Asta Nielsen commenting on her fan mail

»Bei Asta Nielsen. Ein Gespräch mit der Künstlerin« (Kinematographische Rundschau 260 (2.3.1913), p. 10)

»Zahllose Briefe strömen der Künstlerin zu, sowohl von Schauspielern und Künstlern, als auch von Lords und Offizieren, sowie von den Unbekannten der ganzen Welt, die gar keinen Anspruch darauf haben, ihr zu schreiben als das, daß sie wünschen, ihre Liebe und Bewunderung für ihre Kunst auszudrücken. Und immer schreibt man ihr: Kommen Sie doch rasch in unsere Stadt! Wir müssen Sie unter uns sehen!«

»Countless letters pour towards the artist, both from actors and artists, and from lords and officers, as well as from the unknowns of the whole world, who have no claim to write to her at all but that they wish to express their love and admiration for her art. And they always write to her: ›Come quickly to our city! We must see you among us!‹«

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Asta Nielsen: Den tiende muse. Vol. 2: Filmen. Copenhagen: Gyldendal, 1946, pp. 52–53, 80

»Den elegante Wiener beklagede dybt, at Hotellets Blomster jo først var forud­set for næste Dag, men helt uden Modtagelse, trøste han, skulde jeg nu ikke være, idet han pegede hen paa en Bunke Breve, der havde taarnet sig op paa Skrivebordet.

Jeg delte nu ikke helt hans Glæde over Brevpyramiden, jeg kendte kun altfor godt den Flod af Autografforlangender, der strømmer ind til enhver af Filmens Udøvere, og som i deres Ensformighed og fuldkommen Mangel paa Berettigelse altid i Berlin vandrede ind til min Sekretær, der havde opøvet sig i at skrive mit Navn efter og saa­ledes holdt alle Parter skadesløse.«

»The elegant Viennese deeply regretted that the hotel's flowers were only planned for the next day, but I should not be entirely without a reception, he consoled me, pointing to a pile of letters that had piled up on the desk.

I did not quite share his delight in the pyramid of letters; I knew only too well the flood of requests for autographs which pour in to every one of the film's practitioners, and which, in their monotony and utter lack of justification, in Berlin always made their way to my secretary, who had trained himself to copy my name and thus indemnify all parties.«

»Filmen var jo først og fremmest Folkets Kunst, men gennem Breve og den personlige Berøring med alle Slags Mennesker paa mine Gæstespil aabnedes mine Øjne for, at Filmen fra at være en foragtet Markedsunderholdning paa mindre end tre Aar havde fundet Tilhængere i alle Samfundsklasser.«

»The film was first and foremost the art of the people, but through letters and personal contact with all kinds of people at my guest performances, my eyes were opened to the fact that the film, from being a despised market entertainment, had in less than three years found supporters in all classes of society.«