The Swedish DVD release of Låt Den Rätte Komma In included a commentary audio track (in Swedish) with Tomas Alfredson and John Ajvide Lindqvist commenting on various things throughout the film. Sebastian Fabian was kind enough to create an English translation of the commentary track and make it avaialable as an srt file (an srt file is a subtitle file that is compatible with many CD playing programs, such as vlc). The srt file may be found here.
Below is a transcript created from Sebastian’s srt file. Eventually I plan to annotate it to indicate the scenes which the comments are referring to.
| Time Index |
| 1 | 00:00:00,040 –> 00:00:12,440 | Let The Right One In Commentary track Translated and subtitled by Se[BBB]e – contact info at the end. |
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| 2 | 00:00:12,440 –> 00:00:16,800 | -Hello, my name is Tomas Alfredsson, I’m the director. This is how I sound. |
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| 3 | 00:00:16,800 –> 00:00:21,520 | -My name is John Ajvide Lindquist and I wrote the script. I sound like this. |
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| 4 | 00:00:23,040 –> 00:00:25,080 | -And the writer of the book -Indeed |
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| 5 | 00:00:27,760 –> 00:00:32,920 | -I visited a film festival in Spain a few weeks ago | |
| 6 | 00:00:32,920 –> 00:00:39,120 | and there was some serious excitement in the theater and interest in the movie |
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| 7 | 00:00:39,120 –> 00:00:47,560 | and when the movie started in this huge theater in front of 1400 people, there were such large expectations | |
| 8 | 00:00:47,560 –> 00:00:54,480 | that these every one of these rather boring pieces of texts in the beginning generated an applause | |
| 9 | 00:00:54,480 –> 00:01:04,040 | “photo by.. YEAH!” and people kept clapping their hands.. “production design.. whoo”.. that was so hilarious. |
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| 10 | 00:01:04,040 –> 00:01:08,640 | -We nailed this one here at the end. Maria Strid. | |
| 11 | 00:01:08,640 –> 00:01:12,640 | -I probably never experienced that before. | |
| 12 | 00:01:12,640 –> 00:01:17,920 | -But I saw it at one of those “fright fests” in London, a festival for horror flicks | |
| 13 | 00:01:17,920 –> 00:01:29,040 | where all attendees were hardcore horror fans with piercings and tattoos, real badasses.. | |
| 14 | 00:01:29,040 –> 00:01:39,200 | and after this movie they came to me with tears in their eyes, because among all the splatter and gore, | |
| 15 | 00:01:39,200 –> 00:01:41,040 | this was a real feel good-film. | |
| 16 | 00:01:42,480 –> 00:01:46,920 | -Yeah, it is a special setting. | |
| 17 | 00:01:46,920 –> 00:01:56,480 | -This snow fall was a improvisation. The weather just happened to be like this one night. |
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| 18 | 00:01:56,480 –> 00:02:00,040 | and it was so damn beautiful. | |
| 19 | 00:02:00,040 –> 00:02:04,600 | -In Luleå? -Yes. In the middle of the night |
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| 20 | 00:02:12,160 –> 00:02:19,280 | -This picture is just the feeling, one of the feelings, the book is based upon. | |
| 21 | 00:02:21,680 –> 00:02:26,360 | -I agree, though I haven’t written the book, I recognize this. | |
| 22 | 00:02:26,360 –> 00:02:33,880 | This standing at the bedroom window and looking at the sleeping yard, the lit lamps, | |
| 23 | 00:02:33,880 –> 00:02:41,440 | is as if he’s waiting for something to come, something to happen. | |
| 24 | 00:02:47,600 –> 00:02:58,480 | I think of something from my childhood.. This special state of being awake, to be close to the ones asleep. | |
| 25 | 00:02:58,520 –> 00:03:08,960 | It’s sort of safe. You can go wake up your brother or mother or whoever. | |
| 26 | 00:03:08,960 –> 00:03:17,920 | Everyone’s close by, but asleep, which gives you a large liberty to do whatever you want. | |
| 27 | 00:03:25,280 –> 00:03:33,480 | -I think this light is so perfect in this picture. There was always a big garbage truck here.. that blinked. |
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| 28 | 00:03:33,520 –> 00:03:41,320 | -Did it make a sound too, when it backed up? -No. But we’re getting off topic. |
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| 29 | 00:03:41,320 –> 00:03:48,840 | Here they arrive with the luggage. We discussed how much these two could reasonably have. | |
| 30 | 00:03:53,280 –> 00:03:56,880 | -Here is the box we will see further into the movie. | |
| 31 | 00:04:02,840 –> 00:04:09,960 | The photo wallpaper, do you recognize it? -Yeah, I had the same at home |
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| 32 | 00:04:09,960 –> 00:04:14,080 | -It’s amazing that they found one of those -Yeah, it’s not made for the film, it’s authentic. |
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| 33 | 00:04:14,080 –> 00:04:19,200 | -It’s a real Scandecor. -Mine was too, I believe. |
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| 34 | 00:04:22,080 –> 00:04:32,440 | That poster is there because we wanted to make the window recognizable. | |
| 35 | 00:04:32,440 –> 00:04:39,480 | Lacke who stands here peeing is supposed to recognize it later on. | |
| 36 | 00:04:39,480 –> 00:04:45,600 | So we chose to go with an advertisement poster. | |
| 37 | 00:04:45,600 –> 00:04:52,680 | Someone wondered if it was something special. -If the thumbs down was symbolic.. |
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| 38 | 00:04:56,160 –> 00:05:00,160 | This here is Blackeberg. -Really nice. Oh, there’s a Sinka (some sort of car) |
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| 39 | 00:05:00,160 –> 00:05:01,160 | -That’s an exaggeration. -I think it’s really beautiful. |
