Lars og Mads Mikkelsen er født med

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 t

結果 (英語) 1:

Lars and Mads Mikkelsen is born with one and a half years. They have gone to the same schools, and as children they were each other's best friends. As adults they chose the same training and were actors with one year intervals. Yet they are very different, both personally and as actors.Lars Mikkelsen, 36, is tall and slender. The face is narrow and marked with sharp cheekbones and intense, grey-blue eyes. And even though he is so calm and friendly in his ordinary everyday clothes, one can understand that it was precisely he who was chosen to play the lead role in "Dracula" on Aalborg Theater in 1995.Lars Mikkelsen has mainly concentrated on theatre, since he left the Danish National School of theatre in 1995. He has been involved in a wide range of performances at, among other things. Aalborg Theater and small, experimental theaters as Bådteatret and Kaleidoscope in Copenhagen, until he, he was employed for a few years ago at the Royal Theatre in Copenhagen.Mads Mikkelsen is barely ten centimeters less than its big brother and more powerfully built. The half-long, back-moulded hair and beard stubbene makes him boyish and slightly naughty to look at. Supplemented by a few flirty, Brown eyes, a broad and sensitive mouth and high cheek bones looks like he's the perfect up recipe for a real "Heartthrob" and heroic figure.When Theater Manager Lars Kaalund set "Romeo and Juliet" up at Østre Gasværk, it was the Fox, who got the role of Romeo. He is associated with the circle around Dr. Dante and Østre Gasværk. But since the exit of actor school at Aarhus Theatre in 1996, he mainly concentrated on making movies and is today one of Nicolas Winding Refns "fixed" actors.MM: ' there are some forms of theatre, I just don't bother. I think for example. It is uninteresting to play the Holberg, Ipsen and Shakespeare in the traditional sense. It is not because I have anything against classics, it's just so rarely, they will be listed in a way that affects me. It usually drown in technique and "Let's now finally be completely silent when we play Shakespeare, because that is how some fine words!" But Shakespeare is the pounding dirty! Why should it be so fine and grandiloquently? I will play theatre with a form of life in which I can identify me by. 'LM:» I nor the orcs there rigid form studies, which will be created so many of. I myself have been through a series of them. They are a sign of that intimacy does not have good conditions in Danish Theatre at the moment. What matters is to touch the audience, rather than the just consider something up on the stage. 'Words, it is importantBut it is hardly coincidental that you play at the Royal Theatre in Copenhagen, while Mads belongs in the circle around Dr. Dante and Østre Gasværk?» In the beginning, one must just take what we can get. But no, of course it's not totally random. "MM: ' it's a lot about language. I chose the already early to hear for those who can not speak t-y-d-e-l {mdash} i-g-t, but talking like ordinary people are doing now, "he says with the widest, self-effacing grin.LM: ' I am very inspired by some of the old actors inside at the theater. Why doesn't it just when they go on stage? Of course they have a lot of experience, but it is also about the fact that they have the courage to let their role be carried by the words. It is a form of minimalism, which-when the Mestre-is the ultimate. But the way there is overlaid with many jar. 'MM: ' I'm just as interested in the Word as Lars. But for me, it is incredibly important to hit the figure so real and close to reality as possible. That is what I pursued most vigorously. It is shown what you call method acting, where we strive to "be" the shape-without that I must try to make me clever on what method acting is. 'Each other's criticsWhere is your biggest similarities?MM:» We are both equal to fals for poetry in the theatre. In the end, it is the one that touches us. 'LM: ' And so we are working actors. Constant seeking after getting better. None of us want to be careful. "Can you use each other in the process? Are in each other's fierce critics?LM: ' Not tough. But we're using each other, Yes. I used eg. Mads, when I was doing "spider". I was not made on the wave with the cultivation of authenticity in the play, and it annoyed me. But using the Mads I have table me in on what it really is, and why it's so interesting. "MM: ' And when I made "Romeo and Juliet" at Gasworks, I used Lars around the linguistic work. He has a technique, I could learn something from klangmæssigt and clearly regarded. 