Actor

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

If I do my very best, then the camera and the audience will follow me, and eventually they will somehow feel like I feel. I don't have to show it to them. I don't have to speak it out loud.

I don't wear cologne. I do occasionally, but anytime I take a shower, I just put on deodorant. That's basically what I smell like.

I was not into sci-fi, science fiction, at all. I was into some of the old pirate films with Burt Lancaster and stuff. I liked them.

I like 'The Three Musketeers.' I like those kind of cool things where they were having a robe and a sword.

The whole Fannibal thing is predominantly something that happens in a world I don't know about, which is the Internet.

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.

I was very energetic and very small. I didn't start growing until the last year of high school.

I take my work enormously seriously. When I do something, it has to feel right. Everything has to be right.

I choose work with the people I like to work with.

I have the strange ability to shut things out.

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.

I was a gymnast for many years before I was a dancer, so it comes in pretty handy when we do stunts.

I fancy myself at being pretty good at understanding a script and finding the weaknesses, and then making them more radical than they are. People tend to listen to me.

We can ask ourselves why we invent God, and then, ten minutes later, we invent Satan - why? Because we need him; there's something fascinating about the other side of the coin.

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.

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.

I'm not ambitious about my career, but I am ambitious with each job. I can be fairly annoying to work with.

Before we made films about gangsters, everything was about the royal families. They contain so much drama.

I vividly remember Charles Bronson's face in 'Chino.' The western genre is screaming for a face like that.