Which of the two Exorcist prequel-versions that you shot remains the
more effective for you?
They’re two totally different films. Of course, Paul Schrader’s film is
closer to me. And of course, they didn’t want that. It was such a weird
idea to – on a fifty-million dollar film – have him as the director and
me as the star. I thought ‘Those producers – they’re either really
really smart or they have no clue!’. With him…it would never become a
horror movie. It would just become a film about a man in crisis, because
that’s what he’s good at – that’s what I’m good at!
So they got that of course, and they didn’t like it because it wouldn’t
sell enough tickets, and then Renny Harlin was brought in. They wanted
to cut up Schrader’s film and put in…slices of horror, which would have
made it insane. Renny wanted to make his own film, and I was with him on
that tract. I like Renny – sometimes better than his films! [laughs]
He’s a nice Finnish guy and we have fun together. I changed my make-up
so they couldn’t use anything from the first film for the second film.
Personally I wished that they could have spent a
little more money on the second one, because that needed better effects
and stuff. Like those hyenas – they’re terrible. [laughs]
Are you particularly attracted to Bergman-style projects that many
would consider introspective?
Yes – I’m very much Scandinavian in the sense that I like those
Are you generally attracted to dark themes?
The first time I saw István Szabó’s Mephisto, I came out and I
was in shock. I was shaking. It was about this actor Gründgens, who
stayed in Germany and worked and was the pet of the Nazis. I couldn’t
swear what I would have done. And then the friend that I saw the film
with said ‘Oh, that traitor Gründgens – collaborator!’. And I got
ice-cold and I looked at my friend, and I thought ‘That could be you’,
because he was so sure of himself, that he was right. He didn’t
question, and that is what we have to do constantly.
I’m interested in moral questions. I’m interested in the human condition
in general. And of course I’m interested in love – is there empathy?
Personally I think there is love, and it’s a fantastic and beautiful
thing. It is based on genetics but it has gone beyond genetics, because
sometimes it really doesn’t serve any function at all [laughs].
Besides your professional ability to assume a
character, what defines the ‘Stellan-ness’ that draws people to cast
I’m on time. That’s really good! And I function socially very well on a
set. Sometimes I feel like I’m brought onto the set like a…you know,
when they run the bulls in Pamplona, they also have some castrated bulls
to calm them down! [laughs]. Sometimes I feel like the castrated bull
that is thrown in to calm down a set and create a good atmosphere! I
hope that’s not why I’m hired, though.
Milos Forman said that he liked me because I had no face of my own. He
saw me in different roles that I’d done, but he didn’t see me as an
actor bigger than my roles.
Actors say that you’re very generous with them, never playing the
star. Is that down to the many years of theatre that you did?
It’s not concerned with the theatre necessarily. I want the film to be
as good as possible, I want the scene to be as good as possible, and I
like actors. The scene is never better than the weakest link, so I don’t
have to be brilliant. I can be a little less good if it makes the other
person good. Then the scene becomes better and everybody’s happier.
I hate doing monologues. I hate doing solos, and I hate watching solos,
when there are several actors onstage or on the screen. I want to see
what happens between people. That’s the most interesting thing.
You and Peter Stormare are amongst the most prolific actors listed in
the IMDB. Is this evidence of a strong Scandinavian work ethic?
Yeah, we like to work. We’re good work-horses.
The journey you made in Waz looked very gruelling.
Was it one that taxed you a lot emotionally, or was it a technical
I never see it as technical, and I try to avoid the technical side of
it, because I know that I‘m technically very skilled – I try to fuck up
my performance so I can’t use it. But it was very very hard work. We
shot six days a week, twelve-hour shoots, and we actually shot for
twelve hours, because it was all hand-held, which meant that you didn’t
sit down for twelve hours.
And that was great, because it meant that we could experiment with the
scenes and get a fantastic amount of material. The emotionally hardest
part was, of course, the three last days of the shoot, where we did the
ending. Because then you had to be, for three days, in an emotional and
physical state that is pretty painful.
Is that level hard to sustain between takes, when they’re re-setting
the camera, and so forth?
What you do is that you don’t stay in the exact emotion but you stay in
the energy of it. So you have your engine running at high speed
constantly throughout the day, and then you just turn it on to whatever
feeling you want to.
say that you feel a lot of fear when acting – is that a useful tool for
It’s just a by-product that you have to put up with, then?
Yeah, and one that you have to fight, because if you’re afraid, if
you’re not brave in front of the camera, you can’t produce anything.
Fear shrinks you, and I see nothing good in it. The only good thing is
that it might scare you to prepare a little better [laughs].
