ULRICH THOMSEN

I rarely do any back story. I often get a thick bible of back story, but I can't use it. The back story is a tool of the writer. But I can only act what's in the scene.

I enjoy smaller projects, especially by newcomers, where there is more energy than on bigger productions. And there's the pleasure of seeing the final result.

In the '80s, we at least had the idea of diplomacy.

Whenever I do anything, even the most simple character, I need to twist it somehow, make it more challenging, in terms of psychology and storytelling. I can't just do it straight.

My task is to find the authenticity in the character. I tend to go with the script and tell that story.

In a big movie, like Ridley Scott's 'Kingdom of Heaven,' where I had a small part, you realize your task is to support everything that has to come together. You're just a piece of the puzzle. You're the guy in the hat.

I don't pray, but if I did, I'd pray to God that Trump doesn't win.

As an actor, a Dogme film is not that big a difference. You don't have to wait for the lighting, so you get a better rhythm. It's the camera guy and the editor and the sound guy who are in trouble. Because they can't do what they're used to doing.

I rarely do any back story. I often get a thick bible of back story, but I can't use it. The back story is a tool of the writer. But I can only act what's in the scene.

In the '80s, we at least had the idea of diplomacy.

In a big movie, like Ridley Scott's 'Kingdom of Heaven,' where I had a small part, you realize your task is to support everything that has to come together. You're just a piece of the puzzle. You're the guy in the hat.

My task is to find the authenticity in the character. I tend to go with the script and tell that story.

Whenever I do anything, even the most simple character, I need to twist it somehow, make it more challenging, in terms of psychology and storytelling. I can't just do it straight.

I don't pray, but if I did, I'd pray to God that Trump doesn't win.

I enjoy smaller projects, especially by newcomers, where there is more energy than on bigger productions. And there's the pleasure of seeing the final result.

As an actor, a Dogme film is not that big a difference. You don't have to wait for the lighting, so you get a better rhythm. It's the camera guy and the editor and the sound guy who are in trouble. Because they can't do what they're used to doing.