A Quote by Mads Mikkelsen

The criteria [to take or refuse the role] is that I would love to have some kind of dialogue or communication with the director. I need to understand that we can communicate and that we like communication. That's something I have to have a strong feeling about. Secondly, I have to find the script intriguing or interesting. I don't have to understand the whole script, but I do have to find it intriguing. If those two things are present, that would probably be a yes.
I just don't want to be bored. That's the only criteria I have when I choose a role to play. I like it if the script is good and the director seems like he's gonna be good. But if I can find a variety of things to do, which I feel like I manage to do, as far as the actual performing goes and the character, that's huge for me. To be able to feel like I can do a fairly diverse array of things. I've been lucky in that way. I don't mind being stereotyped in some way and playing certain kinds of guys, but if I can find something to occasionally get a break from that, that would be nice.
I don't care about names attached to the script. That doesn't matter to me. All things being equal, I would like to work with a good script with a good director, and the part I play is of less important than those two factors.
Well, there's two things I have criteria for doing a film: The script, which is the story, and the filmmaker, and it's a filmmaker's medium. I like really strong directors, and so when I do a film, I'm out there to serve the director, really, which is in turn to serve the script, to serve the director cause he's the one making the film. I relied on Todd Haynes for that.
The script [of Regression] wasn't the draw for me. It was largely Alejandro [Amenabar] and his way of talking. To hear him talking about the script was way more interesting than the script. He wrote it, and so, English is his second language. It's an interesting thing. I've had that before. I was directed by Alfonso Cuarón before, too. It's always interesting when you're being directed by somebody like that. So much of directing is about communication, and finding the right words, and what it means, and how to convey certain emotions and ideas.
Yes, it must be something that goes very well with my voice, let's say something that I understand that this would be good communication with the others, and I don't pretend for instance, to look for music that would be something that doesn't go with my personality.
It's intriguing to me, when I see a horror script, or something like that, that's actually original. I think that's why I love 'Stranger Things,' because it's not just horror, it's everything, and when they use horror it's right.
I would love to be associated with some sports organization. I was a journalism major. That's kind of intriguing, to do something in the political-commentary arena.
I mostly listen to things that are so different because there's something so intriguing about trying to understand where someone is coming from.
I had to audition for Fandango. When I read the script, the role that was interesting - so everyone thought - was the role that Costner played. He was the cool guy. And I read the script, and my representation at the time said, "That's the role you should read for." And I was like, "Really? How about I read for this other role." And they went, "Well, you're not going to get that role."
When I can see things through the lens of the director, it's like being able to see the whole puzzle - it's not just about my role, but the whole script.
One of the challenges in writing the script Call Me by Your Name was that I had to find something concrete for the professor to do. In the book he is some kind of classics scholar. But I thought it would be interesting to make him into something of an art historian and archaeologist whose background was the classical world. It's always difficult when someone is supposed to be an intellectual. What do they do? You can't just film them sitting around and thinking all day. And that's what the business of the statues is all about.
When a script moves me, I find that I immediately understand a character. Of course not completely, but I do understand.
In making a web video series number one, you need to have a script that you think is really funny, and it's true to yourself. I think some people use things as a stepping stone, and they want to please people and show them, "Hey, I can do hip guys in Judd Apatow style," and it's not true to them. If there's something you know about, like motorcycles, do something about motorcycles first. Do something that's really true to yourself and find a voice, and make the script as good as possible.
I just think Australia tends to make very good movies, so if someone hands me an Australian or an American film script I would guess the Australian film would be more intriguing.
There is a variety of different kind of producers. I'm a very hands-on, creative producer. I find material that I think would make a good movie or TV show, find the right financier/studio/network, hire a writer, get a good script, find a director, and collaborate with him/her to cast the movie and hire department heads.
I don't understand choreographers who say they don't care about the audience or that they would be happy to present their works non-publicly. I think dance is a form of communication and the goal is to dialogue with the audience. If an audience member tells me they cried or that the dance moved them to think about their own journey or a family member's, then the work is successful.
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