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In a way, we tried to make 'The Salvation' a contemporary film with contemporary emotions. At the same time, in the script, you get a feel that all the small talk is not a part of our universe. It's more precise talk.
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We were in love with 'Mean Streets' and 'Taxi Driver.' We had no idea why nothing remotely like that was done in Denmark.
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Typically, I work with the script and the director for awhile before, just to make sure we're on the same page.
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I think I've always had to pick and choose whatever I want to work on. If I'm not happy with what I'm doing, it's probably not going to end up that interesting.
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I like to stay home with my family. But travel is good in a way. It makes you redefine each other each time you see each other. Also, it helps that I think my wife is the hottest woman in the world.
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I did a TV show called 'Unit 1.' It wasn't a bad experience, but yes, the first season I didn't have a good time because I was coming from Nicolas Winding Refn films where the corners were sharp and radical, but now we had round corners.
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The problem is that you can't really read a script saying, 'Hmmm, I'll just see what this is.' You have to go right into it; you have to get engaged with it, and once you are engaged, you want to do it! It's really difficult to get uninvolved.
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I don't want to be the stupid blond. I want to be an actor.
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First, I have to read something and find it interesting and like the story. If I don't understand it fully, but there is something in there that is interesting, then it takes a director to convince me. If he can't do that, then I don't go with it. It doesn't matter where the project comes from.
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Danish film is spreading in a fantastic way.