'LM:» But where we use each other aller most, it is in fact to conjuring up the doubt in the ground. As an actor 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 got them early to read Russian literature and Hans Scherfig.The mother was nursing assistant, her father was a banker, but was employed in the trade union movement at a very young age.LM: ' It was not a cultural home. But there were plenty of imagination and good stories. We have, for example. heard radio games from we were quite small. My father recorded the best of the good, old radio plays from the ' 50s, "Melody" and "Gregory-mystery" and that sort of thing, as did the streets deserted. We heard them always, when we were in the House, so the whole family gathered around the cassette deck and sat and listened. «MM: ' I can recite whole "Melody". I heard it twice a day for a whole year. At last I could all the voices, all the sounds by heart. 'LM: ' Later we got it in the same way with Monthy Python. We had all their plates and can them by heart. We were unbearable to be with. 'A lump of ice in the headWhat is your first memory of the other?MM: ' there was a time when Lars got a lump of ice in the head. It was then we lived on Østerbro. 'LM: ' shut up, that's exactly the same episode, I think of! I was so happy and just had to down and play, and hardly had I stepped out into the yard, before I got a lump of ice right in snotten and got a properly blodtud. 'MM:» Lars came up and was very sorry. Then I had straight down and smash them all together, because they had been sickened him. And then I got of course also a lump of ice in the head. 'But it was you, little brother, who was the protective?LM:» the Fox was always the driving force. I was more fragile, such was the only. Do you remember at school, in one of the first classes-once upon a time, there was one guy who kicked... 'MM:» ... Clogs-Jens, yes! 'LM:» ... kicked me right in the nosserne with his clogs. So he got bank of you. 'MM: ' he kicked me too. But I refused to show that it hurt. 'LM: ' I was the type that snapped together with the same and said Ouch! 'MM: ' in many situations were roles reversed at that time. Although I like the younger brother was physically smaller than you. 'LM: ' I was too thin and lanky, therefore, dare I look. But it came, of course, along the way. One day I pitched from me, and since there was none that touched me. But I've never had the urge to beat. It is something of a temper, that I had a hard time to control. 'MM: ' you were probably more unsure than I, and it was very clear at that time. This meant for example. an incredible amount of Lars, whether he was included in the group. I was numbing indifferent, and if there was a group, I would like to be included in, should I make sure to get it. 'The dark blue roomWhat about boyfriends?LM: ' it was no problem, because we didn't have the same taste. 'MM: ' And I came very late in the process, because I was so intrigued by the sport. When I got the eyes up for the girls, it was almost from one day to the next. Lars had a looooooong teenage period with many girlfriends. And a room that was painted dark blue, it was mostly something with depressive music and poems 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 within the last few years, it really is relieved. '.What were you thinking about Lars, when he sat in his dark blue room and was depressive and wrote poems and heard classical music?MM: ' there was a definite flaw in our relationship in the period. We had nothing in common-Besides playing a little hand ball together every now and then. Incidentally played Lars miserable back then, while I spent my whole life on the sport. But I had very hard time to understand what it was about. In fact I was provoked, because I thought he just cultivated such an assumed "Weltschmertz". 'CH: well, I did indeed! 'A total klovnerøvMM: ' I was a total klovnerøv. I was convinced that the girls would find it immensely interesting and get wild with me if I eg. dare to eat a lot of disgusting things. It was always something with time in the and the fis and ballad. I had a lot of energy and was absolutely wild-and perhaps still is-such a one, you had the desire to give a proper one on the lamp. In high school, it was something with smoking and drinking beer. And I discovered that I was able to bring myself in focus all the time and be seen by the girls. It has probably been the hallmark of my life ever since. 'LM:» I searched content and substance. Was busy fighting for the whales and that sort of thing. In fact it was something to keep life on two steps at a distance and poems about it instead. Because I found it too hard to be present in the moment.What you thought about Mads back then?LM: ' he was deeply superficial and did not understand what life was about. HA! 'When found in saw each other again?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 t

