If you’re not hooked on AMC’s The Killing, set your DVR or re-adjust your Netflix queue so it’s number one on the list. There, you’ll discover Joel Kinnaman—one half of the ever-evolving good cop, bad cop team Sarah Linden and Stephen Holder. Think 30 Rock’s Liz Lemon and Jack Donaghy paired in a dramatic series: Kinnaman’s Holder has the same intimately unique, but un-romantic, bond with his female counterpart—which means we haven’t quite seen the very crush-worthy Kinnaman in a romantic light.
But Fox Searchlight’s new film, Lola Versus, delivers that exact opportunity to audiences this Friday: Kinnaman plays indie it girl Greta Gerwig’s romantic obsession. As Kinnaman steps out from the gritty small screen drama and into romantic comedy territory, his career is almost as hot as he is. And it will be off the charts by next year, when he’s tasked with reheating the Robocop franchise (adding superhero to his list of roles). So, set your TV, get to the theater for Lola Versus, and put Kinnaman on your must-see list.
Provenance: Stockholm, Sweden
Relationship Status: In a relationship (rumored with Olivia Munn)
On being surrounded by strong, complex, intriguing female leads: “It’s like my life. I have a strong mother with five sisters and pretty much everyone I work with—my manager, agent—they’re all women. My life is run by powerful, Jewish women.”
On Lola Versus’ happily ever after beginning, not ending: “That’s what I liked about the script. I thought it was an interesting take on it. I think it’s refreshing to see that message of freedom by solitude in a sense—and a rejection of going through the motions of how things are suppose to be done.”
On what’s lost in the Swedish translation: ” In this sense—when it comes to marriage at least—it’s more of an America problem. After moving to the States and having a lot of friends over here, I realized that’s a much bigger thing in the States than it is in Sweden—getting married. I mean, people are starting to get married again in Sweden, but it’s sort of like marriage has had a renaissance. My parents, they got married when I was thirteen and they had been together for twenty years.”
On making new friends, but keeping the old ones: “It’s important to meet a lot of different people in life. The only old friends that I still have—and I have several old friends—but the ones that are still around and haven’t fallen off, they’re the ones that let me evolve and don’t want to hold me to who I was three years ago. That’s really dangerous to your development as a human being, when you have people that want you to be who you’ve always been, and they won’t let you evolve and change to become someone else. You’re always meeting new people and you discover new sides of yourself when you come in contact with them, and they don’t hold all those preconceptions of who you used to be and who you have been. And that allows you to develop new sides of your personality that might be crucial to the person you end up being.”
On his real life Lola Versus moment: “When I was twenty, I went traveling for two years. [The catalyst] was that general sense of insecurity that everybody had after finishing high school. ‘Am I going to college?’ ‘What college am I going to?’ ‘What am I going to be?’ ‘Who am I going to be?’ And I sort of wanted to detach myself from all of that. So, I decided I was going to travel for seven years, and then I was going to make up my mind about who and what I was going to be. So, I worked in construction and factories and bars and made money and went traveling to Southeast Asia, South America, Europe and stuff like that. Then acting just kind of fell in my lap and I dove into it.”
On not taking Stockholm syndrome too seriously: “It’s the name of my production company.”
From good cop, bad cop to Robocop: “I’ve always loved small, smart American films. [But] I also love the big movies that have a strong core of something real—and then there are a lot of fireworks around it. Those are often my favorite movies to see when I go to the theaters. [Robocop] is a very smart film. And it’s thinner—or the script is. That’s what José [Padilha] wants to dive into. Of course, he wants to make it an attractive action movie and a very intense sci-fi thriller, but if it doesn’t have real substance at its core, that doesn’t really matter. Those movies both make a lot of money and they leave something with the audience to think about. That’s the goal.