The Verge: Bill Skarsgård

Martin also seems to know he brings a sense of integrity to the operation that it didn't have before he got there.

Yeah. That's what Gösta thinks. He sees this loyal guy, and he works with the other two guys he can't trust anymore. So he needs a hand, and Martin is a really bright guy. He's a quick thinker, and I think Gösta sees that in him. And that's why he says, "I need you to be with me; we need to do this together." He needs someone like Martin, even if he doesn't know at first why Gösta wants him. But it's a coming-up story. You don't know who you are at that age, or what you want to do, so you're easily drawn in to these kinds of things. You could be a teenager going into Nazi gangs or whatever; you want an identity. So it's a dangerous age in one sense.

The idea of the naivete, though... I mean, the notes explain, "Before Martin really understand what is going on, he finds himself in the middle of one of the greatest scandals in Swedish criminal history." That said, he clearly begins anticipating two or three moves ahead.

Definitely. You understand that more and more. He's understanding of what's going on, and you see that in the end when he's confronting the rich fellow -- his father's friend who helps him out. It's like, "Oh, really? I know why you're being nice to me." I think that's one of his strengths; he knew the situation before the audience did, really.

What do you think prompted Martin's sudden candor at the birthday party? To just blurt out with equanimity, "Yeah, my dad's a horrible drunk and my mother is codependent; it's best they're not here"?

He's obviously coming from a destructive family, and as the child of an alcoholic he's living this lie, you know? "My father sends his regards." No, he doesn't! You're living this lie, and the people around you start to lie to you. "Oh, it would be great to meet your father" -- even then knowing that your father is an alcoholic. Martin doesn't want to hear that bullsh*t anymore, you know? "No, it wouldn't be great. It would be terrible."

The violence in Behind Blue Skies isn't especially bloody or anything, but you subject yourself to a lot. How much were you prepared to take?

That's funny. The scene with Kenta [who graphically, repeatedly slaps him]... the guy who plays him, Peter Engman, he's really energetic. He works in theater, and he said beforehand, "I've done this for years. I've been knife fighting, stabbing at people within inches of the eyes... I know how precise I can be. You can trust me." So when he's hitting me -- because he's really hitting me, you know -- I said, "OK! Let's do this! We can do one or two takes, but let's really do this. Don't hold back; hit me." He says, "It's going to be fine, it's going to be fine." He has all these theatrical things, like hitting people with the fingertips so his doesn't hurt as much... that kind of thing.

And the first thing that happens it getting hit -- bang -- right across the ear. So it's like, "Riiinnnngggg..." My ear starts beeping. I'm like, "What the hell?" And then he does it again and again. My jaw was hurting; it was not precise. He hit really hard. I said, "Hey guys, I don't know if I can do one more take." My cheek was burning. But it was good that we did it that way, because I'm ready to offer something for this film. I'm ready to take a beating to make that scene feel realistic. And I think it did. It felt right.

Wow. Now that you've clearly recovered, what's next for you?

I've been filming two other leads in Sweden this year, one that premiered last week and another one that's going up in February. And I'm flying back to Lithuania to shoot another on Monday. After that, I don't know, honestly.

Just no more science.

No more science. That's for sure.

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