If David Bowie wants, I'll put him in my phone book.

I'm engaged to Hollywood. If there's something I find I have to do, I'll do it. Otherwise, I'll just stay home and have a vacation.

Sometimes you have a period piece where you have to research around it but, if the writers have done their homework well enough, the information is all in the script.

I was a late bloomer, but I had a career as a contemporary dancer before that, so I had some kind of connection to this world. But I was always a little more in love with the drama of dancing than the aesthetics, so I thought, 'Why don't you give it a chance if you think you can do it a little different?'

I can be intense in a lot of ways, but not the way you see the guy in 'The Salvation.'

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.

Sometimes we misunderstand what films can do. We just throw a whole book in there, with people just talking, talking, and talking. The picture can tell, the frame can tell.

I tend not to have any references to anything. I just jump into the script in front of me. If you reference too much, you have no idea if the performances are right.

I make an awesome soup with coconut milk and shrimps; it takes me five hours to prepare the whole thing. It does become very spicy, but you can definitely taste all the ingredients.

I've always been extremely physical. I was a gymnast for 15 years, and then I was a dancer for nine, so I was kind of looking for these parts. But we have a tendency in Denmark not to do many action films.

If you spend a week at a casino you will very easily see that people have a certain way of behaving in a casino.

Danish film is spreading in a fantastic way.

In Denmark, we're making 20 films a year. If I'm showing up in even two of those, people will get tired of me really fast.

Once you do one bad guy, usually all you get offered is bad guys. But I've been able to do different things.

I always try to find something I like about the bad guys and then try to find the mistakes and the flaws in the good guys.

'Clash Of The Titans' is one of the biggest movies I've done; it was certainly the most effects I've worked with.

I did a crazy version of 'Romeo and Juliet' once, and I played Romeo.

One thing I can say about the French language is that no one in the world loves their language as much as they do. It doesn't matter if you're close - it still sounds terrible to their ears.

I've been watching 'Walking Dead' with my son, and there is absolutely nothing in there I find shocking, but it's cool, and I like it.

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.

We were in love with 'Mean Streets' and 'Taxi Driver.' We had no idea why nothing remotely like that was done in Denmark.

I never really planned a career. I've tried to avoid it. I've tried to do this stuff I felt for, the stuff I like. So, I've just been meeting these fantastic directors who've offered me a variation of different parts and different films.

We are filmmakers, and we are specifically trying to entertain people.

I come from a culture where you don't divide it up to what you can do on TV and what you can do on film.