"I think that — and it’s also related to the fifth one — growing up as a dancer I primarily learned to channel emotions through other parts of my body besides my voice, therefore when I watch silent movies I’m touched on such a deep level. To me, it was a form of acting that I gravitate towards. It’s so beautiful because it incorporates the body in such a way; your vocal chords have a great intonation but in reality it’s so much more, it’s about using the body, using the soul and all these things. So I love it. It’s such a technical movie that I learned so much from. But that’s just my approach as an actor. The storytelling was also very beautiful: the story about this box that they come to realize what’s laying in it is hope — that was a very beautiful message."

"Interrupted by the arrival of the talkies, the oeuvre of Victor Sjöström remains one of the summits of silent cinema. Even if we no longer pay too close attention to The Wind, despite it having been regarded for so long as one of the masterpieces of film history; as also the lesser known The Phantom Carriage, despite it having been a foundational inspiration to Ingmar Bergman, who watched it ritually every year; and even if he is most often remembered for his role in Wild Strawberries; Victor Sjöström is the auteur of a visionary and profound body of work, that makes him equal to his great contemporaries Dreyer and Murnau. For my part, it is The Outlaw and His Wife, inspired by the true story of an 18th-century Icelandic outlaw played in the film by Sjöström himself, which has left the most indelible mark on me."