A Quote by Mads Mikkelsen

I always work with the tempo of the energy of the character, whether he's fast or slow, or heavy or light. — © Mads Mikkelsen
I always work with the tempo of the energy of the character, whether he's fast or slow, or heavy or light.
The physicality of any character is always split up into fast, slow, high energy, low energy, what kind of personality he has. So that's where the physicality comes in. And flying through the air is just something you have to do if they ask you.
When I was young, I was too slow. I thought I must learn to run fast by practicing to run fast, so I ran 100 meters fast 20 times. Then I came back, slow, slow, slow.
I always thought if I had a band it would have the energy and feel of early Police, since that's where my roots are, and then the harmonies of the Eagles, and the technique of King Crimson or something like that. Fast, up-tempo, beat-the-hell-out-of-the-drums, because that's my style. Energy, but sophistication, rhythmically and melodically.
When I was young, I was too slow. I thought I must learn to run fast by practicing to run fast, so I ran 100 meters fast 20 times. Then I came back, slow,slow,slow. People said, 'Emil, you are crazy. You are training like a sprinter.'
Up-tempo or slow tempo, I don't feel that one is better than the other.
There are fast ideas and slow ideas, just as there are fast trains and slow trains. When it comes to money, most people are on the slow train looking out the window watching the fast train pass them by. If you want to become rich quickly, your plan must include fast ideas.
I mean that's something we're very conscious of when writing. Tempos are very important. Like "Oh we can't play the song too fast because people aren't going to feel it." There's a pulse to a song. You can't play it too slow. We're always trying to find the perfect tempo.
The lazy man claims he is too heavy for light work and too light for heavy work.
Being Slow means that you control the rhythms of your own life. You decide how fast you have to go in any context. If today I want to go fast, I go fast. If tomorrow I want to go slow, I go slow. What we are fighting for is the right to determine our own tempos.
I've always been attracted to cars, and driving is a completely measurable experience: if you qualify last on the grid, you're the slowest, and if you qualify first on the grid, you're the fastest. So no one can say you're slow if you're fast and no one can say you're fast if you're slow.
"My swing is too fast" may be the biggest misconception ever. Think about it. If you take a fast, lousy swing and slow it down, all you've got left is a slow, lousy swing. Most people swing too slow, not too fast.
I'm always able to find light moments on any set, no matter what. Just because a scene is heavy doesn't mean that you have to be heavy, all day long. I was working with people who had a sense of humor and wanted to have those light moments with me.
When educating horses there is no greater maxim than slow is fast and fast is slow.
I was always pretty decent at fast stick work or doing stuff that seems impressive that's not really; I was pretty tasteful and had good ideas musically. But I had a terrible sense of tempo, which is like being a blind painter.
Whether I build a character from the ground up or develop one, whether within my own copyright or in licensed work, I can step into that character's mind. It takes a kind of voluntary dissociation akin to method acting, military planning, marketing, or detective work: to think like the other guy and work out what he's going to do next.
I'm very much about stories that are fast but character development that moves slow.
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