Top 118 Quotes & Sayings by Joel Kinnaman - Page 2

Moving in is almost a bigger step than getting married.

We remake 'Hamlet' all the time. That's sort of what we do, humans.

I love 'Breaking Bad.' I'd watch Bryan Cranston read the phone book, for days.

I'm happy that people have watched and appreciated my work. That's why I'm doing it.

I'm a pretty light and light-spirited person; I'm not a depressed guy.

I'm battling with keeping my narcissism at bay as it is, so Twitter was not a good thing for that.

I think I'm a boxer, but then when I get hurt, I'll start scrapping.

In most scripts, one or two characters have a lot of colors.

It's hard to act with just your jaw.

I loved 'The Artist.' I thought it was fantastic.

I think 'The Wire' is my all-time favorite TV show. It's so brilliant, the way it critiques society, and how it handles that everybody who gets power loses their moral code and stops going to the root of the problem and just tries to maintain their own power.

Mid-range to low-budget movies have to have a name in the lead to get financing for it.

I'm not a method actor per se, but if I'm playing a character that, at its core of its persona, has experiences I don't have, I try to search out and get firsthand experiences of similar sorts so I have something to fantasize about.

A big moment for me was when I did a play that was a new adaptation of Dostojevskij's 'Crime and Punishment,' and I played Raskolnikov. It was actually the first thing I did when I got out of acting school.

In philosophy, they talk a lot about humans being actual organic machines, and the idea of free will is something that we've made up. We actually don't have free will. We're acting according to our programming as organic mechanisms.

I think that in Sweden and a lot of European countries, there's this whole mythology of the wounded artist: that you can't really do any great art unless you're suffering.

Nobody wants to be depressed - everybody's trying to feel better; when they strive and fail, it's all the more poignant.

I'm a crybaby.

It's so scary to go on stage. I used to throw up before I went on stage, every time.

What I enjoy most with acting is when it's a good scene with one or two other actors, and you feel a strong connection, and you don't know how you're going to respond, and everybody is listening to each other and getting affected by each other, and even though you've rehearsed it many times, it feels like it's happening right now.

When it's a moral grey zone, the audience has to think about what they feel and what they think is right or wrong. You want to affect your audience and make them think.

All of our colleges are free in Sweden, but this acting program is the second most expensive education for the government. It's difficult to get in. There are around 1,500 applicants, and 10-12 applicants are accepted each year. I was accepted, and I studied there for five years.

Sometimes if you start a relationship when you're young, you're not as fully developed as a person. You need a relationship that lets you develop in different ways. You need to bounce off different people.

I've learned to steer away from the wrong kind of woman for me.

An amateur can be great in front of the camera, but you need an education to get on stage where you have full control as an actor.

We retell our favorite stories. That's what we've done since we were sitting around campfires. It's a part of the human spirit. It doesn't have to be negative to creativity. It can be completely opposite. That's how you can break new ground: by rethinking something that's already been done.

It's very nice to be in a show where your vanity is completely out of the picture.

We have nobility in Sweden, and it comes from the old British aristocracy.

We are all a unique person with everyone we meet.

You can make an interesting character in a small portion of a movie, for a character that doesn't have that much on the page, if you just find the contradictions. That's something that I try to bring to my performances.

I think the way we look upon gender is that we're realizing that we're not that different, which is a good thing. The United States needs to come further with that. In the Scandinavian countries, we've come further when it comes to gender politics and how we look upon gender and how women are treated in general.

We don't know why we are here and . . . our role in the universe, and the thought of an infinite universe. It's something the human mind can't really grasp. [And] it's statistically impossible that there's not life on other planets.

I was meeting a lot of directors and reading scripts, and I was like, "Well, I'd love to play this part," but I couldn't.

Everybody is trying to make something real, something with a core of substance, and of course, an exciting action movie with a lot of terrific stuff and fantastic visuals and everything, but at the core of it, it's a movie with substance and something that is going to make people think.

I used to be like "Why are we doing a remake? What are remakes being done for?" But then, we do that all the time in the theater. Retelling stories is what we've done since we were sitting around campfires. It's a part of the human spirit. It doesn't have to be negative to creativity. It can be completely opposite.

You're not able to do a lot of projects because you don't have a name. I wanted to get my movies to come over that hedge, so that I could do the movies that I wanted to do.

I think for a lot of people that had seen me do Snabba Cash, after watching The Killing, I think they got a sense that I could do different kinds of characters.

I always get sort of an image of what the character is gonna look like and then I kind of go with it.

I hate pork rinds. I couldn’t imagine how anybody would ever get the idea of taking skin from a pig and frying it and then trying to sell it to people. And then people actually buy it to eat it. That is the true sign of the decline of the human race.

If you think back to the moments when you've gone through the most pain in your life, or the most severe anxiety, your body is very much involved in that. Your body is expressing those emotions. So, when we, as actors, try to access those feelings, the body is a great tool to use.

I ?an't imagine how ROBOCOP could be PG-13.

I believe that this life is all we have. I don't believe in anything after this, so I think the choices we make here are so important and the relationships we choose are crucial, especially in that time when we are developing ourselves and we're becoming adults.

I'm never very good with marks. They're always like, 'You're not on your mark'. I was like, 'Oh, it's that thing you put on the ground? Yeah, I don't pay attention to it.'

You're always trying to look for material that is as challenging as possible, so that's why I like stuff where the characters go through the most difficult times they've ever had in their life. It makes me push myself further and learn more about myself.

It's always the thing when you're shooting out and about with real people and you could get a couple of bogeys like sticking their face in front of the camera, like 'Hey!'

You have to think before speaking. That's a quality I'm continuously evolving. For some reason, it seems like I'm bumping my head into the wall a little bit too many times.

If we weren't doing remakes, nobody would know who Shakespeare was. I'm not saying that RoboCop is Shakespeare, but it's a way we're retelling. That's what we do as human beings. We retell our favorite stories.

There are a lot of wrong reasons to do a remake, but there are some good ones... I think it's human nature, in many ways, to retell our favorite stories. We do it in the theater, all the time. I've seen four different 'Hamlets,' and every one has given me something different.

Excuse me, I have to go. Somewhere there is a crime happening.

You have a lot more leeway to be contradictory playing a character than most of the scripts have in them. That's how all actors are. We have so many different sides of ourselves and we're so different, in meeting with different people. The audiences relate more to that and find that more believable.

I love Starship Troopers. That's really smart. I think he really could portray fascism in a comedic way. It's funny because both José [Padilha] and [Paul] Verhoeven were accused of being fascists for their movies because they had fascist leads. So, it's not going to have his tone, but there's going to be political satire in it.

It's frustrating when you come over here [Hollywood], especially from a position that I was in, in Sweden, where most people know who you are, but then you come here.

As actors we're like these vagabond artists, we have to be invited to perform so if you don't have a choice of options its very hard to define yourself.

With RoboCop, I couldn't be happier because it's such a quality director.José Padilha is a young master.

I used to throw up before I went on stage, every time. Even though it's only 200 people in the audience, and a movie like RoboCop is going to be seen by many, many people, I know I'd be much more nervous doing a play than being on set shooting.

What I enjoy most with acting is when it's a good scene with one or two other actors, and you feel a strong connection and you don't know how you're going to respond, and everybody is listening to each other and getting affected by each other, and even though you've rehearsed it many times, it feels like it's happening right now.

It's great to get to work with your idols.

I think you're always afraid when you go into like a big superhero movie that it's gonna be kinda just action and you're not gonna be able to just really go to the bottom of the characters.