Interview with Stellan Skarsgård, member of the Feature Films Jury
Stellan Skarsgård played in Affeksjonsverdi (Sentimental Value) by Joachim Trier, which won the 2025 Grand Prix. This year, the Swedish actor is part of the Feature Films Jury, which will award the Palme d’or of this 79th edition. His eclectic career, which includes both arthouse films and blockbusters (Mamma Mia!), means he’s an impressive yet unimposing figure of international cinema. Stellan Skarsgård talked to us about his acting craft and his role on the Jury. “At last!”
From Sweden to the United States, you’ve worked with some of the greatest directors. Who would you dream of collaborating with today?
If I could choose anyone, I’d probably take someone that hasn’t done his first film yet. Because I like working with first-time directors because of their energy and their passion. And it’s also a little dangerous. But it’s good that it’s not safe, in a way.
Your collaboration with Lars von Trier has spanned several decades. What can a director reveal about an actor over time?
He can reveal anything, actually, if he does it right. Human beings are so complex and so mysterious. I spent my whole life, working with me as a material, without knowing, understanding it completely anyway, it’s fascinating. Collaborations and confrontations and everything makes you grow, and makes certain sides of you grow also. Lars von Trier definitely changed something in how I work. Because he doesn’t even block the scenes. He just says, ‘up with the camera, then let’s go.’ We start from nothing.The freedom he gave me, I’ve benefited from very much.
What has changed over the course of your career in the way you approach a role?
I prepare less now than I did before. When I was younger, I created a finished product, a finished character in a way. But then I found out that I don’t want to lock myself. I don’t want to lock the character. I want to surprise myself when I work. Things come up and you behave as a character in totally irrational ways that you couldn’t decide ahead of time. I’m surprised during the take : ‘Wow, where did that come from?’
You’re often associated with a very physical, very direct screen presence. Do you approach a role more through the body than through words?
It starts with the body and then the body gives birth to the words. So it doesn’t start with words ever. First comes the physical instinct, the reactions. I like the physicality of it. You actually grow or shrink depending on how you move. I don’t decide in detail anything because to me, planning is contradictory to life. Life is unplannable.
Looking back on your career, which characters resemble you the most?
I don’t think anyone resembles me at all. My body, my voice, everything, is my tools.
The emotions are mine. But the construction of the character is not me. I get angry as a character. But I would not personally get angry for that thing, maybe.
My second son saw things in my character in Sentimental Value that he recognized from me. But I played a totally different man
Your career has always moved between large-scale popular cinema and a certain kind of European radicalism. Have you always refused to choose between the two?
Yeah. And I refuse for anybody else to choose what I can do. I pick things that are contrary to what I’ve done recently all the time. Because otherwise I would be bored sick if it was the same role.
“The thing on the set, what happens between you and the other actors, the entire crew, the atmosphere on the set — that is what I’m addicted to.”
What still scares you before stepping onto a film set?
Everything. I say yes to a role, and I say ‘oh no’ to myself. I just see this mountain that I have to climb. And all the mistakes that I can make. It doesn’t get less with age. The film is new. The director is new. The situation is new. Which is fantastic, but it’s also scary. I had camera fright for a couple of years and couldn’t film at all because it was too frightening. I managed to solve that problem by playing into a small student film with friends. But the monster of the fright is always present in a way.
You’ve spent much of your life being watched through your films. What does it feel like now to find yourself on the other side, as a Jury member?
I’m not totally on the other side. Because I am a film worker and a film lover. But it’s wonderful not to have to produce anything. And just see and try to analyze your feelings in front of a film. Here, you have to analyze everything. And you have to have arguments for everything. You have to be able to convince the other jury members.
As an actor, how do you observe other actors when you’re watching a movie?
I devour them ! I love to see them work. The thing on the set, what happens between you and the other actors, the entire crew, the atmosphere on the set — that is what I’m addicted to. I know how hard it is for other actors too. And I do everything to support them. And they support me.
