Hanspeter Müller Biography: Movies, Children, Wife, Height, Age, Net Worth, Books

Hanspeter Müller-Drossaart, often credited as Hanspeter Müller, is a Swiss actor, voice artist, and dialect poet known for his powerful roles in theater and film, including the troubled CEO Mario Corti in the corporate drama Grounding – Die letzten Tage der Swissair (2006).

Originating from central Switzerland’s alpine region, he combines formal stage training with freelance work across film, television, radio plays, and poetry, publishing collections in the Obwalden and Uri dialects that reflect the subtle beauty of rural life.

Profile

• Full Name: Hanspeter Müller-Drossaart
• Stage Name: Hanspeter Müller
• Born: 21, September 1955
• Age: 70 years old
• Birthplace: Sarnen, Canton Obwalden, Switzerland
• Nationality: Swiss
• Occupation: Actor, Speaker, Author
• Height: 1.76m
• Parents: Mr. Müller, and Mrs. Drossaart
• Siblings: Unknown
• Spouse: Franziska Müller-Drossaart
• Children: Livius Müller-Drossaart
• Relationship: Married
• Net Worth: $1.5 million

Early Life and Education

Hanspeter Müller-Drossaart was born on September 21, 1955, in Sarnen, Canton Obwalden, Switzerland.

He spent his early childhood there before his family moved to Erstfeld in Uri, fostering his connection to central Switzerland’s bilingual dialects and landscapes.

His father was from Obwalden, and his mother from Uri. From age thirteen, he attended the Kollegium Sarnen boarding school, where he developed an interest in acting through school plays and local storytelling.

After secondary school, he trained at the Schauspiel-Akademie Zürich in the late 1970s, qualifying as an actor and theater pedagogue. He primarily speaks Swiss-German and has kept his religious views private.

Career

Hanspeter Müller-Drossaart embarked on his professional path right after graduating from the Schauspiel-Akademie Zürich in the late 1970s, joining small ensembles like Theater Spatz & Co. in Baden and Theater Coprinus before landing a key spot at Zurich’s Theater am Neumarkt from 1993 to 1999 under directors Stephan Müller and Volker Hesse.

There, he tackled challenging roles in productions such as Elfriede Jelinek’s Raststätte oder Sie machens alle and the premiere of Urs Widmer’s Top Dogs, honing a grounded, introspective style that resonated in Switzerland’s intimate theater scene.

His early forays into film were modest, with guest spots in Swiss television, but initial acclaim built through stage work at the Schauspielhaus Zürich and a stint at Vienna’s Burgtheater from 2000 to 2002, where he explored classical texts with a fresh, regional edge.

By the mid-2000s, narration gigs in documentaries like Hexenkinder and radio plays began to diversify his portfolio, marking his shift toward multimedia storytelling.

The freelance era that followed in 2004 propelled Müller-Drossaart into screen prominence, with standout roles like the crisis-weary executive Mario Corti in Grounding – Die letzten Tage der Swissair (2006), a performance that humanized corporate fallout and drew praise for its quiet intensity, alongside the introspective father in Jeune Homme (2006) and the resilient villager in Marmorera (2007).

He expanded into television with recurring arcs in crime series like Der Bozen-Krimi, embodying the shrewd investigator Peter Kerschbaumer across episodes from 2015 onward, and lent gravitas to historical epics such as Gotthard (2016) as Bundesrat Ernst Welti.

Theater remained a touchstone, highlighted by his solo adaptation of Der Trafikant as a monodrama in the 2010s, while literary ventures—poetry volumes Zittrigi Fäkke in Obwalden dialect and Gredi Üüfe in Uri—interwove with acting, often performed live.

These layers showcased his evolution from ensemble player to a voice bridging stage, screen, and page.

Hanspeter Müller-Drossaart’s imprint on Swiss arts endures through roles that echo the nation’s historical and emotional undercurrents, from the folklore-tinged priest in Sennentuntschi (2010) to the weathered elders in Die Herbstzeitlosen (2015) and recent turns in Davos 1917 (2023).

His dialect poetry and voice work in films like Dällebach Kari (2012) preserve Innerschweiz’s oral heritage, while the 2024 Innerschweizer Kulturpreis honors a body of work that mentors young actors and narrates documentaries on figures like Elisabeth Kübler-Ross.

Collaborations in Tatort episodes and arthouse fare like Gnade (2023) affirm his role as a cultural anchor, inspiring peers with a blend of accessibility and linguistic precision that keeps central Switzerland’s stories vital.

Social Media

• Hanspeter Müller-Drossaart has no social media account.

Personal Life

Hanspeter Müller-Drossaart resides in the Zurich suburb of Dietikon with his wife, Franziska Müller-Drossaart, and together they have built a warm family life while raising their two children.

Among them is their son, Livius, who has continued the family tradition of acting, notably making his debut in the beloved, family-oriented film Papa Moll, mirroring his father’s career path and showcasing the strong bond and shared passion for the arts that the family cherishes.

Filmography

• Grounding – Die letzten Tage der Swissair (2006)
• Jeune Homme (2006)
• Marmorera (2007)
• Sennentuntschi (2010)
• Dällebach Kari (2012)
• Someone Like Me (2012)
• Die Herbstzeitlosen (2015)
• Gotthard (2016)
• Winnetou – Der Mythos lebt (2016)
• Der Bozen-Krimi (2015–2024)
• Davos 1917 (2023)
• Gnade (2023)

Net Worth

Hanspeter Müller-Drossaart holds an estimated net worth of $1.5 million, built steadily from decades of theater ensembles, freelance film and television contracts like his long-running Der Bozen-Krimi series, and steady income from voice narration in radio plays and documentaries.