A lot of people who live in Denmark will understand Danish but not necessarily speak it.
You win an Oscar, and the movie that comes after that is always going to be compared.
I think possibly, as an artist, you're always treated with a certain respect but also with a certain sort of nervousness.
I quite like some of the movies that have many characters in them.
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.
For me, grief is a static thing, and my movies have an extremely dynamic sort of movement.
In reality most people aren't as perfect as they want to seem.
Oftentimes, reality is much worse than what you can put in a movie.
John le Carre's 'The Night Manager' is a relentlessly exhilarating thriller with profound emotional depths.
I've got this fear of becoming comfortable.
I've had a very fortunate, very privileged life. I say it with all humility because it could change tomorrow.
I think the lack of automatically feeling, 'Yes, the future is going to be like the present' - that is very much a Jewish thing.
Women, nowhere in the world, have the kind of important position in society in the amount that they ought to have.
At some stage in most people's lives, things turn upside down, and nothing is as you expected it to be.
I'm a huge fan of Richard Curtis - there's real grief, real compassion in his films as well as cheekiness; it's a wonderful cocktail.
If I go home from a day of shooting, and I haven't at some point felt the magic, I'm really frustrated.
If you look at children's stories in fairy tales, they're pretty brutal.
In a way, our family is our modern identity.
None of my movies are autobiographical.
Parents can shape a child, but a great teacher can, too.
There are certain things you cannot accept. There are certain things that human beings cannot tolerate.
We always want to find good and bad guys, and I don't believe in that.