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| 40 | 00:05:05,000 –> 00:05:07,800 | Perhaps we remember it differently. | |
| 41 | 00:05:08,280 –> 00:05:11,800 | -This is the opening scene from the book -Oh, right. |
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| 42 | 00:05:15,600 –> 00:05:31,560 | We had one of these cops.. Perhaps everyone did. He came to Lidingö, where I grew up, every third year and said the exact same things. -The drugs.. were a highlight. |
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| 43 | 00:05:30,440 –> 00:05:36,440 | I have a feeling there was a lot police business in Blackeberg. | |
| 44 | 00:05:36,240 –> 00:05:42,920 | They had demonstrations with dogs who could pick up eggs with their mouths.. | |
| 45 | 00:05:45,040 –> 00:05:47,800 | I wonder under what circumstances that can come in handy? | |
| 46 | 00:05:47,800 –> 00:05:54,840 | -Perhaps during easter.. -The dog goes to get one.. |
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| 47 | 00:05:56,920 –> 00:06:12,760 | I think it’s so nicely done by the sound technician, this tapping of the finger on the right side outside the screen. | |
| 48 | 00:06:12,920 –> 00:06:17,760 | -Poor Kåre.. -Yes, that must’ve hurt. |
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| 49 | 00:06:28,240 –> 00:06:31,320 | I remember this from school which is why it’s included. | |
| 50 | 00:06:32,280 –> 00:06:38,160 | This whole being in your face thing. “The air is free, the air is free” and then they poke you. It’s such a horrible violation. |
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| 51 | 00:06:40,840 –> 00:06:47,240 | -That’s probably why children are uncomfortable at the dentist’s | |
| 52 | 00:06:47,120 –> 00:06:55,680 | having people very close up to your face. Same with going to the hairdresser. | |
| 53 | 00:06:55,680 –> 00:07:02,920 | That was a problem for me. It’s some sort of violation to have someone in your most personal space. | |
| 54 | 00:07:05,240 –> 00:07:10,160 | -Here’s a new guy. -Per, yes. |
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| 55 | 00:07:13,400 –> 00:07:16,720 | He is incredibly expressive in these pictures. | |
| 56 | 00:07:17,240 –> 00:07:22,960 | There is so little he has to do with his facial expression to make it serious. | |
| 57 | 00:07:26,640 –> 00:07:50,280 | This fantastic beef-like hat is Per’s idea. It makes his character slightly goofy, but not too much. | |
| 58 | 00:07:59,360 –> 00:08:10,120 | Here it’s really cold, I’m telling you.. It’s so cold you go crazy just thinking about it. | |
| 59 | 00:08:10,120 –> 00:08:22,960 | I think it’s -35 degrees Celsuis. And it’s as if someone screaming in your ears non-stop | |
| 60 | 00:08:29,680 –> 00:08:45,880 | This coat Håkan wears here is the third one.. It shattered like an egg shell because of the cold. | |
| 61 | 00:08:47,800 –> 00:08:55,320 | -A nice detail here is how you hear the coins in his pocket. | |
| 62 | 00:08:57,400 –> 00:09:05,840 | And you were up all night to do this. -It’s so hard to concentrate in this kind of cold |
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| 63 | 00:09:05,840 –> 00:09:16,760 | because the body enters some kind of emergency mode and just wants to go home to some coffee and a warm bath. | |
| 64 | 00:09:20,080 –> 00:09:24,640 | To be persistent is pretty demand. | |
| 65 | 00:09:33,240 –> 00:09:34,440 | This here is good. | |
| 66 | 00:09:37,880 –> 00:09:39,480 | The flow.. | |
| 67 | 00:09:51,520 –> 00:10:02,560 | This is a less is more-scene. Not to show the gore. You have to imagine it yourself. | |
| 68 | 00:10:05,600 –> 00:10:13,680 | The dog is named Ricky. -You actually see the gore here, though for a short while. |
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| 69 | 00:10:19,560 –> 00:10:32,720 | This is one of the funniest scenes in the movie. Weird to say when such a horrible thing happens, | |
| 70 | 00:10:32,720 –> 00:10:39,560 | but I think it’s very comedic too. He’s like the Mr. Bean of killers. | |
| 71 | 00:10:42,200 –> 00:10:48,320 | People usually laugh at this scene, and also his next attempt to succeed. | |
| 72 | 00:10:53,080 –> 00:11:03,720 | And it’s so gory. I saw a clip where the dog was licking a bit more.. -Yeah that was too much. |
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| 73 | 00:11:08,520 –> 00:11:25,160 | This is the first day of recording. And Kåre’s first recording. |
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| 74 | 00:12:09,000 –> 00:12:16,320 | Is still still early on in the recording? -Yeah, it’s.. the fifth or sixth day. |
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| 75 | 00:12:20,000 –> 00:12:28,240 | This here jungle gym designed by our sceneographer is great. | |
| 76 | 00:12:29,800 –> 00:12:47,040 | This letterbox format make it hard to shoot high objects. | |
| 77 | 00:12:48,680 –> 00:12:58,880 | Most jungle gyms would be very cropped height-wise, so he made on that was cinema tailored. | |
| 78 | 00:13:00,680 –> 00:13:13,000 | It’s very suitable for images. It really has the right feeling too and it doesn’t exist outside the movie. | |
| 79 | 00:13:13,000 –> 00:13:20,360 | -It’s very boring. Municipal toy. You wouldn’t want to play there. | |
| 80 | 00:13:23,200 –> 00:13:28,240 | What was the original, where you grew up? -It had a slide and such. |
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| 81 | 00:13:28,240 –> 00:13:32,960 | It wasn’t there, in Blackeberg, when I lived there. But it’s there now. | |
| 82 | 00:13:32,960 –> 00:13:33,960 | -I thought it was far too modern. | |
| 83 | 00:13:38,160 –> 00:13:41,640 | -Did you see it was an old subway wagon? | |
| 84 | 00:13:44,760 –> 00:13:47,440 | -Eli scares you here. | |
| 85 | 00:13:56,840 –> 00:13:59,880 | Here, when she screams.. it’s so scary. | |
| 86 | 00:14:14,760 –> 00:14:23,160 | The relation between them became very odd here. It cannot be father/daughter. | |
