Come to DSW for the shoes, stay for the fun. Because let's be honest. If shoe shopping isn't fun, are you even doing it right?
So go ahead, try something new, try something different. Good difference. Try something that feels like you. You know, the real you. and then definitely brag about it later.
Because at DSW, you've got unlimited freedom to play. Find the shoes that get you at prices that get your budget at DSW stores or at dsw.com. Let us surprise you.
Okay. Hey, Sal. Hank, what's going on? We haven't worked a case in years. I just bought my car at Carvana, and it was so easy.
Too easy. Think something's up? You tell me. They got thousands of options. Found a great car at a great price, and it got delivered the next day.
It sounds like Carvana just makes it easy to buy your car, Hank. Yeah, you're right. Case closed. Buy your car today on Car. Father.
Delivery fees may apply. This is Jane Pawley. Actress Stellan Skarsgård is the father of eight. and six of his offspring are actors as well. the newly minted Golden Globe winner tells Sunday morning Seth Doan all about acting.
as a family affair. What do you think directors see in you? Why do you get cast? I'm beautiful. No, I don't know.
I do as I'm told. No, I don't know. That's that good either. But uh do you see I mean do you see a a a through line in in these parts that you play? I do.
Yeah is my physi the physicality and and and I have my way of expressing myself which is unique in a way, like everybody's uh way is unique. But you can say that as an artist If you see a a Picasso and you see another Picasso, you see the Picasso, right?
So you can see his his brush strokes and everything in each painting. But if you see a an actor, it's it's not that obvious because he's just a a vessel for for the for the for the for the director. But but what what I hope for is that Somehow Abe is probably vain. But it was some some somehow my my my My view of humanity and my view of society and It shines through. In what way?
I don't know. And that that's why I say it's very nice. It's an interesting thing to hope for. Yeah, it is. Because you're playing fictional characters.
Yeah, but but it's also different fiction. I play play monsters, evil guys and good guys and so on. But it's but they They are made out of my out of my book. They're made out of my vision of the world and of humanity in a way. If you're really smart, you can probably trace something.
You can trace something that is common for all uh all characters I've done. I would. recognize it, I think. But it's uh it's so subtle. Do you see yourself in all these different characters?
Of course I do. I mean, I see myself. I'm the material. I'm the clay that I shall make a statue out of. But but it's uh and it's all my feelings, it's my real feelings, but in different proportions.
It strikes me in listening as we were walking yesterday, I was thinking there's a bit of interest in anthropology in all of this, this kind of study of the human being, spirit. You seem to like that. And so it it's like Humours are I mean are constantly surprising. For good or for bad. That was fascinating.
You said on our walk, you said you didn't You wanted to be careful not to be cast. as a bad guy too often. Yeah. Did you think you were? No, I I I think I've managed to to get out of that Of that corner.
But I saw I saw immediately the The danger of it. And I saw it. When I started out in Hollywood, everybody with an accent was automatically a bad guy. Because of xenophobia and of so it was the market that was only the American audience. at that time.
It was before American films became global in financially global as well. You've described doing this film Sentimental Value as somewhat meta. Yeah, well, it's a different matter for all of us, but to me, it's not. It's not about me, the character, but it's about an artist.
So the the complications are the same. Like what? of that you have You have your art as your profession, and an artist is sort of more than. more than sort of likes his job. He's sort of obsessed by his job, and he is his job in many ways.
So it's very hard for an artist to sort of. get away from his job and be with the family. Did you ever find that? You had difficulty in balancing family and and and career? I I sort of made sure that I was a At home a lot.
From the 89 when I stopped at the Royal Dramatic Theatre, I've been at home. Eight months a year. Uh changing diapers and Wiping asses, and I've only been in front of the camera four months a year. But the thing is that. What you I might have been not so present or I might not have been taking enough interest in in my in my kids for the from their perspective.
I have eight kids and you give a little to each one of them but some for to some that is not enough.
Somebody wants the full attention and stuff. And it would be hard to give attention to eight. Yeah, I mean it's hard. I mean it's hard sometimes it's hard to give to one kid when they want to play something that is really boring. But uh it's uh You notice that they have different needs, all eight of them, and some are really needy.
And of course, my kids, they're very frank, they can say whatever they want to me.
