Time Out (UK) - February 2008
We spoke to Swedish actor
Stellan SkarsgŚrd about accents, ambitions to direct and his role in new
cop thriller WAZ.
In your new film ĎWAZí you play a grizzled New
York cop with Ďa pastí. Is that a role you enjoy playing?
Itís fun to play characters with a past, but itís
also fun to play any role that is what I would call a Ďpressure cookerí
kind of character, where the lid is on and itís left to simmer
throughout the movie. This was similar to a guy I played in the film
INSOMNIA where where I had to make sure you know thereís something
there, beneath the skin, but you never see it.
Would you ever consider extending this cop persona to TV as these
type of shows are very popular at the moment? Have you ever been offered
a part in something like that?
I donít think Iíve been offered any TV shows. Maybe I
have but my agent hasnít told me. The most interesting thing in this
film, though, is not that heís a cop, but thereís a different, shady
side to his character, there is a past and there are secrets.
Youíve worked with some big name directors in the past such as Steven
Spielberg and Gus Van Sant. How did Tom Shankland, the director of WAZ
work with you?
The main thing is he never gave up on me. We shot the
film in High Definition video on handheld cameras and we had all the
rooms lit up so we could shoot 360į and 12 hours a day. We had time to
try the scenes over and over again. In the end he had an enormous amount
of material, which can be scary if you donít trust the director, but he
handled it well. The difference between an experienced director and a
new director is not as big as the difference between individual
directors, the temperament they have and the things they're interested
in. Some directors are interested in acting and others are only
interested in cranes and moving the camera. You always have to figure
out what the director is good at before you work with them, then you can
fill in if need be.
As an actor, do you get the script and stick to it, or do you work
with the crew to try to develop your character?
I feel that making films is a collaboration and I say
everything I think, even if itís "Where the hell should I park my car?".
Itís not like I end up fighting for an idea, because Iím sympathetic to
the fact that, in the end, itís the directorís choice. But every idea I
have I put on the table and let the crew pick through them. To me,
shooting a film is not an execution of ideas that someone has had at
home, itís a very creative and collaborative process. When I prepare my
role, I donít do it at home, I do it on set. I like interaction. I donít
like solo acting or monologues.
You put on a spot-on New York accent in WAZ. It may seem trivial, but
do you think within a film climate that is now based on financial
collaboration between countries, that being able to do a good accent has
become an imperative part of being an actor?
It is a very international scene at the moment where
certain countries demand certain things if they are to fund a film. In
some films, though, if you want to achieve a certain realism, the accent
has to be perfect. Others are more theatrical and based on concepts and
idea. In these, accents arenít so important. I worked with Javier Bardem
and Natalie Portman on GOYA'S GHOSTS and we all did Spanish accents that
sounded totally different. I work a lot on my accents. English is my
second language, so I do have to work harder in that respect. I also
have to make a decision each time as I donít have an accent of my own.
Does thinking about these accents ever get in the way of your acting?
Well, what I do is work very hard before I shoot so I
donít have to think about it on set. I always do my homework in that
department. I think, accent-wise, there is a line you canít cross. I
would never do Shakespeare in English, for example. Texts like that
require you to be so familiar with them that putting on an accent would
end up doing them a disservice.
Youíve just finished shooting MAMMA MIA! (a film version of the
popular Abba musical) and a concentration camp drama for the BBC. Is it
easy for you to make those jumps?
I come from repertoire theatre where I was for about
the first 18 years of my career, so I was often doing three plays at a
time. To jump from MAMMA MIA! to the prison camps is not such a big
thing for me.
Is it true that you were planning a move into directing?
Well, it is true that I wrote a script with a friend
that I was planning to direct, but after two years it still wasnít
financed so I got bored with it. I might direct some day, but I donít
really have the ambition in that department. If I suddenly find a story
that I was the only person who could tell it well, I might go for it.
Are you still in contact with Lars von Trier? Could he not give you
I actually talked to him just a week ago. He has been
depressed for a while but is feeling a little better and it looks like
heís going to make a film this summer. He said it was a love story and
that I was far too old to play the lead, so I said that he was too petit
bourgeois and conventional in his casting. He didnít like that.