結果 (英語) 2:

Lars and Mads Mikkelsen was born with one and a half years. They have gone to the same schools, and as children they were each other's best friends. As adults, they chose the same training and was cast in one-year intervals. Yet they are very different - both personally and as actors. Lars Mikkelsen, 36, is tall and slender. The face is narrow and marked with sharp cheekbones and intense, gray-blue eyes. And even though he sits as quiet 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 concentrated on theater since he left the National Theatre School in 1995. He has been involved in a wide range of shows, inter alia, Aalborg Theatre and small experimental theaters as Bådteatret and Kaleidoscope in Copenhagen until he he was permanently employed a few years ago at the Royal. Theatre. Mads Mikkelsen is barely ten centimeters less than his older brother and stronger built. The semi-long back hair and stubble makes him boyish and a little naughty to look at. Supplemented with a few flirty, brown eyes, a wide and sensitive mouth and high cheekbones he looks like the perfect magazine recipe for a real "heartthrob" and quite figure. As theater manager Lars Kaalund put "Romeo and Juliet" up on East Gasworks, it was Mads, who took the role of Romeo. He is affiliated with the circle around Dr. Dante and East Gasworks. But since the exit of the drama school at the Aarhus Theatre in 1996, he has concentrated on making films and is today one of Nicolas Winding Refn's "real" actors. MM: "There are some forms of theater, I just do not bother. I think f. Ex. It is uninteresting to play Holberg, Ipsen and Shakespeare in the traditional sense. It is not because 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 should 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 there rigid form studies that are being made ​​so many. I myself have been through a number of them. They are a sign that the intense need not have good conditions in Danish theater for the moment. What matters is the touching audience, rather than the just sees something on the stage. " The words are important , but it is hardly a coincidence that you play at the Royal. Theatre, while Mads belong to the circle around Dr. Dante and East Gasworks? "At the start you just have to take what you can get. But no, of course it is no coincidence. " MM: "It is very much about language. I chose the early to listen to those who can not speak tydel {mdash} igt but are ordinary people now do, "he says with the widest, self-mocking grin. LM: "I am very inspired by some of the old actors in the theater. Why does not 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 leave their role to be carried by the words. It is a form of minimalism, which - when it is mastered - is the ultimate. But the way there is coated with many pot farms. " 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 is what I pursue most vigorously. It is shown what is called method acting, where you strive to "become" figure - though I must try to make me wise on what method acting is. " Each other's critics Where is your greatest similarities? MM: "We are both equally to the seaming of poetry in the theater. In the end it is the one that touches us. " LM: "And so 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 use each other, yes. I used f. ex. Mads when I made" spider " . I had not come with the wave there to cultivate authenticity in the play, and it annoyed me. But by Mads I pejlet me in on what it is and why it is so interesting. " MM " And when I did "Romeo and Juliet" at Gasworks, I spent Lars about the linguistic work. He has a technique I could well learn something from acoustically and clarity due. " LM: "But where we use each other very most, it is in fact, to evoke doubts in the ground. As an actor you are 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. grandfather got them early 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 f. Ex. Heard radio plays since we were very small. My father took the best of the good old radio plays of the 50s, "Mordets melody" and "Gregory-mystery" and stuff like that laid the streets deserted. We heard them always, when we were in the cottage, then sat the whole family gathered around the tape recorder and listened. " MM: "I can recite the whole" Mordets melody ". I heard it twice a day for a whole year. Finally I could all the voices, all the sounds by heart. " LM: "Later we got it the same way with Monthy Python. We all had their plates and knew them by heart. We were unbearable to be with. " 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! I was so happy and were 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 straight down and smash them all together because they had been looking at him. And then I, of course, also a lump of ice in his head. " But it was you, little brother, who was the protective? LM: "Mads was always outgoing. 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: "... Clogs-Jens, yes!" LM: "... kicked me in the balls with his clogs. Then, his 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, therefore I did not dare fight. But it got the go. One day I struck me, and since there was no one touched me. But I never had the urge to beat. It is something of a temper, that I found it hard to manage. " MM: "You were probably more uncertain than I, and it was very clear then. This meant f. Ex. Unbelievable Lars if he was in the group. I was numbing care, and if there was a group I wanted in, 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 busy sports. When I became aware of the girls, it was almost from one day to the other. Lars had a laaaaang teenage period with many lovers. And a room that was painted dark blue, it was most anything with depressive music and poems 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 were you thinking about Lars when he was sitting in his dark room and was depressed and wrote poems and listened to classical music? MM: "There was a clear flaw in our relationship in the period. We had nothing in common - besides playing some handball together every now and then. Incidentally 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 cultivated such a committed "Weltschmertz". " LM: "Well, I did well too!" A total klovnerøv MM: "I was a total klovnerøv. I was convinced that the girls would find it very interesting and become love me if I f. Ex. Dared to eat a lot of disgusting things. It was always something with the time in it and lark. I had quite game much energy and was - and maybe still is - such a one, they 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 must have been the hallmark of my life ever since. " LM: "I searched content and substance. Was engaged in the battle for the whales and stuff. In reality it was indeed something to keep life on two paces and poems about it instead. Because I found it difficult 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 about. Ha! " When did you find each other again? MM: "After high school, I think." LM: "I was first year student Mads. In fact, I went five years in high school, because I smoke so much weed. I was thrown out twice. " MM: "In return, an excellent exam. I was only just barely. " This must have influenced you the little brother graduated before big brother? LM: "Yes, it was not very funny. But without getting too much into it, it was t

結果 (英語) 3:

Lars and Mads Mikkelsen is born with one and a half year intervals. They have went to the same schools, and as children they were each other's best friends. As adults they chose the same training and were cast with a one-year intervals. However, they are different - both personally and as actors.

