“I don’t see awards for a contribution to film art as the end of a career. I see such awards as a beginning. Now I can begin, I’m young, aren’t I?” the famous Swedish drama artist Stellan Skarsgård tells Nova.rs.
One of the artists who marked the recently concluded 31st Sarajevo Film Festival was perhaps the most esteemed Swedish actor of today—Stellan Skarsgård. The great actor was presented with the Honorary Heart of Sarajevo award for his contribution to film art. The dramatic artist from Stockholm, who has been successfully balancing theatre and the big screen, independent and commercial film for decades, once again charmed Sarajevo. Not only with his work but also with his directness, humility, and charm.
Stellan Skarsgård began his impressive career of over 150 roles at just 15, debuting in the Swedish TV series “Bombi Bitt and I.” By 1982, for his role in Hans Alfredson’s film “The Simple-Minded Murderer,” he had won the Silver Bear for Best Actor at the Berlinale. His first Hollywood role came in 1990 in the film “The Hunt for Red October.” The award-winning film “Breaking the Waves” marked the beginning of a fruitful collaboration with Lars von Trier, followed by titles like “Dogville,” “Melancholia,” and “Nymphomaniac.”
He also worked with Gus Van Sant in “Good Will Hunting,” Steven Spielberg in “Amistad,” John Frankenheimer in “Ronin,” Paul Schrader in “Exorcist: The Beginning,” David Fincher (“The Girl with the Dragon Tattoo”) and Miloš Forman (“Goya’s Ghosts”). He also starred in blockbusters like the first two “Pirates of the Caribbean” films, “Mamma Mia!,” Marvel’s “Thor,” as well as the BBC series “River,” HBO’s “Chernobyl,” “The Simpsons,” “Dune,” and more.
On Awards and His Career
In just over a month, this is the second award you’ve received for your contribution to film. First, you were honored in Karlovy Vary, and now in Sarajevo. When you start receiving lifetime achievement awards, does that, perhaps, symbolize an end?
“That’s a good question. But no—I don’t see it as an end. I see such awards as a beginning (laughs). Now I can start; I’m young, aren’t I (laughs again)?”
On the Sarajevo Film Festival
You returned to Sarajevo after many years and noticed some changes, especially how much the festival has grown. But when you compare it to festival “heavyweights” like Cannes, Venice, or the Berlinale, what sets it apart?
“Well, it has soul. It still hasn’t given up that punk, anarchic attitude it had less than twenty years ago when I was first here. But yes, it has grown—it has become a big festival. I just hope it doesn’t lose that specific spirit.”
On Working with Ingmar Bergman and “Cancel Culture”
The film you’re here to present, “Sentimental Value” by Joakim Trier, which won an award at Cannes, is inspired by the life and work of the famous Swedish filmmaker Ingmar Bergman. You had the opportunity to collaborate with Bergman, but you don’t have nice things to say about him as a person.
“Yes, I adore him as a director, but not as a person. I worked with Bergman twice, and I didn’t like him as a person because he wasn’t a good man; he wasn’t kind in interpersonal relationships. I mean, he was good to me, especially to those who pleased him. Although I didn’t want to do that, he was kind enough to me. On every rehearsal or set, there was a sense of fear. And I didn’t like that at all. But my not liking him as a person isn’t even important, after all. Because the most important thing is that his films are good. And that’s what remains. We always have this discussion about art and the artist who creates it. We wonder whether we should read a book written 200 years ago by a racist or a rapist writer. However, no one considers that that writer was not considered a racist at the time. So, it is necessary to take the context of that time into account. You know, I read books by disgraced artists without any shame. I read Céline, for example.”
Yes, but in recent years, many artists—whether filmmakers, musicians, writers, or painters—have been “canceled.” The result of this “cancel culture” is that many of them can no longer do their jobs due to inappropriate actions in their private lives…
“Yes, and that’s insane. To give up a film, a book, or an album because you don’t like the person, or because what they did in their private life bothers you, is not okay. Everyone has a choice—for example, you can make a decision not to give the artist your money by not buying the book, album, or movie ticket, so you don’t support them financially. And that’s enough. You know, art has to be dangerous; it should sometimes be disgusting; it has to stand out. And all of that would disappear; none of those artistic specificities would exist if we were to make it all uniform and calm. In that case, let’s just let the church handle art, so everything is as it should be.”
On Sweden and Military Spending
As someone who comes from a volatile region, the Balkans, where we can’t seem to establish a normal life, where the situation is constantly unstable, and over the past thirty years, we’ve had wars and bombings, and even today we have a political and social crisis, Scandinavia, and your Sweden, has always seemed like a symbol of the ideal country, the most desirable possible society to live in. But in recent years, you have criticized the structure of Swedish society, noting that there have been changes for the worse.
“Yes. Well, for example, we joined NATO. We successfully balanced and stayed out of the alliance for 200 years. And we were doing well. It annoys me when someone says we weren’t. And then we ‘had’ to join NATO. Because they panicked, since, you know, the Russians are aggressive. But we had problems with the Russians even before they invaded Ukraine. And you don’t need NATO to protect you. You don’t have to join the strongest power and enter a pact with it. To me, that’s a sign of cowardice. All of us, now in Europe, are giving millions and trillions of dollars or euros to buy weapons. And here in Europe, we have real problems; we don’t need weapons. Money should be spent on education, healthcare, and environmental protection. And we are borrowing money to buy weapons. And that borrowed money won’t be paid back by you or me, but by our children. And that’s horrible.”
On His Family of Eight
You mention children constantly, and you have eight of them. And almost all of them, except your daughter who is a doctor, have entered the world of art. I assume it’s not easy for you with such a large family?
“(laughs) Well, it’s not that it’s difficult; I don’t have to do much. However, they are adults now, and there were many things that needed to be handled. But since I left my engagement at the Royal Dramatic Theatre in 1989, I haven’t worked more than four or five months a year. That’s roughly how much time making movies took me. So I was home eight months a year, and thus, I was with them and dedicated to them. And my second wife mostly worked from home, so everything came together nicely.”
Article by: Jelena Koprivica /Nova.rs; Photo: IMDB