I say no to a lot of things that just don't fit my life. I involve my kids in what I'm struggling with so they don't compete with it.

If Copenhagen were a person, that person would be generous, beautiful, elderly, but with a flair. A human being that has certain propensities for quarrelling, filled with imagination and with appetite for the new and with respect for the old - somebody who takes good care of things and of people.

We have a certain warped sense of humor in Scandinavia, and that is what comes across in the choices in a lot of our movies.

I'm definitely more attracted to chaos than to order. The point is, I find the female roles out there very cliché. If we are limited to being only lovers or mothers, we are limiting ourselves.

I try to combine my work with my family, that's what I aspire to. I don't say that's the only thing. It's not all work and family, because otherwise you would be saying no to the many other things in life and there are many other things.

I've played lots of strong women in film, in big Hollywood films, and I've sometimes had a hard time in coming to a consensus of what makes a woman strong. What is it that positions her as a force to be reckoned with? And I think it's because there's an expectation from the get-go that she isn't. If you're not starting from a deficit as a point of view, but you're starting from an assumption that says, "Well, this is what women really are," then it's a really freeing experience as an actor and as a woman.

Often when you get a really good script, and you receive the new pages, you see that the entire thing has been dumbed down. Films in the '30s and '40s, that were huge blockbusters, were very sophisticated in their language, and the ideas they brought. There were no questions about whether the audience would get it or not.