| 87 | 00:14:23,160 –> 00:14:35,040 | There are lots of speculation, especially in the US where they haven’t read the book. -Everone asks about their relation. |
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| 88 | 00:14:44,120 –> 00:14:51,720 | You can almost smell how bad it smells here. -I think it’s his boots that create that. |
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| 89 | 00:14:54,760 –> 00:15:00,280 | There. It doesn’t smell good. -“Pissy”. |
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| 90 | 00:15:02,000 –> 00:15:06,760 | -God, I know this movie! I’ve probably seen it 10 times. | |
| 91 | 00:15:09,640 –> 00:15:17,800 | These was a lot of pulling on the toilet door knob and when you were there, people came in and.. | |
| 92 | 00:15:19,720 –> 00:15:27,200 | “Crap, are they there? Now I don’t want to go out.” -“Aren’t you done? Can’t you come out?” “Who’s in there? Open!” -Horrible.. |
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| 93 | 00:15:35,800 –> 00:15:44,680 | He repeats her lines here when she doesn’t see. -But how does he know what she’s gonna say? |
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| 94 | 00:15:44,680 –> 00:15:48,520 | -Well, he’s half a second behind.. -Yeah ok. |
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| 95 | 00:15:48,520 –> 00:15:52,560 | -I thought that was one of the few things that he dares to do. | |
| 96 | 00:15:52,560 –> 00:15:59,000 | All those things he doesn’t have to be held accountable for. | |
| 97 | 00:16:01,680 –> 00:16:10,320 | -Here comes some music. -This is good. It’s a song called Kvar i min bil by Per Gessle. |
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| 98 | 00:16:10,320 –> 00:16:15,560 | It’s written for this movie to present an 80’s feel. | |
| 99 | 00:16:17,000 –> 00:16:28,240 | I wasn’t keen on using an existing hit because it might draw the viewer’s attention away from the plot. | |
| 100 | 00:16:29,240 –> 00:16:33,640 | People might have personal memories of a song that disturb the film experience. | |
| 101 | 00:16:33,640 –> 00:16:42,080 | So I asked Per if he wanted to do one that sounded a bit like Gyllene Tider at that time. | |
| 102 | 00:16:42,080 –> 00:16:47,040 | -I think that’s very humble and nice. -Yeah it was commendable. |
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| 103 | 00:16:47,040 –> 00:16:53,240 | -I have a hard time imaging a lot of artists doing that “Bruce Springsteen, make a song like The river” -“ok” |
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| 104 | 00:16:57,120 –> 00:17:04,000 | -There he sat drinking milk, I think that’s so creepy. -Grown men drinking milk.. |
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| 105 | 00:17:07,760 –> 00:17:14,440 | -Here they’ve been talking year after year. And they never achieve anything. | |
| 106 | 00:17:16,360 –> 00:17:26,160 | -In this movie the restaurant is at the square. -Which it’s not in real life. |
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| 107 | 00:17:26,160 –> 00:17:28,800 | -No it’s in one of the tall apartment buildings. | |
| 108 | 00:17:30,360 –> 00:17:38,440 | -This is right next to the movie theater where I watched all my films in my youth, that resulted in Sun Palace. | |
| 109 | 00:17:39,920 –> 00:17:45,560 | -We were lucky this place was available. -Yeah, it was often available when I was a kid too. |
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| 110 | 00:17:45,560 –> 00:17:49,920 | They sold sewing accessories, then they sold metal scrap, then they sold second hand | |
| 111 | 00:17:51,440 –> 00:17:57,720 | -I thought it was very good that we placed it at the square because it becomes like a center. | |
| 112 | 00:17:59,880 –> 00:18:02,720 | Visually too, that you go past the square.. | |
| 113 | 00:18:06,160 –> 00:18:19,840 | -People might want to know what someone like Håkan would read. It’s one by Lars Widding, the bestseller during this time. |
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| 114 | 00:18:19,840 –> 00:18:28,160 | He wrote historic books. A bit like Jan Guillou and Herman Lindqvist of today. | |
| 115 | 00:18:28,160 –> 00:18:43,600 | In the book Håkan has more advanced literary preferences, namely Almquist. Håkan is a Swedish teacher. Tintomara is a bit like his ideal. | |
| 116 | 00:18:43,600 –> 00:18:46,360 | -I see | |
| 117 | 00:18:46,360 –> 00:18:51,480 | Tintomara: “Two things are white; innocence and arsenic.” | |
| 118 | 00:19:04,560 –> 00:19:07,800 | -Tintomara runs past where I live. I thought that was fucking awesome. (don’t ask me wtf this means) |
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| 119 | 00:19:11,080 –> 00:19:12,760 | This is beautiful. | |
| 120 | 00:19:22,840 –> 00:19:31,480 | Many wonderful sounds here. The rumbling from the stommach, the cube | |
| 121 | 00:19:35,800 –> 00:19:38,720 | -Here’s really a good sound composition. | |
| 122 | 00:19:41,080 –> 00:19:48,720 | It’s extremely close to all bodily sounds. -He does this so good! |
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| 123 | 00:19:48,720 –> 00:19:51,120 | He’s so satisfied with his line. | |
| 124 | 00:19:54,080 –> 00:20:04,080 | All bodily sounds; breathing, snot, swallowing. The sound of the toungue in the mouth. |
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| 125 | 00:20:04,080 –> 00:20:14,400 | She’s supposed to be very sticky in her mouth. I imagined she’d be very dry when she’s thirsty. |
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| 126 | 00:20:22,040 –> 00:20:24,920 | The hands meet for the first time.. | |
| 127 | 00:20:29,040 –> 00:20:34,400 | And Johan’s music.. -The cube is very visually satisfying. |
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| 128 | 00:20:35,720 –> 00:20:36,800 | -It stands out. | |
| 129 | 00:20:36,800 –> 00:20:52,720 | It’s a big orchestra that plays. Listening to it was one of the highlights during the production. | |