So I get a lot of criticism for being not an attentive father enough. You do get criticism. Yeah, yeah, yeah, yeah, sure, sure, sure. Do you think it's fair?
Well, it's it's no, it's it's it's fair in the way that it's there this there. Perception of ah, I don't get enough. But is it fair to say that I don't give enough? I don't think so.
So I mean it's a it's um But you can't be a perfect father always. You've got to accept. And the kids have to accept I'm flawed. Good luck. Eight kids is a lot.
Why stop at eight? I have a dasectomy. That's a good reason to take it.
Well, you could change it back. You said enough? Yeah. But uh Yeah. Kids in the seventies, in the eighties, in the nineties, in the zeros and in in the tens.
In five decades I've had them, and in five decades I've been changing diapers. I can uh I think I should uh Wait a little now. Is it really possible you've done 150 films? I don't know, but it's 150 entries on IMDb, I think. It's incredible.
It's a lot of time spend shooting. Yeah, but I've I mean I've I've sometimes I had small roles so it's it doesn't I'm not 150 years old, but... Yeah. I'm happy, actually. You dance between the more independent Artsy films and and the bigger blockbuster, bigger budget.
Studio films. Tell me about that back and forth between the artsy independent and the bigger budget. I mean, it's partly because you want to stay sane, so you have to have a to vary your films. You cannot do the same thing over and over again. You say stay sane.
Is that in the variety, or is that in that you think that the Artsy independent films are where you feel like. No, no, no, no, no, it's it's it's the variety. I mean, it's like you don't eat pancakes every day. I mean, it's. It's uh you gotta have a very diet.
goodwill hunting. That was big. You describe going up for the audition being carried up in this. Limousine meeting Matt and Ben, working on the script. What was it about Goodwill Hunting that interested you.
Yeah, it was a good script. It was a good script. It was a small independent film. Nobody knew it would become as big as it was. And uh We just met.
I drew up to Boston and met. met the boys and we We sort of worked, and we have some worked on the lines a little and sort of. Change something, and we had a lot a lot of fun, and it was sort of a very fruitful. A beautiful Session we had there and then we went out in e in South Boston and got drunk. I was interested to read that you don't necessarily watch all of your films.
Well no. And I don't go back to them. I I have no I'm very much a person who lives in the present, and I. I like that more more. I mean, the you can't do anything about the f the past and you're Your your and you don't your dreams about a future are often Uh Um more of a joke because uh they don't come through anyway.
So it's it's like what what what do you say, the m i if uh if you want to make God laugh, make plants. If given a big budget action film and a and a artsy small independent film. Is there an obvious Choice one or the other? No, because the big budded films I've made. Most of them has also been very, very good and made by directors who has before the big blockbuster film made very interesting independent films.
So, I mean, if you work with Denise Villeneuve, for instance, or Feder or any of those. Uh Um guys, yeah, you're You're in good hands. What about your foray into the Marvel? universe. It started very well.
It started well. Yeah, it started.
Well, it became Yeah. I don't know. Kenneth Brannock was directing the first one. And then it's sort of uh I had fun doing it and I loved the relationship I had with Kat Dennings and uh Uh Uh uh I love her very much. I've worked several films with her.
Isn't is my my Brain damage. What is it? Natalie Portman. We had lots of fun together. But uh eventually I couldn't read the scripts even.
Because you didn't like the writing? because I couldn't read. He's he's coming in, he's twice as big, he's hitting him in the head, he flies through the air, he f drops down on the floor, a car comes crashing through the that was what what it was describing of of action scenes in a way that is uh That is, uh, I couldn't read. And you're reading it or trying to read it and thinking what? Yeah, why?
I can't, it doesn't say anything to me. You mentioned in trying to recall a name, you kind of jokingly said that's my brain damage. Yeah. Tell me about your your stroke. had a stroke that was that makes me forget my language, forget uh words and And that makes me more stupid and makes me less funny and everything.
Do you really feel that? That's funny? You should I felt so funny before. Must be tough. Yeah, well.
I'm I'm 74 years old and uh And uh I'm alive. Tell me about going through the stroke. No, it was nothing. What do you mean? The face was sort of hanging a bit, and then.
My son said we should go to the Hospital and that's it. How much did you worry about? yourself, your family, your career.
Well, the first thing I thought was, I can't make uh the second season of of Andorra and the second uh installment of Dune. You were in between shooting those two at the moment. But I sort of I I realized that I could do it, but I couldn't remember the lines.
