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 Danish Interview with Mads and Lars

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Maddie
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PostSubject: Danish Interview with Mads and Lars   Fri May 30, 2014 12:15 pm

I found this on Tumblr: http://somkina.tumblr.com/post/73603218563/best-friends-an-interview-with-lars-and-mads

I am going to post it in Danish as its originally written and English using Google translate, but Google does a very lousy job, indeed.  Laughing 

In Danish:

Bedste venner

23.07.00

Lars og Mads Mikkelsen er født med halvandet års mellemrum. De har gået på de samme skoler, og som børn var de hinandens bedste venner. Som voksne valgte de den samme uddannelse og blev skuespillere med et års mellemrum. Alligevel er de vidt forskellige - både personligt og som skuespillere.

Lars Mikkelsen, 36 år, er høj og spinkel. Ansigtet er smalt og markeret med skarpe kindben og intense, gråblå øjne. Og selv om han sidder så roligt og venligt i sit helt almindelige hverdagstøj, kan man godt forstå, at det netop var ham, der blev valgt til at spille hovedrollen i “Dracula” på Aalborg Teater i 1995.

Lars Mikkelsen har især koncentreret sig om teateret, siden han forlod Statens Teaterskole i 1995. Han har været med i en lang række forestillinger på bl.a. Aalborg Teater og små, eksperimenterende teatre som Bådteatret og Kaleidoskop i København, indtil han blev han fastansat for et par år siden på Det Kgl. Teater.

Mads Mikkelsen er knapt ti centimeter mindre end sin storebror og kraftigere bygget. Det halvlange, tilbagestrøgne hår og skægstubbene gør ham drenget og lidt fræk at se på. Suppleret med et par flirtende, brune øjne, en bred og følsom mund og høje kindben ligner han den perfekte ugebladsopskrift på en rigtig “hjerteknuser” og heltefigur.

Da teaterchef Lars Kaalund satte “Romeo og Julie” op på Østre Gasværk, var det Mads, der fik rollen som Romeo. Han er tilknyttet kredsen omkring Dr. Dante og Østre Gasværk. Men siden afgangen fra skuespillerskolen på Århus Teater i 1996 har han især koncentreret sig om at lave film og er i dag én af Nicolas Winding Refns “faste” skuespillere.

MM: »Der er nogle former for teater, jeg bare ikke gider. Jeg synes f. eks. det er uinteressant at spille Holberg, Ipsen og Shakespeare i traditionel forstand. Det er ikke fordi, jeg har noget imod klassikere, det er bare så sjældent, de bliver opført på en måde, der vedkommer mig. Det drukner som regel i teknik og “lad os nu endelig være helt stille, når vi spiller Shakespeare, for det er sådan nogle fine ord!” Men Shakespeare er jo hamrende beskidt! Hvorfor skal det absolut være så fint og højstemt? Jeg vil spille teater med en form for liv i, som jeg kan identificere mig med.«

LM: »Jeg orker heller ikke de dér stive formstudier, der bliver lavet så mange af. Jeg har selv været igennem en stribe af dem. De er et tegn på, at inderligheden ikke har gode kår i dansk teater for øjeblikket. Det afgørende er jo at berøre publikum, frem for at de bare betragter noget oppe på scenen.«

Ordene er det vigtige

Men det er vel næppe tilfældigt, at du spiller på Det Kgl. Teater, mens Mads hører til i kredsen omkring Dr. Dante og Østre Gasværk?

»I starten må man jo bare tage, hvad man kan få. Men nej, selvfølgelig er det ikke helt tilfældigt.«

MM: »Det handler meget om sprog. Jeg valgte jo allerede tidligt at høre til dem, der ikke kan tale t-y-d-e-l{mdash}i-g-t, men som snakker som almindelige mennesker nu gør,« siger han med det bredeste, selvironiske grin.

LM: »Jeg er meget inspireret af nogle af de gamle skuespillere inde på teatret. Hvorfor virker det bare, når de går på scenen? Selvfølgelig har de en masse erfaring, men det handler også om, at de har mod til at lade deres rolle være båret af ordene. Det er en form for minimalisme, som - når den mestres - er ultimativ. Men vejen derhen er belagt med mange krukkerier.«

MM: »Jeg er lige så interesseret i ordet som Lars. Men for mig er det utroligt vigtigt at ramme figuren så ægte og tæt på virkeligheden som overhovedet muligt. Det er det, jeg forfølger mest ihærdigt. Det er vist dét, man kalder method acting, hvor man stræber efter at “blive” figuren - uden at jeg skal forsøge at gøre mig klog på, hvad method acting er.«

Hinandens kritikere

Hvor ligger jeres største ligheder?