| 130 | 00:20:53,360 –> 00:21:06,680 | You sit and listen to synth drafts. They can be nice but they tire the ear after a while. | |
| 131 | 00:21:06,680 –> 00:21:22,200 | To then hear these compositions played for real is one of the coolest things you can experience as a director. | |
| 132 | 00:21:22,200 –> 00:21:39,440 | -You sent me an early synth draft of this.. and I started crying because of it and listened to it over an over. It just felt like the story. | |
| 133 | 00:21:58,000 –> 00:22:00,640 | -Here comes this rascal. | |
| 134 | 00:22:00,680 –> 00:22:15,560 | The original, as I understood, is in the park in Blackeberg. -And a bridge very similar to this one. |
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| 135 | 00:22:15,560 –> 00:22:21,040 | But this is recorded in..? -Råcksta. Right next to Blackeberg. |
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| 136 | 00:22:21,040 –> 00:22:39,880 | The one you imagined is a bit too high to fit in the picture. We almost searched ourselves to death.. | |
| 137 | 00:22:39,880 –> 00:22:52,240 | It had to have a building in the background too. -Gösta had to be witness to it. |
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| 138 | 00:22:52,240 –> 00:22:58,880 | This is a very uneasy scene. A classic horror scene. | |
| 139 | 00:22:58,880 –> 00:23:05,680 | Here comes a cool detail. It’s obviously planned. | |
| 140 | 00:23:08,160 –> 00:23:12,160 | It’s so good that it comes there. -And disturbs the scene. |
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| 141 | 00:23:12,160 –> 00:23:20,000 | -It’s an authentic old SL-bus. And I think it’s got a ketchup ad on this side but perhaps you can’t read it. |
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| 142 | 00:23:20,000 –> 00:23:37,320 | This here is uncomfortable. Eli uses her pretended helplessness and uses his goodness as a person to get to him. | |
| 143 | 00:23:50,200 –> 00:23:57,440 | -This was Robert’s contribution. | |
| 144 | 00:23:58,720 –> 00:24:05,960 | -The one who plays Gösta is an opera singer. | |
| 145 | 00:24:15,480 –> 00:24:17,240 | Ouch. -Ouch. |
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| 146 | 00:24:20,080 –> 00:24:30,080 | Eli’s bloody shirt has a big part in the book and also in the early script, to track Eli down. | |
| 147 | 00:24:30,080 –> 00:24:33,480 | But it worked out anyway. | |
| 148 | 00:24:35,320 –> 00:24:42,080 | It actually returns towards the end, in a newspaper clipping. | |
| 149 | 00:24:42,080 –> 00:24:48,600 | It’s a bit away from the camera, but it’s fully visible. | |
| 150 | 00:24:48,600 –> 00:24:52,200 | Kinda funny, because it becomes like a sweet memory of Oskar’s. | |
| 151 | 00:24:56,000 –> 00:25:05,320 | We talked a lot about this during the writing. The surface that separates them. Here it’s very symbolic. | |
| 152 | 00:25:08,680 –> 00:25:17,760 | We work a lot with windows, doors, dividers, walls. Things that separate them. Or us. | |
| 153 | 00:25:22,120 –> 00:25:28,000 | -Here’s a pre taste of his cozy apartment. -That doesn’t smell good either, I’d imagine. |
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| 154 | 00:25:28,000 –> 00:25:45,960 | -It’s hard to convey a smell on film. It’s possible by giving the audience some clues. | |
| 155 | 00:25:45,960 –> 00:25:50,160 | But it’s hard. | |
| 156 | 00:25:51,280 –> 00:25:56,240 | We’re already gotten used to that there’s no smoking in restaurants. | |
| 157 | 00:25:57,920 –> 00:26:02,280 | -Someone mentioned in a review “from a time where you smoked indoors”. | |
| 158 | 00:26:07,560 –> 00:26:11,640 | -Gösta also has a very good hat. The characters generally do. | |
| 159 | 00:26:11,640 –> 00:26:16,320 | Something that hasn’t gotten the attention it deserves, in reviews and such. | |
| 160 | 00:26:18,000 –> 00:26:26,920 | -The hat choices? He has a magical down hat there.. Let’s talk about it some more later on. |
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| 161 | 00:26:30,640 –> 00:26:32,120 | -Yeah, Larry’s hat.. | |
| 162 | 00:26:34,680 –> 00:26:37,800 | This looks so fucking heavy. | |
| 163 | 00:26:37,800 –> 00:26:53,520 | -And it is. It’s authentically made, so it’s the full weight of Jocke’s body, about 100 kg. | |
| 164 | 00:26:55,120 –> 00:27:02,040 | I didn’t understand why murderers chop up their victims before we did this.. | |
| 165 | 00:27:02,040 –> 00:27:09,920 | It has practical reasons. Moving a body is almost impossible. | |
| 166 | 00:27:09,880 –> 00:27:15,440 | Per is very athletic. He boxes in his spare time. | |
| 167 | 00:27:17,800 –> 00:27:27,760 | Just moving a body and tipping it over like this is almost impossible. | |
| 168 | 00:27:28,800 –> 00:27:35,960 | Don’t murder anyone -At least think it through thoroughly. |
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| 169 | 00:27:35,960 –> 00:27:40,520 | -Murder someone lightweight. | |
| 170 | 00:27:47,320 –> 00:27:52,720 | He’s so incompetent, Håkan. It’s not going his way. |
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| 171 | 00:27:54,680 –> 00:28:01,440 | -I think it makes his character very touching too. The fact that he’s so bad at murder. |
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| 172 | 00:28:04,080 –> 00:28:12,120 | The love theme returns again at this point. Something’s happened between the two. |
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| 173 | 00:28:11,880 –> 00:28:14,800 | as symbolized by the cube. | |
| 174 | 00:28:18,520 –> 00:28:23,200 | “Did you do this? Wow, you’re amazing. I know you” | |
| 175 | 00:28:24,640 –> 00:28:26,080 | -And the great tit bird. | |
| 176 | 00:28:30,720 –> 00:28:34,200 | That’s the average winter day to me.. The great tit birds. | |
| 177 | 00:28:34,200 –> 00:28:39,000 | That’s so special. She lies there sleeping. | |
| 178 | 00:28:47,560 –> 00:28:49,360 | Someone here scratches her leg. | |
