Tom Hanks, Willem Dafoe & A Kid Who Said No: Helena Zengel’s Raw Truth About Growing Up On Set
AFFECT caught up with Helena Zengel, the actress many first discovered through her powerful role in System Crasher. But there’s so much more to her than early success and international acclaim. Helena opened up about growing up on set, learning to set boundaries at a young age, and the importance of having a voice, even as a child. From navigating public perception to staying grounded with old friends, she reflects on what it means to grow into womanhood in front of the camera. We talked about trust, responsibility, female identity, and the quiet power of intuition.
AFFECT: Who are you, what do you do, and where might people know you from?
Helena Zengel : I’m Helena Zengel. I’m an actress, and most people probably know me from System Crasher.
A: You’ve acted in major productions from such a young age. Do you remember your very first day on set?
H: I think I just let myself have fun. (...) Sure, it’s a job, but kids approach it in their own way. (...) I never took it too seriously and kept it playful.
A: What was your favorite film as a child?
H: I had a bit of a Bibi & Tina kind of life. (...) I got my first horse when I was six or seven. That really shaped me.
A: What did you love doing most as a child when you weren’t filming?
H: I spent a lot of time at the stables, outdoors, just being out and about. That was my balance, very analog, very free.
A: Were there any actors or actresses who especially inspired you back then?
H: Not specifically, I was more caught up in my own world. (...) But later, working with people like Tom Hanks and Willem Dafoe taught me a lot about acting and trust.
A: Did you have a trusted person on set when you were a young girl?
H: I had an amazing team that really listened to me. I said early on what I wanted, and I stood by it. That’s important when you start so young, that it’s clear: if you don’t want something, it’s respected. And on System Crasher, we had this kind of ritual, a "set shower", to separate role and self: “Now you’re Benni, now you’re Helena.” (...) Things like that really help, especially for kids.
A: What was your experience as a child on set – was there room to just be a kid?
H: I was very young in an adult position. I had lots of conversations with adults, was surrounded by older people. (...) But I spoke up early and was heard.
A: When did you first realize people no longer saw you just as a kid or a girl, but suddenly as a young woman?
H: When you grow up in front of the camera, people’s perception shifts. I noticed I was seen differently after I finished school. Some still had that image of a little girl from System Crasher, and suddenly, I was a woman.
A: Looking back, were you ever seen as “grown-up” too soon, especially by colleagues?
H: Definitely. I started writing emails myself, taking calls, taking on responsibility early on. (...) But I actually always saw it as an advantage.
A: Has the public influenced your idea of femininity – and if so, how?
H: Yes, being in the public eye so young, I was exposed to comments. I also experienced bullying. That’s why it’s so important to build your own image and not be swayed by the outside. I think today there’s much more freedom in how you present yourself as a woman. (...) A lot of stereotypes are being broken. I know many women who wear suits on the red carpet, I think that’s beautiful. This freedom to express yourself in different ways as a woman.
A: What was the dynamic like with male colleagues like Tom Hanks or Willem Dafoe? Did you feel you had to act “older” to be taken seriously?
H: Tom was like a father figure to me, in a very positive way. He wasn’t authoritarian, more like a protector. Willem was similar. I don’t know if there’s a big difference between male and female mentors but when a man gives direction on set, it used to carry a different kind of weight.
A: Were there situations on set that you only later realized were problematic?
H: Scripts were always reviewed by my mom or my agents. On System Crasher, there were a lot of borderline scenes involving physicality, swear words, or touch. (...) Back then, it all felt like fun, I got to curse, run around. Only now do I really realize what I was doing. I’m not sure I could portray it the same way today, I had no shame or boundaries back then.
A: Was there a point when you started setting your own boundaries consciously?
H: Yes. I started saying early on what I wanted and didn’t want. (...) And I had people around me who respected that.
A: How has your view of the industry changed as you’ve gotten older?
H: I see a lot more of the structure now. It used to all feel like play, now I understand how things work. This is my job, I earn my living with it (...) and I’ve learned to make my own decisions.
A: What have you learned about yourself over time?
H: That I can stay true to myself. (...) And that it’s important to take care of myself.
A: What helped you not lose yourself along the way?
H: My friends, especially those who knew me before all this. Keep your old friends close, the ones who knew you before. That’s worth so much, having people around who see you outside of the industry. (...) People who see me independently of this career.
A: What would you tell a ten-year-old girl wanting to enter the industry today?
H: Just have fun. Do what you enjoy. (...) Get yourself a good team. Take care of yourself, but don’t forget to keep the fun.
A: Thank you, Helena, that’s it.
H: Thank you
Interview by Noémi ZakTalent: Helena Zengel
Editor-in-Chief: Noémi Zak
Director: John Seelandt
Creative Producer: Sophie Schiller
Director of Photography: Jakob Neuhauser
Gaffer: Ben Pohl
Production Manager: Frieda Lübbehüsen
Production Assistant: Helena Yousefi
Social Media: Antonia Pohl
Photographer: Annika Yanura
Edit: Ben Pohl
Grading: Florian Seifert
Music (Track 1): Benjamin Johannes Orth
Music (Track 2): Mathis von der Goltz
Sound Design: Michael Bleyzer
Styling: Angelika Götz
HMU: Jaqueline Blümel
Location: Kant Kino Berlin