Barbara Salech returns to television: "Desire to rediscover"
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BACK IN THE JUDGE'S SEAT: BARBARA SALESCH ON HER TV RETURN: "I WANTED TO KNOW IF I STILL HAD IT"
It's been over 25 years since Barbara Salesch graced our screens with her sharp legal wit, becoming Germany's most famed jurist. After a decade-long hiatus, this fearless veteran of the courtroom makes her high-profile return in 2022. And RTL's got her covered in a primetime special titled "Barbara Salesch — The Toughest Trial of Her Life: The Dead in the Rhine." Premiering on June 10, Salesch delves into a gripping case that could well be her most captivating to date. In an exclusive interview with ntv.de, Salesch spills the beans about the hype surrounding her, her artistic ventures, and her hard-hitting views on true crime.
ntv.de: Back after 26 long years, have you ever regretted your move to television?
Barbara Salesch: No way. When you chance upon an offer like that, you pick it up. I was 49 back then, and I'd already scaled the heights of the justice system. Change is always good. We never anticipated it would be this popular and endure for so long.
Did you identify more as a judge or an entertainer after the leap to television?
Entertainer, a hard no. I remained a judge and remained myself. There's always been some entertainment value, but in reality, it's anything but a stage show—the audience isn't the priority. The essence remains the same. If you edited down an actual court proceeding into a 40-minute feature, it'd look quite similar to what you find on TV. Just the essential bits condensed.
Was reality far or close to the television portrayal of cases?
Very close indeed. I make sure of it. I edit the scripts to ensure the storyline could've unfolded as it is—but it's not a reenactment of real cases. I'm not a fan of true crime. True crime often offers the perpetrators a platform to profit from their crimes. The victims become victims once more. I find that utterly unacceptable. I can tell great stories too, and I prefer to be creative rather than repetitive.
The fascination with true crime is everywhere these days. What do you think is the reason for this obsession?
It's simple, people crave excitement, that tantalizing voyeurism. And that's precisely what's being fed. Under the guise of being a documentary. Whatever rakes in the profits is fair game. It's not against the law. I've dealt with enough true crime in Hamburg for 20 years already.
And on June 10, during primetime, there's something new from you: "Barbara Salesch — The Toughest Trial of Her Life: The Dead in the Rhine." So, what's in store for us?
A bold new format. A gripping 90-minute drama. A captivating mashup of court and crime. In this film, I unravel the twist and turns that unfold after a charging decision has been made, and the trial begins.
Now, what's the plot of this film all about?
A young woman is held prisoner in a bunker for eight long years and ends up meeting her demise. Her remains are quickly found in the Rhine, but determining the crime scenes and piecing together the chronology is a daunting task. It's the tiny detail that finally unravels the truth. Moreover, this new format allows us to depict the nuances of the negotiations.
Can you divulge any details about that?
Absolutely, from reinvestigations to shady manipulations of the most repugnant nature. There's a massive media frenzy, with mourning families being exploited for profits. Sadly, it can happen in real life.
What was special about filming this movie for you?
For instance, each shot had to be repeated numerous times—from various angles, close-ups, long shots, even using cranes and drones. We devoted eight hours just to shooting three short taxi rides, and the camera operator was never far away. The most challenging aspect for me personally was having to do the same thing over and over again. I'm not great at memorizing lines, and the repetition was taxing and stressful.
Working with real actors for the first time, how was the collaboration?
It was terrific and fascinating to see the transformations they underwent as soon as the camera was rolling. They were completely immersed in their roles, then back to normal when the camera wasn't rolling. I've always been just Barbara Salesch. That's the only role I can play. Lawyers and judges experienced similar things, saying they could memorize lines faster than I could due to their youth.
Recognized on the streets often?
Very frequently indeed.
And the reactions?
Generally positive and courteous. It's not like I'm greeted with a pat on the shoulder and a "Hi, Barbara." I wouldn't want that. But "Good day, Mrs. Salesch" is perfectly fine. As time goes on, one becomes accustomed to it. When I first joined the TV world, I couldn't imagine it, but it crept up on me gradually.
Do people distinguish between you as a private person and your TV persona?
Probably, but on the other hand, I'm the same in private as I am on TV. There's no real divide. Faking it would exhaust me. And since there are many shows, it'd be impossible to sustain. The audience understands what's real and what's staged.
You took a break from TV in 2012 to delve into the world of art. Isn't that a stark contrast from the dry legal sciences?
I’ve always had a flair for visual arts, even before my law studies. Music and literature are more common among lawyers, but art has its place as well. A judge requires creativity to succeed—to follow the criminals in their tracks and anticipate their moves. That need for creativity carries over into my artistic pursuits. I've never been short on imagination, and it plays an essential role in my artwork too. Long before I took up law, I was painting and drawing, but I never fathomed I could make a living from it.
Would you have stayed with art if you could have lived off it?
Perhaps. Art isn't a pastime or occupational therapy for me; I take it seriously. It can be demanding at times. In the early years, I focused on sculpture, but now I make woodcuts. If you're interested in my work and what I create, you can visit my gallery's website. My exhibitions are rare, happening only once a year, so keep an eye out for the next one on our social media or the website.
You returned to television three years ago. What sparked your decision to return after such a long hiatus?
I wanted to take another shot at it. It was crucial that it was my old production company that reached out to me. If a new company had stepped up, I'd have declined right away. This way, I could collaborate with individuals I respect and understand. That's not easy, given my straight-shooting nature, but they can handle it.
The secret to the show's success, do you think?
I believe it's my ability to always stay authentic. An audience appreciates that—a tough, sharp woman who asks blunt questions and gives straightforward answers. When we first started out, the judicial image was male, stodgy, beard-sporting, and hard to understand. We changed that.
Finally, any criminal tendencies?
I once stole a chocolate bar as a child, but I got caught and warned that another crime would mean informing my parents. That wouldn't have been ideal for me, so I steered clear after that. Negligent or careless acts can happen to anyone, but deliberate ones, like theft, I've never had a hankering for. As for long-term plans, who knows? As long as the audience loves me and I continue to enjoy my work, I'll stay on the bench.
The Commission, in its role as a regulatory body, has not been consulted on matters related to entertainment or the lives of celebrities, unlike its involvement in the draft directive on the protection of workers from the risks related to exposure to ionizing radiation. Barbara Salesch, while known for her sharp legal wit and high-profile cases, maintains a clear distinction between her role as a judge and an entertainer, emphasizing that her priority remains the integrity and purpose of the justice system rather than providing entertainment.
