Michael Nyqvist on Disconnect,
Dragon Tattoo & Abduction
Source: Crave Online - September 18,
If the theme of Disconnect is that all our online technology
keeps us apart, we used our power for good and not evil. Swedish
actor Michael Nyqvist spoke to us by phone from Stockholm about the
film, which is now on DVD and Blu-ray. Nyqvist plays a man who
speaks with a grieving mother in a grief chat room, and her husband
suspects him of stealing their identity. Nyqvist is best known in
the States for the Swedish version of The Girl with the Dragon
Tattoo trilogy, which has led to some Hollywood bad guy roles in
Mission: Impossble Ė Ghost Protocol and Abduction. He
was happy to reflect on everything when we spoke.
Did "Disconnect" get you thinking about your relationship with
We talked about it, Henry (director) and me. We met in London. I
read the script. If I compared myself to my kids, they know
everything and theyíre like small little hackers. I also feel that
my identity can be stolen, Iím very paranoid about it compared to
other people in the younger generation. Also, if youíre going
through that as my character did, Iím so lonely and I have this
grief and sorrow. I do whatever to talk to someone with something
about this. Itís a little bit like I give my credit card to someone,
please donít use it. It turns out to be what it is.
Having done the "Dragon Tattoo" movies, how did those films
affect your view of technology?
To be honest, what Stieg was into is today like talking about a
tractor or sailing ship. Compare where we are now with the internet
and computers and just the thing that I smuggle to Lisbeth, one cell
phone that lets you go on the internet. In those days when he wrote,
it was like, ďWow, thatís really modern.Ē So the technology in
The Dragon Tattoo was more or less a pen, paper and using a
computer to send mail. That was that generation. Thinking about
that, it goes so quick. In 10 years or five years, itís so
different. In those days, at the time we did Dragon, we
didnít even have apps. They didnít exist. Thatís a new generation on
When you read the script to "Disconnect", were you surprised how
your character turned out? At first we think heís something else and
then itís revealed.
I liked the way it turned out. That was why I said yes to it. I
thought the good deed with the script was that you could foretell
things. That was also the intent, the intense feeling in the script.
It was on the edge for everyone, everywhere and thatís what I liked
in the script.
Since itís a big ensemble, was there ever a moment where the
whole cast came together, for a rehearsal or a table read?
We didnít do that. I met Henry in London and then I did a film, so I
couldnít come. I came doing my stuff with Alexander and Paula. Paula
and Alexander are two people I worked with before. I did Mission:
Impossible with Paula and Alexanderís father is an old, old friend
of mine and we did a couple of films. Also the stories were so in
their own universe in a way for us. We didnít really connect to the
other people. We did our story.
Thereís been talk that in the American "Dragon Tattoo" movies,
they might take Blomkvist out of "The Girl Who Played with Fire" and
"The Girl Who Kicked the Hornetís Nest. What do you think about the
idea to take him out of the second two stories?
I think the thing with Blomkvist, he has his political angle into
things. If you take him out, the stories just go into a thriller. So
I donít know. I think that is not the way to do it.
You might end up being the only actor who got to play him in all
Thatís very flattering and I think Iíll have to call Daniel and say
that. No, I think itís kind of weird but also the story of The
Girl with the Dragon Tattoo has so many hidden stones in the
story. Itís about Swedish society and the prophet in that is Mikael.
Itís not Lisbeth. To make that wider sense of the stories is very
important I think.
Compared to all the other films we have, Stieg Larssonís project was
to show that society is a society that judges women, men, history in
a way that we can do something about. He tried to encourage people
to feel that you had the power to change things. You can change a
society with a pen and paper and a cell phone if you have the power
to ask the right questions of the right people.
Mikael is the one with empathy, with the social skills. To bring him
out of the story, it becomes like that French film, La Femme
Nikita. Iíve seen that film before, a woman at rage. That
storyís told already. The power of Stiegís stories are that he
connects the whole society into his thriller. Thatís already done,
and we did something else.
"Abduction" became a legendary movie. What was it like making it?
I had great fun with John [Singleton]. Boyz N the Hood is my
favorite film of his. To do that, with Sigourney [Weaver] and with
Alfred [Molina], we were a good team. I think itís a cult film for
teenagers and we felt that a bit when we did that, when we shot it.
I had a great time with John.
The thing is I come from a different acting culture. I come from the
Ingmar Bergman society and to play a person like him that I played
was just for me great fun. Itís so far away from being an actor in
the Swedish Royal Dramatic Theater and doing all the Swedish
European films, films about grief or revenge or psychology without
weapons, whatever. Also the interesting angle of who you are like
Taylor [Lautner]ís part, he researches his identity, I found also
interesting. That I think was a bit why I said yes to that film, to
work with John and the thing about identity. My life story started
like that, not knowing where I came from. I come from an orphanage
and I wrote a book about it just released when John called me, so I
got interested to play from the other angle.
If we only discovered you about five years ago from the "Dragon
Tattoo" movies, what would you like us to know about your earlier
My early films were very European based.As It is in Heaven,
and Together were great international successes, but then I
did I think 60 movies or something. Where I come from, itís a little
bit like England. We start from the theater and we do films a bit on
our free time. The history of making films in Scandinavia is so old,
itís like the oldest. The Nordic film industry started before
Hollywood in Stockholm and Copenhagen.
So we have an old, old industry so that if you do a thriller, itís
not who was the killer. Who is the killer is not the big question.
Itís why did they do it? That is the big question so we come from a
little bit different angle. That is, for me, the interesting thing
when I now work in the United States, to work with your film
culture. Where youíre brilliant in building new worlds like
Mission: Impossible or Abduction and things like that, we
basically try to put a mirror up to the society we live in. Itís a
bit different. Itís a little bit like Mike Leigh. I feel spoiled to
do both. I feel so happy about it.