MM: »Vi er begge to lige meget til fals for poesien i teatret. I sidste ende er det jo den, der rører os.«

LM: »Og så er vi arbejdende skuespillere. Konstant søgende efter at blive bedre. Ingen af os vil lade sig nøje.”

Kan I bruge hinanden i den proces? Er I hinandens hårde kritikere?

LM: »Ikke hårde. Men vi bruger hinanden, ja. Jeg brugte f. eks. Mads, da jeg lavede “Edderkoppen”. Jeg var ikke kommet med på den dér bølge med at dyrke autenciteten i skuespillet, og det irriterede mig. Men ved hjælp af Mads har jeg pejlet mig ind på, hvad det egentlig er, og hvorfor det er så interessant.«

MM: »Og da jeg lavede “Romeo og Julie” på Gasværket, brugte jeg Lars omkring det sproglige arbejde. Han har en teknik, jeg godt kunne lære noget af klangmæssigt og tydelighedsmæssigt.«

LM: »Men der hvor vi bruger hinanden aller mest, det er i virkeligheden til at mane tvivlen i jorden. Som skuespiller er man altid plaget af tvivl: Er det nu godt nok? Gør jeg det rigtige?«

De to brødre er de første skuespillere i familien. De har ingen andre søskende og er vokset op i en politisk familie med kommunistisk baggrund. Morfaderen fik dem allerede tidligt til at læse russisk litteratur og Hans Scherfig.

Moderen var sygehjælper, faderen var bankmand, men blev ansat i fagbevægelsen som ganske ung.

LM: »Det var ikke noget kulturelt hjem. Men der var masser af fantasi og gode historier. Vi har f. eks. hørt radiospil fra vi var ganske små. Min far optog de bedste af de gode, gamle hørespil fra 50’erne, “Mordets melodi” og “Gregory-mysteriet” og den slags, som lagde gaderne øde. Vi hørte dem altid, når vi var i sommerhuset, så sad hele familien samlet omkring kassettebåndoptageren og lyttede. «

MM: »Jeg kan recitere hele “Mordets melodi”. Jeg hørte den to gange om dagen i et helt år. Til sidst kunne jeg alle stemmerne, alle lydene udenad.«

LM: »Senere fik vi det på samme måde med Monthy Python. Vi havde alle deres plader og kunne dem udenad. Vi var ulidelige at være sammen med.«

En isklump i hovedet

Hvad er jeres første erindring om den anden?

MM: »Der var engang, hvor Lars fik en isklump i hovedet. Det var dengang vi boede på Østerbro.«

LM: »Hold kæft, det er præcis den samme episode, jeg tænker på! Jeg var så glad og skulle bare ned og lege, og næppe var jeg trådt ud i gården, før jeg fik en isklump lige i snotten og fik en ordenligt blodtud.«

MM: »Lars kom op og var meget ked af det. Så måtte jeg lige ned og smadre dem alle sammen, fordi de havde været lede ved ham. Og så fik jeg selvfølgelig også en isklump i hovedet.«

Men det var dig, lillebroderen, der var den beskyttende?

LM: »Mads var altid den udfarende. Jeg var mere skrøbelig, sådan var det bare. Kan du huske i skolen, i én af de første klasser - engang var der én fyr, der sparkede…«

MM: »…Træsko-Jens, ja!«

LM: »…sparkede mig lige i nosserne med sine træsko. Så fik han bank af dig.«

MM: »Han sparkede også mig. Men jeg nægtede at vise, at det gjorde ondt.«

LM: »Jeg var typen, der knækkede sammen med det samme og sagde AV!«

MM: »I mange situationer var rollerne byttet om dengang. Selv om jeg som lillebror var fysisk mindre end dig.«

LM: »Jeg var for tynd og ranglet, derfor turde jeg ikke slås. Men det kom jo hen ad vejen. En dag slog jeg fra mig, og siden var der ingen, der rørte mig. Men jeg har aldrig haft lyst til at slå. Det er noget med et temperament, som jeg havde svært ved at styre.«

MM: »Du var nok mere usikker end jeg, og det var meget tydeligt dengang. Det betød f. eks. utroligt meget for Lars, om han var med i gruppen. Jeg var bedøvende ligeglad, og hvis der var en gruppe, jeg gerne ville med i, skulle jeg nok sørge for at komme det.«

Det mørkeblå værelse

Hvad med kærester?

