Mads Mikkelsen Quotes
I always work with the tempo of the energy of the character, whether he's fast or slow, or heavy or light.
Quotes to Explore
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At the beginning of all experimental work stands the choice of the appropriate technique of investigation.
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I joined the Actors Studio and began to work with Lee Strasberg, and that changed my work.
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Sofia Coppola is wonderful, and I'd love to work with her.
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It seemed to me that the real philosophical breakthroughs of the 20th century were in terms of the understanding of language. What is language? Where does it come from, how does it work, what does it do?
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I'm a light sleeper. I've never been one of those people who can put their head down and suddenly everything disappears. Nighttime is the time I get most scared, anxious or worried. In those darker moments before waking or sleeping is when I feel most, I don't know, I can turn on myself, and my imagination can take me dark places.
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The family teaches us about the importance of knowledge, education, hard work and effort. It teaches us about enjoying ourselves, having fun, keeping fit and healthy.
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The implication that women work for pin money and can manage on a worse pension, presumably by relying on husbands, riles. But even more galling for women is that few government ministers seem to even appreciate the value of the work they do.
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This woman's work is exceptional. Too bad she's not a man.
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My character in 'Batman v Superman' isn't supposed to be Japanese, but director Zack Snyder said he'd seen me in 'Wolverine' and had to get me in the film somehow. Hearing that was like music to my ears.
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The ordinary man considers solids and liquids and the energy manifestations of the material world to be vastly different, but the yogi sees them as various vibrations of the one cosmic light.
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Getting married and then having children just centered me and grounded my values. It was like a whole new world. It started happening in New York with a little play called Cruise Control, where I relaxed, and then I kept getting work in Hollywood till this series happened.
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As governor, I will always be willing to work with people who have ideas to offer and are ready to roll up their sleeves. That kind of teamwork will build a New Hampshire that will lead the nation and compete with the world. Together, we will help our businesses grow and build a stronger economy on a vision of innovation and growth.
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I motivate what I see in young people because we employ about forty thousand young people in our various Chick-fil-A units. Some of them come to work because they need to work; others just work because they just like to work. There's nothing wrong with that.
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I think with anything where you delve into the back story of an artist, it kind of explains their work more intimately.
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I'm not going to give up salt and sugar because I want to look like Adriana Lima. But I am going to work out to make myself feel good in my own body.
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What has 'The Patchwork Girl of Oz' got in its favor? Quite a lot, from our point of view in 2009. If you want to see how Oz's creator envisioned his own work, here it is.
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Playing live is everything. Sometimes being on the road is hard, and it's a lot of work, and tiring. From a musical point of view, you improve all the time. Not only that, but you learn how to deal with people and deal with energy in a live setting.
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I couldn't be luckier to wake up every morning and be so excited to get to work, even if it's five in the morning.
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Because of work, I travel a lot, and because of that, I can experience different cultures and see and talk to a lot of different people, so I get inspired by that a lot.
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The laws have become so straight-jacketing that presidents and their aides dare not keep journals or diaries, lest they be subpoenaed by avid special prosecutors.
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I've always had a duck personality. Calm above water, feet going crazy below.
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An artist carries on throughout his life a mysterious, uninterrupted conversation with his public.
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And I began to tell little anecdotes that had happened to me, and people would laugh. And I began to like that, you know. But I knew that, 'cause I'd do that in school, but I wouldn't do it out there in front of all them people.
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I always work with the tempo of the energy of the character, whether he's fast or slow, or heavy or light.