| 179 | 00:28:50,280 –> 00:28:52,200 | It’s about what we talked about in the beginning | |
| 180 | 00:28:54,080 –> 00:28:57,280 | about the synthetic materials that contribute to the 80s feel. |
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| 181 | 00:28:57,280 –> 00:29:03,520 | You can feel it when they’re scratching their legs. -When it’s winter dry. |
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| 182 | 00:29:03,520 –> 00:29:17,760 | -This is Blackeberg. -This is actually the first day of filming, a few weeks before we started filming fully. |
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| 183 | 00:29:20,080 –> 00:29:24,560 | Everything is so dry and you get stuck with your hair and nails and.. | |
| 184 | 00:29:24,560 –> 00:29:26,800 | -The hair’s all over the place. | |
| 185 | 00:29:31,760 –> 00:29:38,680 | -Cute Lina who plays Eli sits here in just a t-shirt. | |
| 186 | 00:29:38,680 –> 00:29:42,840 | You have no idea how just that that is. | |
| 187 | 00:29:42,840 –> 00:29:52,200 | And she’s so.. -Relaxed -…present. She’s fantastic. |
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| 188 | 00:29:56,920 –> 00:30:01,080 | -We could add that outside the picture there was heating for her. | |
| 189 | 00:30:01,480 –> 00:30:06,840 | -God, yes. There was a whole crew with blankets and machines. | |
| 190 | 00:30:06,840 –> 00:30:19,120 | We even had a heated tent, just a few meters away from the camera. | |
| 191 | 00:30:20,800 –> 00:30:28,680 | I thought it was so important that there’s smoke coming from the mouth, that’s it’s cold for real. | |
| 192 | 00:30:31,080 –> 00:30:36,640 | You can also see ice crystals in Eli’s hair which is really beautiful. | |
| 193 | 00:30:37,760 –> 00:30:41,520 | You can’t do this any other way than filming in the cold. | |
| 194 | 00:30:44,240 –> 00:30:46,280 | Aw, that’s so cute. | |
| 195 | 00:30:59,920 –> 00:31:02,240 | -He has to mix it first! | |
| 196 | 00:31:06,840 –> 00:31:12,240 | -Do you have to start with the corners? -That’s just one method. |
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| 197 | 00:31:14,960 –> 00:31:16,600 | “You are truly something” | |
| 198 | 00:31:16,600 –> 00:31:21,200 | -There are several methods. | |
| 199 | 00:31:23,480 –> 00:31:27,440 | I just know the method of disassembling the cube. | |
| 200 | 00:31:27,440 –> 00:31:38,040 | -Here they’ve read a longer part, right? Because you can see they’re really listening to “Bilbo”. | |
| 201 | 00:31:41,960 –> 00:31:56,600 | John, one of the producers, happened to know Tolkien’s son, who owns the rights to this book. | |
| 202 | 00:31:56,600 –> 00:32:08,280 | So he wrote a letter to Christopher Tolkien and asked for permission to include this. | |
| 203 | 00:32:08,920 –> 00:32:13,960 | And he let us. “ffs of course”, he said. |
|
| 204 | 00:32:15,720 –> 00:32:19,320 | -That was lucky. It’s so hard to get permission. | |
| 205 | 00:32:19,320 –> 00:32:28,280 | -Samuel Morse at the bottom of the page, the inventor of the morse code. | |
| 206 | 00:32:30,560 –> 00:32:34,720 | -This filmed is called Morse in France. | |
| 207 | 00:32:37,080 –> 00:32:47,360 | -This is one of the hard things. How do you differentiate between long and short signal through a wall? | |
| 208 | 00:32:50,960 –> 00:32:58,000 | -But we solved that -Yes, we solved it with a scraping of the nail. |
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| 209 | 00:33:03,160 –> 00:33:06,320 | This is the scene that many people consider the most uncomfortable one from the book. | |
| 210 | 00:33:07,120 –> 00:33:09,560 | I think it’s pretty uncomfortable here too. | |
| 211 | 00:33:16,920 –> 00:33:20,480 | This is where Oskar says “No” for the first time ever. | |
| 212 | 00:33:30,760 –> 00:33:33,320 | Even though he fears the consequences. | |
| 213 | 00:33:36,760 –> 00:33:38,880 | -He probably thinks it’s worth it. | |
| 214 | 00:34:03,080 –> 00:34:06,120 | It’s so horrible, this scene. | |
| 215 | 00:34:07,680 –> 00:34:10,640 | To everyone standing there. | |
| 216 | 00:34:14,800 –> 00:34:18,720 | -And that beeping sound, like after a hard hit. | |
| 217 | 00:34:21,080 –> 00:34:22,560 | -His look.. | |
| 218 | 00:34:29,360 –> 00:34:36,520 | -That line is so bad, “who’s gonna talk to his mother?” | |
| 219 | 00:34:36,520 –> 00:34:42,640 | But it’s typical children’s logic. | |
| 220 | 00:34:46,840 –> 00:34:50,560 | -Oskar’s constructed his explanation. | |
| 221 | 00:34:51,720 –> 00:34:56,800 | -I think that’s well written, that he changes his explanation slightly, to make it more plausible. | |
| 222 | 00:34:56,800 –> 00:35:06,240 | First he says “I fell on the lunch break”, but now he’s changed it slightly, made it more believeable. | |
| 223 | 00:35:14,120 –> 00:35:20,880 | This scene looks fantastic on a big screen. It’s so incredible close to their faces. | |
| 224 | 00:35:28,520 –> 00:35:39,440 | You can’t use make-up on children successfully because they have such delicate skin. | |
| 225 | 00:35:39,440 –> 00:35:45,040 | As soon as you approach them with powder, it becomes visible on screen. | |
| 226 | 00:35:47,640 –> 00:35:57,280 | And these faces are really fantastic to view when you’re almost inside their pores. | |
| 227 | 00:36:02,120 –> 00:36:05,800 | The winter blush on his cheeks. | |
| 228 | 00:36:24,520 –> 00:36:27,880 | -I remember when you showed me this scene early on. | |
| 229 | 00:36:27,880 –> 00:36:32,720 | It completely convinced me that this would be everything I had ever wished for. | |
| 230 | 00:36:41,960 –> 00:36:45,720 | There he is. How long has he been watching? | |
| 231 | 00:36:45,720 –> 00:36:47,600 | Has he been there the whole time? | |
| 232 | 00:36:54,120 –> 00:37:09,720 | When I worked as a cutter late at night, there would sometimes be a Securitas guard | |
| 233 | 00:37:09,720 –> 00:37:13,800 | behind your back. And you never knew how long he’d been there. | |
