He was born on Christmas eve- he’s a natural- he could very well turn out to be one of his generation’s greatest Danish actors - he cherishes his private life, but speaks openly about his passion.
THURE LINDHARDT ON ACTING
1.It has been said, you already knew at the age of five that you wanted to be an actor. Do you see it as a calling – a sort of duty to yourself?
Sometimes I think of it as a calling- a great passion, to say the least. I don’t care for the word duty. It has a negative ring to it and I think that ruins creativity.
But for the most part, I don’t think so much about what I do- the fact that I'm an actor. It is such a big part of my life- my daily life. I do try to have periods of time of no acting- call it recharge breaks.
2.How do you choose a manuscript. Would you for example be open to a part in a musical?
I read the script with an open mind and try not to judge or interpret, but just to get a feel of it. Often it is very clear to me, whether it's for me or not. Unfortunately, I sometimes forget to listen to my hunches, and accept a role, based on other reasons- such as money, friendship, flattery or just because it can be difficult to say no. So it does happens that I end up doing things that neither I, nor my audience benefit from. Luckily, that is a rarety. I have been deeply privileged to participate in incredibly interesting projects, and the bad ones I have learnt from. Not sure that I would be up for a musical. I have tried it a few times, and somehow it always felt strange to me, to be talking on a stage and suddenly "feel an urge" to break into song.
3. With a part, you know whom you are supposed to portrait, what he's going to say and where he's going. All of that you have to bring to life; does that happen during your preparation for the part, or not until the camera is rolling?
I try to prepare as much as possible, so that I am able to 'be' when we shoot. To me that is a very important part of it, besides, I love preparing for a role, makes me feel like a journalist, a spy, a phyciatrist and an analyst all at once. I don't always know where the part is going, and often the visions change immensely during the process, but I always have a clear picture of what he's doing and what I'd like when I work. Within those frames, I dig deeper.
4. Do you prefer a director with a clear vision of your character, or someone giving you room for improvisation where the two of you together find the red thread?
I definitely prefer a director who knows what he or she wants. To grope and uninhibitedly improvise is to me a waste of time.
5. How do you prepare for a role? Are you a method actor?
My preparation varies from role to role. I'm not a method actor, but I certainly make use of all the techniques necessary for a part.
6. One says that the talent lies in the choice- in how you choose to interpret the character you play. How do you know that you made the right choice?
I can just tell when it feels right. When I feel free and courageous. The difficult part is to trust that feeling, and believe in it- strangely enough!
7. At what time during the preparation process does your 'new life' take over? Is it something you are aware of, or does it creep up on you? Voice, body language, thoughts etc?
It takes me about a couple of months to really get into a part, and about a month to leave it. They are patterns you practice, and it takes time entering, as well as leaving.
8. When you work on a movie, how is the transformation from the character you play, back to Thure? Meaning, when you're done for the day- do you stay in the role, or can you shut it off and just be you?
The tranformation is not that difficult for me. I don't feel like someone other than myself, during the breaks or after the takes. But of course my thoughts are very focused on the pattern of the part and the thought process, so of course it does affect me.
9. Is it ever difficult to let go of a part, after this intense involvement in the 'borrowed life' over a longer period of time?
It can actually be very difficult to leave a role, but at the same time a relief. One always feels a bit empty and depressed for about a week after the movie is done. But it could have to do with the intensity of the filming -having built an identity around that, and then suddenly waking up to nothing. That of course isn't true, but it is what creates the feeling of emptyness. I am aware of that now though, and understand that it is best described as a time of recovery.
10. Once you let go- does some of that character stay with you- a part you know isn't really you, but would be interesting to explore?
To explore roles is to explore the human mind, and for sure you'll run into things that could be interesting to explore in private. It is important to me, to learn from what I experience.
11. How does theatre and film differ for an actor? Do you need to give more of yourself on the stage?
They require two very different ways of working; different techniques. You need to convey your energy differently- one is like a long piece of music, the other is like a mirror that has splintered into little pieces, with your mind forming the entirety.
12. Many people think it's easy for actors to turn it 'on and off'; one minute they're happy, the next they burst into tears. Is it really that easy?
It is easy, because it is part of an interpretation, like a piece of music, if you like. We are all capable of switching really quickly from one to the other, only most people block their feelings.
13. What happens between projects? Do you feel restless and hungry for the next, or are you in need of long breaks?
I certainly need breaks, but I do get restless, which is good -and healthy.
14. Is there one director in particular that you would love to work with?
I would love to work with directors in love with their projects, and in love with their actors- haha!
Will you name three movies that have made an impression on you?
Hotel Rwanda, the Deer Hunter and Romeo&Juliet.
Read all about Thure Lindhardt's Filmography