PRESSE & KRITIK
"Julia Koch possesses the kind of strength, grace and focus that sets her apart.
She has a strong sense of timing, and the heart of a true artist.
It was a pleasure working with her. "
- Kirk Baltz
actor ("Reservoir Dogs", "Face Off", "24", "Will and Grace"....)
“Julia Koch is a rare gift to both director and audience. With strong roots in the theatre, her actor’s instrument is like a finely tuned Stradivarius. Delicate physical grace coupled with immediate access to a bottomless ocean of seemingly effortless emotion makes her a force to be reckoned with. You’d be lucky to have her a part of your project. That is, if you can get her before the rest of the industry takes notice.”
- Joseph J. Pearlman
acting coach (coaching Hollywood celebrities for award ceremonies like the Oscar Awards, the Grammy Awards, and also coaching actors on set, like Zooey Deschanel)
"I have seldom taught a student who was more dedicated, driven and hardworking, or in fact, one who was more talented. Julia has impressed me not only by her work ethic, intelligence and dramatic understanding, but also by her grasp of the complexities of acting and her ability to assimilate information and incorporate it into her own physical and vocal system.
She has proved herself to be motivated, willing and passionate, and is, in my opinion, a true performing artist."
- Colleen Rae Holmes
director of the Conservatory for Acting - Open Acting Academy, Vienna
"Julia Koch is a terrific actress!
She’s always there, always present, she never breaks the tension.
I like her.“
- Randy Haberkamp
director of special projects for the academy awards
Frontstory von Sandra Kacetl, 2019
Interview mit Saskia Heel, 2020
Kritik zum Theatertück "spürbar" von Peter Fuchs
Kritik von James Scarborough
Theatre, art and cinema critic, Los Angeles
A former member of the Los Angeles Drama Critics Circle, he now writes for The Huffington Post
"Even to watch Julia Koch perform warm ups and set pieces in an acting class is to witness a talent that is thrilling and exciting precisely because it is so thorough and natural. She inhales the roles and, when she exhales, her understanding of that role extends to her facial expressions, her tone of voice, and her carriage, as well as to such minute details as, when playing the smitten teenager, the angle of a left foot as it skirts the ground and, when playing a woman under threat, the meticulous, one-by-one curling of the fingers on her right hand. Though these exercises lasted but a couple of minutes, as I watched her I thought of a poem by Theodore Roethke, “I Knew a Woman,” part of which goes like this:
She played it quick, she played it light and loose;
My eyes, they dazzled at her flowing knees;
Her several parts could keep a pure repose,
Or one hip quiver with a mobile nose
(She moved in circles, and those circles moved.)”