| 234 | 00:37:13,800 –> 00:37:21,040 | That was his thing. He stood there watching and suddenly you heard some sound, like breathing.. | |
| 235 | 00:37:21,600 –> 00:37:26,000 | -“I thought I’d lock the building now” | |
| 236 | 00:37:28,600 –> 00:37:32,240 | -The perspective is so good.. | |
| 237 | 00:37:35,600 –> 00:37:37,240 | -Right, here comes that long, short.. | |
| 238 | 00:37:38,720 –> 00:37:42,800 | -“Sleep tight”, he knocks. He doesn’t know. | |
| 239 | 00:37:42,800 –> 00:37:45,000 | -that it’s her morning. | |
| 240 | 00:37:48,640 –> 00:37:52,240 | -Here we meet Avila the first time. | |
| 241 | 00:37:52,240 –> 00:37:58,320 | This is also one of these scenes people use to laugh at. Somehow, everyone’s had this teacher. | |
| 242 | 00:37:59,120 –> 00:38:01,360 | -And this retarded excercise! | |
| 243 | 00:38:01,360 –> 00:38:06,640 | What will that ever be good for? | |
| 244 | 00:38:13,400 –> 00:38:20,440 | -About that shirt.. It’s a bit too wide, it makes your chest cold. | |
| 245 | 00:38:20,440 –> 00:38:24,360 | And it’s by the Finnish brand Kaaru, which was very popular at this time. | |
| 246 | 00:38:27,280 –> 00:38:28,720 | -I like this Spanish. | |
| 247 | 00:38:32,160 –> 00:38:36,320 | -It means bugger off. -Or done, finished. |
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| 248 | 00:38:38,640 –> 00:38:41,800 | -This was hard to film. | |
| 249 | 00:38:45,200 –> 00:38:53,480 | Do not direct cats! If you’re gonna make a film, dear friends, refrain from including cats. | |
| 250 | 00:38:55,280 –> 00:38:58,960 | -This is one of the large additions to the book | |
| 251 | 00:39:02,920 –> 00:39:08,840 | We talked a lot about this, that Eli would actually eat the candy. | |
| 252 | 00:39:08,840 –> 00:39:12,320 | Oskar tries to offer her candy in the book, but she just proclaims she can’t eat it. | |
| 253 | 00:39:12,320 –> 00:39:14,280 | But here she eats. For him. | |
| 254 | 00:39:17,920 –> 00:39:20,400 | -Sacrificial act. | |
| 255 | 00:39:20,400 –> 00:39:25,200 | She knows it won’t end well, but she wants to show her good intentions. | |
| 256 | 00:39:25,200 –> 00:39:26,440 | It’s so sweet. | |
| 257 | 00:39:26,440 –> 00:39:30,560 | Eli’s first sacrifice. There’s another one later on. | |
| 258 | 00:39:30,560 –> 00:39:39,080 | And I think this hug is one of the best hugs in film. | |
| 259 | 00:39:39,080 –> 00:39:49,680 | Here I still sometimes cry, when they hug. I have a hard time shielding myself from it. | |
| 260 | 00:39:49,680 –> 00:39:53,000 | It’s so clumsy and sweet. | |
| 261 | 00:39:59,720 –> 00:40:02,000 | -They stand like that.. “What should I do now?” | |
| 262 | 00:40:05,800 –> 00:40:07,240 | -And the bag of candy. | |
| 263 | 00:40:31,920 –> 00:40:44,120 | Here he wins everyones’ hearts. A person who disregards everything. It doesn’t matter who she is. | |
| 264 | 00:40:44,120 –> 00:40:47,280 | If it’s a boy or a girl. “Why do you ask that?” |
|
| 265 | 00:40:47,280 –> 00:40:49,320 | “It doesn’t matter to me”. | |
| 266 | 00:40:49,320 –> 00:40:55,760 | -He really proves that too, later on, that he doesn’t care as long as he’s with Eli. | |
| 267 | 00:40:57,800 –> 00:41:08,280 | -Here’s where I usually start crying. It’s close to my own childhood. The book is a little self biographic. | |
| 268 | 00:41:10,560 –> 00:41:13,320 | My dad and I used to do this, except I had mini skis. | |
| 269 | 00:41:15,120 –> 00:41:16,760 | and went with wire behind his moped. | |
| 270 | 00:41:16,760 –> 00:41:19,360 | -Orange? -It was blue. |
|
| 271 | 00:41:19,360 –> 00:41:24,120 | -Ok, I had orange ones. -Oh, the skis? Yes, they were orange, with grooves. |
|
| 272 | 00:41:27,160 –> 00:41:31,240 | -Televerk-orange (old official color of the Swedish telephone company) | |
| 273 | 00:41:31,240 –> 00:41:34,440 | -It was great fun. We went around the whole village on those. | |
| 274 | 00:41:38,400 –> 00:41:45,760 | As you pointed out, a very nice 80’s detail with shirts put into the pants. | |
| 275 | 00:41:52,320 –> 00:41:55,760 | -This is a detail from the book that I really liked. | |
| 276 | 00:41:55,760 –> 00:41:59,920 | that he buries his face in his father’s shirt. | |
| 277 | 00:41:59,920 –> 00:42:02,560 | -I get shivers down my spine just by sitting here watching it. | |
| 278 | 00:42:11,120 –> 00:42:15,480 | -From one cozy home to another! | |
| 279 | 00:42:15,480 –> 00:42:20,400 | -Their apartment is so boring. | |
| 280 | 00:42:20,400 –> 00:42:31,880 | -Hoyte, who photographed this film, discussed what kind of light these people could have. | |
| 281 | 00:42:31,880 –> 00:42:36,480 | Considering they don’t bring along their own lamps. | |
| 282 | 00:42:36,480 –> 00:42:42,040 | So they just use whatever light is available. | |
| 283 | 00:42:42,040 –> 00:42:45,280 | Some sort of fluorescent lamp lighting or something like that. | |
| 284 | 00:42:45,280 –> 00:42:51,480 | But we invented what we call spray light. | |
| 285 | 00:42:51,480 –> 00:42:57,800 | Imagine light on a can that you just spray all over the place. | |
| 286 | 00:43:00,880 –> 00:43:06,560 | That’s how it is in their home. You can’t tell where the light comes from. | |
| 287 | 00:43:09,240 –> 00:43:16,320 | -Here’s the only suggestion of Håkan’s actual sexuality. |
|
| 288 | 00:43:17,640 –> 00:43:23,080 | He’s a bit creepier in real life than in the film | |
| 289 | 00:43:23,080 –> 00:43:28,280 | -In real life??! In your book! | |
| 290 | 00:43:30,720 –> 00:43:34,680 | -He wants to be with children. -For the wrong reasons. |
|
| 291 | 00:43:41,800 –> 00:43:45,040 | I’m very proud of this image. | |
| 292 | 00:43:45,040 –> 00:43:49,840 | How he grows forth there using the angle. | |
| 293 | 00:43:49,840 –> 00:43:59,200 | And that we could find a filming site with such weird architechture. | |
| 294 | 00:43:59,200 –> 00:44:03,600 | Long, high windows on the short ends. | |
