my hair step-by-step, but I decided to just go for it. Looking at myself in the mirror, without hair and in my costume, with the tattoo on my arm, was very emotional.
What would you like your character to be remembered by?
Her compassion, and her willingness to help others even in the circumstances she found herself in.
Throughout our conversation, you have mentioned that it is important for you to feel challenged in your work. Is that one of the reasons why you fell into acting?
As a child, I spent a lot of time in my head and had a strong imagination. I think the initial challenge was communicating with the outside world, and I was looking for a way to express myself and connect with others. I think acting and dancing helped me find my voice.
Before The Tattooist of Auschwitz, what was the most challenging project you’d been a part of?
I am often cast in projects requiring high emotional intensity and I’d already done several things related to World War II, but probably the most demanding were the Polish film Warsaw 44 directed by Jan Komasa, and The Innocents by the French director Anne Fontaine. In the former, I played the role of a young underground resistance fighter during the Warsaw Uprising — it was a large-scale war production about young people who tried to liberate Warsaw from Nazi control in 1944 and a truly harrowing story of a love triangle, deeply rooted in Polish history. In the latter, I played a young pregnant nun who was sexually abused by Russian soldiers during the war. In both cases, I had to work through very difficult emotions and be willing to explore different — sometimes very dark — dimensions of human nature in order to honestly tell these stories. But I was fortunate to work with brilliant directors who guided me through these projects.
I understand you have a background in ballet and contemporary dance. How has your dance background helped you as an actress?
Dancing has always been the most organic way to express myself ever since I can remember — I think that’s such an amazing base for an actor! For me, it’s not about choreography, or even the movement itself, but rather about the presence and emotional accessibility through the body. I think I’m simply looking for the source of emotion, not only in the knowledge I have about the character, their background or the backstory I have built but also in the strong physical response. My approach to acting has always been very intuitive and instinct-driven. My dance background may have been the reason for that.
What are some lessons you’ve learned from your dance background that you can apply to your current acting career?
Ballet school taught me discipline, working with a partner and with my own body awareness. When you’re a dancer, not only do you need to be disciplined in the studio but outside of it as well; it comes to eating right and working out. It helped me a lot I went to drama school and started working on film sets. Dancing also taught me many life lessons: I learned that when you go to a competition, there will always be someone more experienced than you, older than you, younger than you, fitter than you, prettier than you and so on. You have to learn to accept who you are as a person and as an artist, and learn that it is fine to be where you are in your personal journey. At the end of the day you’re doing the best you can. Gaining this knowledge at a young age made it easier for me to accept the rejection that a young actor experiences at every turn. I’m not saying it didn’t hurt me but it taught me not to blame myself for failures, to move on and try again. It’s not about mastery or perfection. It’s about a process, a journey.
Going back to the photoshoot with OVERDUE, you seem to be very much at ease in front of the camera. What is your thought process when you’re shooting? How similar is your approach to being photographed compared to being filmed for a movie or series?
I think it’s really the same! In both cases, it is important for me to feel grounded and present. Here and now.
What was your favourite piece that you were styled in that day?
I liked the jumpsuit from Yves Saint Laurent.
If I bumped into you in the street, what can I expect to spot you in?
I always want to feel comfortable and cozy, almost like I’m hiding in the clothes. So I would probably be wearing a good pair of jeans and maybe a nice silk shirt because I really like how it feels on my skin. It would also probably be vintage because I love vintage clothes and I’m really good at finding good finds.
What’s your favourite vintage brand?
I don’t think I have one actually! I like to think about fashion more in terms of the items, not the brands. I think personal style in fashion is about combining different elements, items and pieces in a way that transforms them into something new and unique. That’s why I think it’s cool to use vintage pieces! I love the way Schiaparelli’s designs play with unusual fabrics, huge jewellery and surrealistic accessories. There’s always something unexpected and bizarre in these designs — refreshing and imaginative. In my opinion, these are great examples of how fashion meets art and is art in general.
Absolutely, Schiaparelli is the best of both worlds! My last question for you is, what message do you wish viewers to take away from the series, especially in today’s world?
I believe that the ultimate message of The Tattooist of Auschwitz is that we can always choose love over hate. It’s easier for hatred to arise because love requires commitment and sacrifice. It is the greatest power we have as humans, and it’s our choice to make — so we need to act on it wisely.
Many thanks to Anna Próchniak for her vulnerability and openness throughout our conversation. Watch The Tattooist of Auschwitz on Sky from May 2nd.
Talent Anna Próchniak
Photographer Andrew Kimber
Stylist Adele Cany
Make-up Maho Moriyama
Hair Yui Ozaki
Studio & Retouching Kimber Studio
PR Pinnacle PR