LM: »Det var ikke noget problem, for vi havde ikke samme smag.«

MM: »Og jeg kom meget sent i gang, fordi jeg var så optaget af sport. Da jeg fik øjnene op for pigerne, var det nærmest fra den ene dag til den anden. Lars havde en laaaaang teenage-periode med mange kærester. Og et værelse, der blev malet mørkeblåt, det var mest noget med depressiv musik og digte og sove 26 timer i døgnet.«

LM: »Jeg var konstant ulykkeligt forelsket. I mange år fandt jeg grobund i de mest depressive følelser. Det er først inden for de seneste år, det for alvor er lettet..«

Hvad tænkte du om Lars, når han sad inde i sit mørkeblå værelse og var depressiv og skrev digte og hørte klassisk musik?

MM: »Der var en klar brist i vores forhold i den periode. Vi havde intet til fælles - ud over at spille lidt håndbold sammen i ny og næ. I øvrigt spillede Lars elendigt dengang, mens jeg brugte hele mit liv på at dyrke sport. Men jeg havde meget svært ved at forstå, hvad det handlede om. Faktisk var jeg provokeret, fordi jeg syntes, han bare dyrkede sådan en påtaget “Weltschmertz”.«

LM: »Jamen, det gjorde jeg jo også!«

En total klovnerøv

MM: »Jeg var en total klovnerøv. Jeg var overbevist om, at pigerne ville finde det enormt interessant og blive vilde med mig, hvis jeg f. eks. turde æde en masse ulækre ting. Det var altid noget med gang i den og fis og ballade. Jeg havde helt vildt meget energi og var - og er måske stadig - sådan én, man havde lyst til at give en ordentlig én på lampen. I gymnasiet var det noget med at ryge og drikke øl. Og jeg opdagede, at jeg var i stand til at bringe mig selv i fokus hele tiden og blive set af pigerne. Det har nok været kendetegnende for mit liv lige siden.«

LM: »Jeg søgte indhold og substans. Var optaget af kampen for hvalerne og dén slags. Reelt var det jo noget med at holde livet på to skridts afstand og digte om det i stedet for. Fordi jeg fandt det for svært at være til stede i nuet.

Hvad syntes du om Mads dengang?

LM: »At han var dybt overfladisk og ikke forstod, hvad livet handlede om. Ha!«

Hvornår fandt I så hinanden igen?

MM: »Efter gymnasietiden, tror jeg.«

LM: »Jeg blev først student året efter Mads. Faktisk gik jeg fem år i gymnasiet, fordi jeg røg så meget hash. Jeg blev smidt ud to gange.«

MM: »Til gengæld fik du en fremragende eksamen. Jeg bestod kun lige med nød og næppe.«

Det må have påvirket jer, at lillebror blev student før storebror?

LM: »Ja, det var ikke særlig sjovt. Men uden at komme for meget ind på det, så var tingene så svære for mig i den periode, at jeg ikke rigtigt kunne overskue noget som helst.«

MM: »For mig betød det ikke noget, om jeg blev student eller ej, så jeg tænkte ikke så meget over det. Jeg blev kun gående i gymnasiet, fordi jeg havde det så skide skægt - med alle festerne og pigerne…Men selvfølgelig var der også en grund til, at jeg helt undlod at reflektere over de mere alvorlige ting i mit liv. Det var jo mest udadtil, at det der billede af den livsglade dreng var sandt. I dag er jeg langt fra en livsglad dreng. Jeg er blevet mere sortseende på mange måder.«

LM: »Og jeg har fået et meget lysere livssyn…«
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Maddie
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PostSubject: Re: Danish Interview with Mads and Lars   Fri May 30, 2014 12:16 pm

In English:

Best Friends

23.07.00

Lars and Mads Mikkelsen was born with one and a half years. They have attended the same schools and children were each other's best friends. As adults, they chose the same training and were cast with one year apart. Still, they are very different - both personally and as actors.

