License to be Inappropriate: Albert Pretorius on the Edge and Art of ‘Die Kantoor’

Taking on a role made famous by comedic legends like Ricky Gervais and Steve Carell requires both bravery and perfect timing, but Albert Pretorius is proving more than capable as Flip in Die Kantoor, the South African version of The Office. Pretorius, like those who came before him, is a versatile actor with a strong resume, including notable performances in The Seagull, Johnny is nie dood nie, Catch Me a Killer, Devil’s Peak, Nêrens, Noord-Kaap, and now, Die Kantoor.

As a huge cinema fan, I was really fascinated by this interview with Albert. He talked about the intense pressure of stepping into such a well-known franchise, but also how he tackled the often-awkward world of corporate culture. What struck me most was his take on taking ownership of such an iconic, and famously clumsy, character. He described the set as wonderfully chaotic, and you can really feel the fun he had working with Schalk Bezuidenhout. It’s clear he found the character’s heart – and a lot of humour – and honestly, it sounds like a role he genuinely enjoyed bringing to life, even after the cameras stopped rolling.

Did you feel a lot of pressure taking on such a revered franchise?

It was definitely intimidating! I’m a huge fan of the show, and I didn’t want to disappoint such a beloved comedy franchise. From the start, I knew I’d be measured against two of the best comedic actors of recent times. It’s impossible to take on that role without people thinking about David Brent or Michael Scott.

I wondered why we were revisiting this story after so many years, and what new perspective we could bring to it. Then the director, Bennie, gave me a really compelling reason, and I immediately wanted to be involved. He explained he’d rather take the risk and potentially fail himself, than watch someone else try and reimagine it poorly. I completely agreed – I wanted to give it my best shot so I wouldn’t regret not trying, and wouldn’t have to watch it and think of all the things we could have done.

How do you think playing the most famous boss in television history will change things for you?

I don’t really focus on what a job will do for me. I try to avoid thinking of things in terms of a traditional “career path.” Mads Mikkelsen put it perfectly: if you’re only concerned with where a job will get you, you probably won’t have a fulfilling career. But if you focus on enjoying the work itself, a good career might naturally follow.

Flip feels designed for a South African context. He earns his own place.

I was careful not to imitate any specific mannerisms when developing the character, especially since he’s based on a South African persona. However, certain stylistic choices – like the costume and directly addressing the camera – came naturally. I initially worried about making too much eye contact with the camera, thinking it might be over the top, but it felt right and seemed to fit the character. The direction was to look at the camera, and it just felt natural to do so.

Die Kantoor is satirical and probing. It’s the “cringe factor.”

I understand that sometimes, what seems funny on TV isn’t funny in real life. For some people, those jokes or comments actually reflect their everyday experiences – like a boss speaking inappropriately or a partner making uncomfortable jokes. It’s a tricky balance because you don’t want to imply that behavior is acceptable. The show handles this well by having other characters react to inappropriate comments with disapproval, letting the audience know that what was said wasn’t okay. It acknowledges the problem without explicitly condoning it.

So there was obviously a lot of improv allowed?

The show seems chaotic, but it’s actually very carefully planned. The humor works because everything builds towards a specific outcome, and the structure is essential. We were allowed to improvise, but always with the understanding that certain lines were crucial for later scenes – we couldn’t risk losing them in editing. Sometimes we’d need to shorten things if the script was too long, but overall, the director gave us the freedom to experiment and find what worked best.

What was it like working with Schalk Bezuidenhout?

Schalk was incredible to work with. It wasn’t about being intimidated, but more like being excited to share scenes with a truly talented comedian. I wondered if he’d think I was funny, or offer suggestions to improve my performance, but he was incredibly generous. He always supported my choices and consistently exceeded my efforts, building on anything I offered him.

How do you protect your own mental space? None of [your roles] have ever haunted you, would you say?

I’m known for making quick exits. My fiancé jokes that I tend to stick around a little too long when working with Flip. That’s because the show allowed for a lot of improvisation, and the creator, Bennie, told everyone on the first day that they shouldn’t be surprised by anything I said for the next seven weeks – I had the freedom to say whatever came to mind.

Occasionally, after filming on a Friday, my fiancé and I would grab a drink, and I’d playfully banter with one of the guys on set. I was really getting into that ‘Flip’ persona, and I think some of that energy carried over. Honestly, throughout the whole shoot – we were filming twelve pages today – I was mostly focused on developing that character.

And you really do love Flip?

I genuinely enjoy being on Flip. It’s surprising, even to me, how open I was and the things I shared on the show. It feels incredibly liberating.

2026-02-12 10:43