My mother has had breast cancer twice. And my mother has always been this very positive human being: a glass-half-full type. Like, when she was in treatment and feeling really bad, she would always talk about some nurse that was particularly nice to her.
At some stage in most people's lives, things turn upside down, and nothing is as you expected it to be.
As a filmmaker, I always try not to concern myself with the outcome of things. I make the movie, and I do that as honestly and good as I can. I don't want to pollute my thoughts with what is going to happen with it afterwards, because I have to work inside-out.
I don't feel I have an issue with listening or understanding English in any sort of way.
Denmark is like a big family of people.
Having done a Dogme film taught me the beauty of simplicity and austerity.
If you look at children's stories in fairy tales, they're pretty brutal.
In a way, our family is our modern identity.
Parents can shape a child, but a great teacher can, too.
In a way, the whole notion of a blueprint of a building is not that different from a script for a movie. A sequence of spaces, which is what you do as an architect, is really the same as a sequence of scenes.
Any creative process is about being in a territory which isn't secure, isn't necessarily familiar, and isn't convenient in any sort of way. And that's the excitement of it.
For years, whenever I'd been travelling and came back to Copenhagen, I'd think: 'People are so stylish.' And it's not any one class. It's everyday life.
I don't know that there's more bullying or whether it's just more talked about. It seems to me that possibly that there's been a lot of bullying all the time, but at the moment, it's something that people are talking about.
I generally edit quite heavily. In general, there aren't many scenes that are sitting where they sat in the script in the final form.
A lot of people who live in Denmark will understand Danish but not necessarily speak it.
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