Lars Mikkelsen, 36, is tall and slender. The face is narrow and marked by sharp cheekbones and intense gray-blue eyes. And even though he is so calm and friendly in his ordinary everyday clothes, one can well understand that it was he who was chosen to play the lead in "Dracula" at Aalborg Theatre in 1995.

Lars Mikkelsen has mainly concentrated on the theater since he left the National Theatre School in 1995. He has been involved in numerous shows in places such Aalborg Theatre and small experimental theaters as Bådteatret and Kaleidoscope in Copenhagen until he he was hired a few years ago at the Royal. Theatre.

Mads Mikkelsen is barely ten centimeters lower than its big brother and heavier built. The half-length, swept back hair and stubble makes him boyish and a bit cheeky to look at. Supplemented with a few flirty, brown eyes, a broad and sensitive mouth and high cheekbones he looks like the perfect magazine recipe for a real "heartbreaker" and heroes.

As theater manager Lars Kaalund set "Romeo and Juliet" up Gasworks, it was Mads, who took the role of Romeo. He is affiliated with the circle around Dr. Dante and Gasworks. But since the exit of drama school at Aarhus Theatre in 1996, he has mainly concentrated on making movies and is today one of Nicolas Winding Refn's "fixed" actors.

MM: "There are some forms of theater, I just do not bother. I think, for example, it is interesting to play Holberg, Ipsen and Shakespeare in the traditional sense. It's not that I have anything against the classics, it's just so rare, they are built in a way that concerns me. It drowns usually in technique and "let's now finally be completely quiet when we play Shakespeare, for that is how some fine words!" But Shakespeare's thumping dirty! Why does it have to be so fine and pompous? I will play theater with a form of life in which I can identify with. "

LM: "I have the energy nor the rigid form there studies that are being made so many. I myself have gone through a number of them. They are a sign that a vivid imagination does not have a prosperous Danish theater at the moment. What matters is the touching audience, rather than the just consider something up on the stage. '

Words are the key

But it is hardly a coincidence that you play at the Royal. Theatre, while Mads belong to the circle around Dr. Dante and Gasworks?

"At the start you just have to take what you can get. But no, of course it is not a coincidence. "

MM: "It is very much about language. I chose the early to listen to those who can not speak tydel {mdash} illegally, but who are ordinary people now do, "he says with a broad, self-mocking grin.

LM: "I am very inspired by some of the old actors in the theater. Why does it just when they go on stage? Of course they have a lot of experience, but it's also that they have the courage to let their role be carried by words. It is a form of minimalism, which - when the masters - is the ultimate. But the road there is littered with pot shops. "

MM: "I'm just as interested in the word as Lars. But for me it is very important to hit the figure so real and close to reality as possible. That's what I pursued most vigorously. It is shown what is called method acting, where you strive to "become" the character - except that I should try to make me wise on what method acting is. "

Each other's critics

Where are your biggest similarities?

MM: "We're both equally to the folding of poetry in the theater. In the end it is the one that touches us. "

LM: "And we are working actors. Constantly seeking to become better. None of us will be satisfied. "

Can you use each other in the process? Are each other's harsh critics?

LM: "Not hard. But we spend together, yes. I used the example Mads when I was doing "The Spider". I did not come up with on that one wave to cultivate authenticity in the play, and it annoyed me. But by Mads I pejlet me in on what it really is and why it is so interesting. '

MM: "And when I was doing" Romeo and Juliet "at Gasworks, I used Lars about the linguistic work. He has a technique that I could learn something from acoustically and clarity wise. "

LM: "But where we use each other very most, it is in fact to evoke doubts in the ground. As an actor, one is always plagued by doubt: Is it good enough? Am I doing it right? '

The two brothers are the first actors in the family. They have no other siblings and grew up in a political family with a communist background. His maternal grandfather had them early on to read Russian literature and Hans Scherfig.

His mother was a nursing assistant, his father was a banker, but joined the trade union movement as a young man.