| 295 | 00:44:04,520 –> 00:44:06,520 | I’ve never seen anything like it. | |
| 296 | 00:44:06,520 –> 00:44:11,200 | But it resulted in a very powerful image. | |
| 297 | 00:44:16,560 –> 00:44:24,880 | -This is a scene that took a lot of rewriting during the scripting process. | |
| 298 | 00:44:32,400 –> 00:44:34,640 | I’m trying to remember what it was like. | |
| 299 | 00:44:34,640 –> 00:44:39,880 | -It was the toilet here, and the door from the outside.. We had to go back and forth | |
| 300 | 00:44:44,480 –> 00:44:50,840 | -Right, it’s originally a toilet. -Bath dressing room from the book. |
|
| 301 | 00:45:06,360 –> 00:45:14,440 | I’m almost thinking he’s deliberately planned this so they he’ll get caught. | |
| 302 | 00:45:14,440 –> 00:45:21,520 | He understands that he’s lost to Oskar. | |
| 303 | 00:45:23,080 –> 00:45:27,120 | He loses to Oskar much earlier. | |
| 304 | 00:45:28,560 –> 00:45:35,120 | It feels evident when he sits there. “It’s over”. |
|
| 305 | 00:45:40,400 –> 00:45:45,400 | -Had this been a standard film, there’d have been smoke and exaggerated sounds | |
| 306 | 00:45:45,400 –> 00:45:49,000 | But this is how acid would actually behave. | |
| 307 | 00:45:52,080 –> 00:45:53,760 | -I would think so, yes. | |
| 308 | 00:45:55,360 –> 00:46:01,440 | It’s still so damn powerful -People think it’s unpleasant. |
|
| 309 | 00:46:03,560 –> 00:46:06,560 | This is also a good shot. | |
| 310 | 00:46:11,240 –> 00:46:19,560 | -This is a good sound mix too, the racket fades away and we get closer to Håkan. | |
| 311 | 00:46:21,280 –> 00:46:23,560 | This loneliness.. -It’s so good. |
|
| 312 | 00:46:31,400 –> 00:46:34,840 | That’s also not recommended to do. | |
| 313 | 00:46:36,320 –> 00:46:40,120 | -In the book he says “Eli, Eli” | |
| 314 | 00:46:41,040 –> 00:46:56,360 | And the police interpret it as a religious quote from the bible. | |
| 315 | 00:47:11,560 –> 00:47:15,480 | -First view of the pool. | |
| 316 | 00:47:21,160 –> 00:47:24,280 | This is also fucked. It’s so aggressive. | |
| 317 | 00:47:32,160 –> 00:47:38,280 | And he takes them home in his own little proud way. | |
| 318 | 00:47:43,160 –> 00:47:44,880 | Volvo 142. | |
| 319 | 00:47:44,880 –> 00:47:46,840 | Nice old car. | |
| 320 | 00:47:46,840 –> 00:47:49,040 | Old car, anyway. | |
| 321 | 00:47:50,480 –> 00:47:52,520 | Blackeberg at night. | |
| 322 | 00:47:55,960 –> 00:47:57,080 | This is you, right? | |
| 323 | 00:47:57,080 –> 00:47:59,480 | -No! It’s not. | |
| 324 | 00:47:59,480 –> 00:48:01,120 | -It sounds like you | |
| 325 | 00:48:02,400 –> 00:48:08,840 | -It’s actually the guy who did read the news at this time, his name’s Bengt Bylund. | |
| 326 | 00:48:08,840 –> 00:48:14,840 | He has a very good radio voice. | |
| 327 | 00:48:18,200 –> 00:48:20,520 | -This is me here.. -Now it’s you! |
|
| 328 | 00:48:25,160 –> 00:48:26,920 | -That was my contribution to the film. -That’s right. |
|
| 329 | 00:48:26,920 –> 00:48:32,800 | There you can hear John, because she has to be invited by someone. | |
| 330 | 00:48:35,520 –> 00:48:39,760 | It was a thing that we actually solved on-the-go. | |
| 331 | 00:48:39,760 –> 00:48:44,000 | -Yes, it was after we’d recorded everything that you thought of this. | |
| 332 | 00:48:44,000 –> 00:48:44,760 | Like someone pointed out to me too, in the book. | |
| 333 | 00:48:44,760 –> 00:48:47,320 | -And you just stuck your head in the sand. | |
| 334 | 00:48:47,320 –> 00:48:53,320 | -I have explained it with the fact that the hospital’s a public buildning. | |
| 335 | 00:48:53,320 –> 00:48:55,480 | -That wasn’t especially good. | |
| 336 | 00:48:55,480 –> 00:48:56,960 | -Yeah, but what the heck.. | |
| 337 | 00:48:59,440 –> 00:49:03,160 | She does actually require an invitation to the bath to be able to crush the window. | |
| 338 | 00:49:19,520 –> 00:49:24,560 | That’s one of the nicest songs Hasse and Tage have written | |
| 339 | 00:49:24,560 –> 00:49:26,240 | called “Längtans blomma”. | |
| 340 | 00:49:29,280 –> 00:49:35,040 | from a show called Spader Madam, yes. 1969. | |
| 341 | 00:49:37,320 –> 00:49:39,840 | You bet they can climb, these.. | |
| 342 | 00:50:02,920 –> 00:50:09,720 | -I wonder if those who haven’t read the book understand what’s going on here. | |
| 343 | 00:50:09,720 –> 00:50:15,160 | That he cannot speak the words that grants her entry. | |
| 344 | 00:50:15,160 –> 00:50:21,080 | To me it’s evident. But it doesn’t really matter that much. | |
| 345 | 00:50:22,760 –> 00:50:24,640 | But what are they really doing here? | |
| 346 | 00:50:26,480 –> 00:50:28,920 | -People in hospitals are weird. | |
| 347 | 00:50:36,760 –> 00:50:40,040 | Here’s a pre taste of the unpleasant face. | |
| 348 | 00:50:48,320 –> 00:50:50,320 | -I think this scene’s really well made. | |
| 349 | 00:50:50,360 –> 00:50:56,040 | -You were with us here -Yes, Mia and I sat here watching. |
|
| 350 | 00:51:02,120 –> 00:51:06,440 | -Eli’s very good here. | |
| 351 | 00:51:10,360 –> 00:51:16,200 | -Here you can clearly see what happens if you pour acid all over your face. | |
| 352 | 00:51:17,760 –> 00:51:20,520 | And here’s something cool too. | |
| 353 | 00:51:22,440 –> 00:51:26,840 | -Bam! -That’s gotta hurt. |
|
| 354 | 00:51:31,840 –> 00:51:34,800 | -Here you can see smoke from the breathing coming out of his cheeks. | |
| 355 | 00:51:36,320 –> 00:51:42,760 | -And the only suggestion of Eli’s ability to fly. | |
| 356 | 00:51:45,600 –> 00:51:49,720 | -That’s sufficient -It is, though in the script there are lots of details |
|
| 357 | 00:51:49,720 –> 00:51:54,440 | how she stood on the roof and produce these soap bubble-like wings. | |
| 358 | 00:51:54,440 –> 00:51:57,800 | But that was sufficient. | |
| 359 | 00:52:16,680 –> 00:52:21,560 | -She wants to sleep here. She doesn’t want to speak to him. | |
| 360 | 00:52:21,560 –> 00:52:26,720 | -These satin sheets.. -Synthetic silk |
|
| 361 | 00:52:26,720 –> 00:52:28,720 | And my favorite scene in the entire film. | |
