A Quote by Mads Mikkelsen

If you're not bruised up, then you're not doing an action film in a real way. — © Mads Mikkelsen
If you're not bruised up, then you're not doing an action film in a real way.
I have a real taste for doing action roles. I starred in a movie called 'Blast,' which was my first action film, and I loved the fighting - I think I've got the build, the attitude and the look for it.
I approach every film I do in the same way, whether it's an action film or not an action film. I guess if a certain physicality lends itself to action, but I started acting before I reached puberty. I was 7 years old when I started acting. It wasn't until I became a bouncer in New York.
Action film is really easy to do, you just get in a car and smash through things and it's called action. The real key is what happens between the action when it's quiet. Loud is easy. Quiet, real hard.
We named the film 'Action Jackson' because our hero, Ajay Devgn, is known as 'AJ,' and we thought it would be a good idea to use the initials and extend it into the title 'Action Jackson,' as Ajay is doing both action and dancing in the film.
There weren't a lot of action roles growing up - there were a few, maybe, like Wonder Woman, but then it wasn't real action.
My dad wants me to do action. Every time I go home, he asks me if I'm doing an action film or not, because then he wants us to do it together.
My way into everything was through the theater. There are so many plays that I saw growing up that just made me realize that I wanted to be on stage doing that. So it was definitely through ballet, and then stage, and then theater and acting. And then I kind of made my way to film.
I always liked photography in film - I studied photography growing up. I like the medium of film; I like physically holding 35-mm film. I like the way it looks, the quality when it's projected. I like the way it frames real life.
But if we keep doing politics the way we're doing politics, and we keep doing climate action the way we're doing climate action, we will not have a history that judges us because we, certainly as a civilization, won't be here.
I’m much better at working out ideas in action than I am in theorizing about it and then transferring my thinking to action. I don’t work that way. I work with tentative ideas and I experiment and then with that experimentation in action, I finally come to the conclusions about what I think is the right way to do it.
I know when I watch a film at this point, if I completely lose myself in the characters and the story and the world of the film I know that it's at least in my opinion, that was great. Otherwise I'm thinking: "Oh I know they were just doing A, B and C, right before they walked into the scene, then the camera was there, then they probably took the shot from this reverse close-up and moved it into this." When all of that drops away then I'm like: "Okay this was phenomenal, this was fantastic." I mean, any film or TV performance in general is probably good.
I graduated from university with a degree in architecture and then ended up doing a series of internships with different firms. And once I was in an office environment, I realized that at school what I was doing was 98 percent creative, 2 percent makework, but in the real world, it was the other way around.
In 'The Smurfs,' I was actually a live action character. So, I was a real person in that movie. But I was working with animated characters, which is very strange because they're off recording their work, and we're kind of reacting to nothing when we're doing the film.
Live-action has always been my focus and my passion. I love voice-over, and I definitely could see myself doing some voice-over, as much as I could, and even if I ended up doing only that for the rest of my life, and I could be successful at it, that would be great. But I think my real dream is to do films and live-action films.
In the 90's action pictures were all the rage. As a woman, I was fed up with them and I initially thought that the script was just another action film dressed up as a period piece.
That and when you're doing live action you don't normally get to see the thing before it's in production. In this case we'd go in every couple weeks and look at animatic and sketches. The way they do it - is they'll put it up on a screen and the storyboard artist who worked on that sequence will talk you through it. Kind of like a pitch session. Then they would leave and we would sit there with the directors and say 'Alright - what if we change that? What if we do that?' It's very different from live action.
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