LM: "It was not a cultural home. But there were plenty of imagination and good stories. We have for example heard from radio plays we were very little. My father took up the best of the good old radio plays from the '50s, "the murder melody" and "Gregory-mystery" and stuff like that laid the streets deserted. We heard them always when we were at the cottage, then sat the whole family gathered around the tape recorder and listened. '

MM: "I can recitere whole" Mordets melody ". I heard it twice a day for an entire year. To sidste I could all Voters, all sounds udenad. "

LM: "Later we got it the same way with Monty Python. We all had their plates and knew them by heart. We were unbearable to be around. "

A lump of ice in the head

What is your first memory of the other?

MM: "There was a time when Lars got a lump of ice in the head. That was when we lived in Copenhagen. '

LM: "Shut up, it's exactly the same episode, I think of! I was so happy and was just down and play, and hardly had I stepped out into the yard before I got a lump of ice right in snoting and got a bloody nose properly. '

MM: "Lars came up and was very upset. So I had to straight down and smash them all together because they had been looking at him. And then I, of course, a lump of ice in the head. "

But it was you, little brother, who was the protective?

LM: "Mads was always the driving force. I was more fragile, so it was just. Do you remember in school, in one of the first classes - once there was one guy who kicked ... '

MM: "... Træsko, Jens, and«

LM: "... kicked me in the balls with her clogs. Then he bank of you. '

MM: "He kicked me too. But I refused to show that it hurt. "

LM: "I was the type who broke down immediately and said AV! '

MM: "In many situations, the roles were reversed then. Although I like the little brother was physically smaller than you. '

LM: "I was too thin and lanky, so I did not dare fight. But it was well along the way. One day I struck from me, and since there was no one touched me. But I never wanted to beat. It's something with a temperament that I found it difficult to manage. "

MM: "You were probably more insecure than I am, and it was very clear then. This meant, for example, a great deal for Lars, he was with the group. I was could not care less, and if there was a group I wanted to join, I should probably make sure to get it. "

The dark room

What about boyfriends?

LM: "It was no problem, because we did not have the same taste."

MM: "And I came very late, because I was so caught up in sports. When I became aware of the girls, it was almost from one day to the next. Lars had a looooooong teenage period with many lovers. And a room that was painted dark blue, it was mostly something with depressive music and poetry and sleep 26 hours a day. '

LM: "I was constantly unhappy in love. For many years, I found fertile ground in the most depressive feelings. It is only in recent years, it has really relieved .. '

What did you think about Lars when he was sitting in his dark room and was depressed and wrote poetry and listened to classical music?

MM: "There was a clear rupture in our relationship during that period. We had nothing in common - in addition to playing some handball together every now and then. Moreover played Lars miserable time while I spent my whole life playing sports. But I had a hard time understanding what it was about. Actually, I was provoked, because I thought he just grown such a committed "Weltschmertz". '

LM: "Yes, but I did the well!"

A total klovnerøv

MM: "I was a total klovnerøv. I was convinced that the girls would find it very interesting and get wild with me if I eg dare eat a lot of disgusting things. It was always something going on and lark. I had crazy amounts of energy, was - and perhaps still is - one like you wanted to give a proper one on the lamp. In high school, it was something to smoke and drink beer. And I discovered that I was able to bring myself to focus all the time and be seen by the girls. It has probably been the hallmark of my life ever since. "

LM: "I wanted the content and substance. Was engaged in the battle for the whales and stuff. In fact, it was indeed something to keep life in two paces and poems about it instead. Because I found it hard to be present in the moment.

What do you think about Mads then?

LM: "That he was deeply superficial and did not understand what life was all about. Ha! '

When did you find each other again?

MM: "After high school, I think."

LM: "I was the first student year after Mads. In fact, I went five years in high school because I smoke so much pot. I was thrown out twice. "

MM: "On the other hand you got an excellent exam. I was only just barely. "

It must have influenced you the younger brother graduated before big brother?

LM: "Well, it was not very fun. But without getting too much into it, so things were so hard for me in the time that I could not really grasp anything. '

MM: "For me it did not matter whether I graduated or not, so I did not think much about it. I was just going to high school because I had so much damn fun - with all the parties and the girls ... But of course there was also a reason why I completely failed to reflect on the more serious things in my life. It was the most outwardly that it is picture of the cheerful boy was true. Today, I am far from a cheerful boy. I have become more pessimistic in many ways. "

LM: "And I've got a much brighter outlook on life ... '
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