So we quickly started training. That thing. with an earpiece. You wear an earpiece now? when you're shooting.
Yeah. How does the earpiece work? It's uh it's uh It's actually more complicated than learning the lines because. The prompter has to say their line while the the other actor is talking.
So you say you have your line and on that line I hear fast and neutral my next line coming and then I can answer in real real life time, you know. To answer your Wow, so as your scene partner, your actor, is talking, you're hearing your line coming up. Yeah, and then I can answer it. It's interesting to think of watching sentimental value and you having an earpiece. In your ear through all that.
Not something you're aware of as the audience? No, of course not. Do you see a difference in your acting? No. Mm-hmm.
You look at yourself before the stroke. And after And you see the same actor. Yeah. go through something like that period and then to think How is this going to affect my career? I was I d I don't know if I was I wasn't that scared.
I mean, I'm not afraid of dying or anything, but of course. Uh I'm afraid of being a vegetable. And sort of get that. My my father had a stroke when he was My age, and uh it got him halfway back to for the rest of his life. And he six years later, he had his second stroke and it took him.
How much do you think about that? Not at all. You know, I I thought about it then. But I am, I mean it's something I'm fine with. After the second stroke, he didn't suffer anymore.
So it's easy. Yeah. How do you think you're a different actor today? What do you think you've. learned and these years.
I'm a less technical actor, I think. I think I think it's uh I've learned the technique so I can I can throw it away now and and be free from it in a way. And you think you have You think you're a different actor because of that. Or it's a different performance because of that. I think so.
I mean, it's not that it was bad before, but it's freer and and richer. more intuitive. Yeah. You look at yourself when you well, you don't watch back on those films, I guess, so you're not looking back and seeing it, you're counting the memory. Yeah.
I mean, it's a you. as you think back on your career. What do you think? I've had fun. I've had a lot of fun.
That's what I think. You've talked about camera fright and said acting is the most frightful job. Doesn't seem frightening to you. No, but I mean it's but the premises are frightening. I mean you're sort of pretending to be someone else and people are supposed to pay a lot of money to see it.
Come on. It's a it's pretty pretentious, but but but but but it's uh uh it is It's absolutely normal to be frightened when you act. to expose yourself i in front of a lot of people. uh the way you're supposed to. Expose yourself.
So so when I had camera fright It w I understood it very well. I knew where it came from and I... But it it is Totally Horrible experience. You're you're so afraid that you'd You lo and you lose the text and you lose everything. And you just want to die.
You'd rather be dead than being in front of the camera. When was this happening to you? Very, very early on? Yeah, early on. I didn't feel for five years.
And uh Then I did uh Did did um film school film. with low ambition and sort of no high ambition but low pressure on. And I sort of found my way back to Yeah. to the film. Uh the film language.
that I love. But y you know, uh the the thing is that Now I love the camera. Of course. The camera is like a like like another actor to me. In what way?
It's alive, and it is there. I can feel it moving, I can feel it coming, and I feel that.
So, you play with your camera as well, especially like a film like this where the cinematographer Tucson. Uh um Um uh he he he was doing handheld in a very beautiful way. And with the musicality, that is fantastic.
So you know that he is a part of the scene. And he's not working against it, or he's not disturbing it. He's a part of the scene, and his camera is a living creature that is a part of the scene as well. As that camera comes around, To you, what's the sensation? I don't know, it's pretty sexual.
Yeah. in a way. describe that or explain that. Yeah, it's I love the camera and it's the lover that is coming to me. Wow.
There's an action, kind of a thrill. You're in the right business now. Oh yeah. I'm Jane Pauley. Thank you for listening.
And for more of our extended interviews, follow and listen to Sunday Morning on the free Odyssey app. or wherever you get your podcasts. Another app for inventory, one for CRM? Oh, don't forget accounting. Wait, which login was that?
Or you could use Odu, one fully integrated system that does it all without the hassle. Uh Ditch the app overload. Get everything your business needs on one platform. Try Odo free today at odoo.com. That's odoo.com.
I'm back. I'm really back. School Spirits returns. Why am I here? I'm not dead, right?
This place is an absolute death trap. We need to get out of here now. School Spirits new season streaming January 28th only on Paramount Plus.