Did something happen in the theatre or a previous production that you
don’t want to happen again?
Well I had camera fright. I didn’t film for a couple of years. I
couldn’t stand in front of the camera. The camera was threatening, and
my enemy. I just got stiff in front of it, and I can sometimes feel this
coming back like a ghost from the past, and that is horrible, because
you can do nothing.
Is that perhaps one reason why you’re such a good contributor to a
group – that you feel more secure in a group of actors?
Yeah, that’s very possible, that I need to feel that I’m amongst
friends. That they want me to be good and that they forgive me when I’m
Is this insecurity
restricted to the stage and set?
I’m not very insecure in my own life. I trust people and I like
people…but it’s something about this acting thing. It’s such a fucking
pretension, to ask people to pay to look at you, at what you’re doing.
So it better fucking be something, you know! [laughs] It’s scary. I
don’t trust actors who are never scared – they usually like themselves
too much, and they become some kind of wankers.
Fucking up your own performance deliberately, though – what comes out
Life. If you prepare your role at home, in detail, and go and execute
it, you will get a shiny surface that might be brilliant and elegant and
everything, but it’s not life. Life is erratic and full of flaws. And
the hardest thing to produce on-screen is life. It’s a two-dimensional
picture, and you’ve got to make it vibrate beyond that.
I was having a look at the message boards on your IMDB page, where a
great number of women in their early twenties are fixated with you –
Nice to hear.
-- and one wrote “Stellan fills me with the desire to go out and do
wrong”. [Stellan laughs] What do you feel about that kind of adulation?
Who says it’s wrong?
I’ve heard you downplaying your singing abilities in many interviews,
and yet you made Mamma Mia…?
Yes, my first musical. Oh, that was scary! It’s very weird because I
didn’t have the tools for that. I’ve never done anything like it. When I
came and started rehearsing it, I thought ‘How does this work?’. You
come in one body as a character, and then suddenly this body starts to
do silly steps and dance. Is it some kind of alienation, as Brecht said?
What is it? And Phyllida Law just looked at me and laughed. Eventually I
just gave up everything and decided to have a lot of fun, and I had a
lot of fun…and I hope it works!
Would you like to do more lighter things…comedies,
Some comedy would be fun, yeah.
Do you get offered many?
No, probably because I’ve done too many dark things. But no, I don’t get
Do you think you’ll get round to directing movies?
I really enjoy acting and I don’t feel that I have to be able to write
and direct on my business card. But if there’s a project, a story that I
feel I have to tell, then I might do it. But I’m interested in
everything. Me on a film set, I’m interested in everything the director
does, the make-up girls, the sound department, the DP…every detail I’m
thinking of, and interested in.
So you’re ready for the role?
It’s one thing to be a Mister Know-It-All on the set than actually to
take responsibility for the entirety.
You’ve worked with your son in Metropia – does working with your
children bring echoes of your own early life as an actor?
It’s strange, because I never encouraged them. My ideology has been that
I do what I can up to the age of sixteen, and then it’s their lives to
decide for themselves, and hopefully I’ve turned them into good human
beings. But it worries you when they decide to become actors because I
throw quite a heavy shadow that they have to get out of.
Fortunately, they’ve done very well. Alexander and Gustaf, the two
oldest who are now actors, they’re extremely successful, both of them,
and in their own way and with their own language. There’s no clonings of
me, and they don’t try to imitate me or anything. Both have gone
slightly different ways than I have. Alexander’s gone into film and
hasn’t done my theatre thing. I never went to drama school but Gustaf
did four and a half years in drama school, so they’ve found other ways.
But it’s a fantastic feeling when you work with them, which I’ve done a
couple of times, and you meet them and you realise how…when you talk
about a scene, the distance is shorter, because in some ways even if you
never talked about work at home, you realise that you think the same way
about the material usually.
You’ve been a very successful actor since you were sixteen, but not a
Hollywood star for all that time – do you think if you had achieved your
current level of stardom so much earlier, that you wouldn’t be so down
It’s very hard to say. You’re formed by your life but you’re also formed
very strongly by your first years. My parents’ attitude was that we
should know that there was no-one in the world who was worth more than
we were, and no-one in the world that was worth less. A humanistic,
egalitarian view of things.
I got famous in Sweden when I was sixteen years old, but I had very
solid parents and I immediately saw the silliness of all the fame. Very
early on I made sure that the press version of Stellan Skarsgård
shouldn’t get too far away from the person Stellan Skarsgård.
So you would never have moved to the USA, out to Hollywood?
No, I don’t think so. And I also need to have a normal life. What is
stardom? That’s a silly thing. You have one life – and it’s surprisingly