Lars Mikkelsen, 36 years, is high and thin. Your Face is narrow and marked with sharp Zygomatic Bone and intense,Gray-blue eyes. And even if he is so quiet and friendly in its ordinary business casual), you can well understand that in fact it was him that was chosen to play the main role in "Dracula" at the theater in 1995.

Lars Mikkelsen has particularly concentrated on the theater, since he left the State Teaterskole in 1995. He has been involved in a wide range of ideas for, inter alia, the theater and small,Experimental theaters as Bådteatret and Kaleidoscope in Copenhagen, until he he was subsequently established for a couple of years ago at the Royal Theater.

Mads Mikkelsen is barely 10 inches less than its big brother and stronger built. The halvlange, Backswept serrated wings could hair and shaven hair makes him drenget and a little courage to look at. SUPPLEMENTED with a few flirty, brown eyes,A broad and sensitive mouth and high Zygomatic Bone he looks like the perfect ugebladsopskrift on a true "heart throb Til" and hero figure.

since now sadly deceased Lars Mr Per Kaalund put "Romeo and Juliet" up on the gasworks, it was Robert, who got the role as Romeo. He is connected to the circuit around Dr. Dante and The gasworks.But since the flight from skuespillerskolen at Aarhus Theater in 1996, he has mainly focused on making movies and is today one of Nicolas Winding Refns "fixed" actors.

MM: "There are some forms of theater, I simply don't want. I think, for example it is interesting to play Holberg, Ipsen and Shakespeare in the traditional sense of the term. This is not because I have anything against classics,It is just so rare, they will be listed in a way that concerns me. The drown as a rule the technology and "let us now finally be completely stopped, when we play Shakespeare, for that is the way some fine words!" But Shakespeare is, of course, downright dirty! Why should it be so fine and by declaiming? I want to play theater with a form of life in which I can identify with. "

LM:"I don't fancy not the rigid formstudier will be made so many. I myself have been through a string of them. They are a sign that inderligheden does not have good backgrounds in Danish theater for the moment. The critical factor is to affect audience, rather than to just look at something up on stage. "

words it is important

but it is hardly a coincidence that you play on the Royal Theater,While Mads belongs in the circuit around Dr. Dante and The gasworks?

"In the beginning, it is just take what they can get. But no, of course it is not by chance. "

MM: "It's a lot about language. I chose the early to hear for those who cannot speak t-y-d-e-l{s}i-g-t, but talking as ordinary people doing this now," he says with the widest, tongue-in-cheek laughs.

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 is also about, to have the courage to leave their role be borne by words. It is a form of minimalism, which, when mastered, is the ultimate. But the road there is coated with many krukkerier. "

MM:"I am just as interested in the floor as Lars. But, for me, it is extremely important to frame the figure as true and close to reality as possible. That is what I am pursuing most vigorously. It is shown that it is called method acting, in which the aim is to "be" the character - not that I am going to try to pretend that I know what method acting is. "

each other's critics

Where is your main similarities?

MM: "We are both equally to fold for poetry in the theater. In the end it is still the one that touches us. "

LM: "And so we are working actors. Constantly hunting for it to become better. None of us want to be closely. "

can IN use each other in the process? Is in each other's hard critics?

LM: "Not hard. But we are using each other, yes. I used such as Mads,When I made "Film". I was not made on the wave to grow authenticity in the production, and it annoyed me. But with the help of Melissa i have pejlet me into what it really is, and why it is so interesting. "

MM: "And as I was doing "Romeo and Juliet" on Gasværket, i used Lars about the linguistic work. He has a technique,I could learn something from klangmæssigt and tydelighedsmæssigt. "

LM: "However, where we are using each other or most, it is in fact to give the doubt in the ground. As an actor you are always plagued by doubt: it is now good enough? I am doing the right thing? "

The two brothers are the first actors in the family.