| 362 | 00:52:30,840 –> 00:52:32,600 | -I have to agree. | |
| 363 | 00:52:36,280 –> 00:52:39,760 | -This is the scene that I’m, script-wise, the most proud of. | |
| 364 | 00:52:40,440 –> 00:52:44,280 | -Yeah, it rocks. It’s like jazz music | |
| 365 | 00:53:02,000 –> 00:53:06,240 | And Hoyte’s magic way of looking at the pupils. | |
| 366 | 00:53:06,240 –> 00:53:15,400 | The light levels are extremely low here which make the pupils huge. | |
| 367 | 00:53:22,680 –> 00:53:25,440 | And it gives a very special effect. | |
| 368 | 00:53:45,640 –> 00:53:56,640 | -There was a scene that we unfortunately had to cut, where they play this finger game. | |
| 369 | 00:53:56,640 –> 00:54:01,080 | -Eli learns it. -Right, a bit earlier. |
|
| 370 | 00:54:01,080 –> 00:54:07,760 | Somehow you understand that they’ve learnt it together anyway, when we weren’t there watching. | |
| 371 | 00:54:07,760 –> 00:54:15,160 | But it’s a very touching scene when they sit and play. | |
| 372 | 00:54:36,920 –> 00:54:38,560 | -He’s thinking.. | |
| 373 | 00:54:48,920 –> 00:54:51,000 | -“What??” | |
| 374 | 00:55:00,920 –> 00:55:02,920 | -The timing’s great in this scene. | |
| 375 | 00:55:02,920 –> 00:55:07,760 | The lines between them. | |
| 376 | 00:55:07,760 –> 00:55:12,120 | It’s so beautiful because they’ve got so fundamentally different conditions | |
| 377 | 00:55:12,120 –> 00:55:13,600 | and understanding of what they’re doing. | |
| 378 | 00:55:13,640 –> 00:55:20,080 | A sceme with a boy and a girl sharing a bed and it’s like no other scene I’ve ever seen. | |
| 379 | 00:55:20,080 –> 00:55:23,640 | They come from two so different directions. | |
| 380 | 00:55:28,560 –> 00:55:31,920 | And there’s so much Oskar knows, that Eli doesn’t, about how things are like. | |
| 381 | 00:55:35,040 –> 00:55:44,960 | -And the scene’s got such extreme closeness without being sexual in the least | |
| 382 | 00:55:48,680 –> 00:55:55,600 | -Which I think is fantastic. Within the whole vampire genre, that’s such a relief. | |
| 383 | 00:55:55,600 –> 00:55:59,640 | And that was my own choice too, that they were supposed to be of this age | |
| 384 | 00:55:59,640 –> 00:56:02,560 | before puberty, before it gets awkward. | |
| 385 | 00:56:03,480 –> 00:56:09,040 | Oskar does have some thoughts to that direction but it never turns into anything. | |
| 386 | 00:56:13,120 –> 00:56:15,840 | -To the extent he does, he gets to keep it to himself. | |
| 387 | 00:56:20,000 –> 00:56:26,080 | -It’s more because he knows that he should. | |
| 388 | 00:56:26,080 –> 00:56:32,080 | -This about “getting together”. (common among school kids in Sweden) | |
| 389 | 00:56:32,080 –> 00:56:36,480 | When that started in my school class, in 4th or 5th grade | |
| 390 | 00:56:36,480 –> 00:56:42,400 | then it spread like a wildfire. Everyone had to be together with someone. | |
| 391 | 00:56:42,400 –> 00:56:44,360 | And you were together with many people. | |
| 392 | 00:56:44,360 –> 00:56:49,080 | I think I had, like, a harem of 4-5 girls. | |
| 393 | 00:56:50,480 –> 00:57:00,400 | One weekend, then someone called and said, “I’ve heard you say we’re together, but that’s not the case” | |
| 394 | 00:57:02,840 –> 00:57:07,200 | so it started very suddenly, among everyone. | |
| 395 | 00:57:07,200 –> 00:57:11,000 | -That begs the question of what you actually mean by “being together”. | |
| 396 | 00:57:12,320 –> 00:57:16,920 | I don’t have this experience at all. I don’t think I’ve ever “been together” with someone. | |
| 397 | 00:57:18,880 –> 00:57:26,760 | -His outfit here is done by Maria Strid, as are all the other outfits. | |
| 398 | 00:57:26,760 –> 00:57:29,120 | They’re very suitable and feel just right. | |
| 399 | 00:57:29,120 –> 00:57:39,240 | But Avila’s outfit is actually from a picture of Torbjörn Fäldin (then state minister). | |
| 400 | 00:57:39,240 –> 00:57:45,520 | Who’s attending some final with Stenmark in some other country. | |
| 401 | 00:57:45,520 –> 00:57:48,800 | And Sweden’s state minister’s there too | |
| 402 | 00:57:48,800 –> 00:57:51,640 | watching this final | |
| 403 | 00:57:51,640 –> 00:57:59,240 | and is dressed in a loden coat and an evidently home-made, knitted hat. | |
| 404 | 00:57:59,240 –> 00:58:02,400 | -It’s worth noting that this is the same stick Håkan uses to shove Jocke under the ice. | |
| 405 | 00:58:02,400 –> 00:58:05,520 | About Fäldin there, yes.. | |
| 406 | 00:58:05,520 –> 00:58:09,640 | -Yes, Fäldin. I remember how everyone was ashamed because of his look. | |
| 407 | 00:58:13,480 –> 00:58:16,560 | But of course, it was fucking cool. | |
| 408 | 00:58:19,320 –> 00:58:22,480 | Now afterwards, we can see how cool it actually was. | |
| 409 | 00:58:25,120 –> 00:58:27,480 | Fäldin as a fashion icon is a bit forgotten. | |
| 410 | 00:58:30,000 –> 00:58:31,760 | Someone to look up to. | |
| 411 | 00:58:35,440 –> 00:58:37,200 | His second “No”. | |
| 412 | 00:58:48,520 –> 00:58:52,920 | One advantage of this film is that there actually is room for jokes. | |
| 413 | 00:58:52,920 –> 00:58:56,960 | The topic is dead serious, but there are these spots. | |
| 414 | 00:58:56,960 –> 00:59:00,000 | -It’s needed. -It’s needed. |
|
| 415 | 00:59:06,920 –> 00:59:15,080 | -This scene gives me double feelings because I react so strongly when he hits back. | |
| 416 | 00:59:16,640 –> 00:59:26,320 | Finally the kid gets back at him, but at the same time I could never propagate in favor of this behaviour. | |
| 417 | 00:59:26,320 –> 00:59:29,600 | To my own children, for example. | |
| 418 | 00:59:29,600 –> 00:59:36,880 | It’s in conflict with my morals. | |
| 419 | 00:59:36,880 –> 00:59:42,840 | But you can really understand his reaction. | |
| 420 | 00:59:42,840 –> 00:59:45,840 | It feels so good when he does it. | |
| 421 | 00:59:45,840 –> 00:59:50,160 | -It usually generates in unthoughtful cheers. | |
| 422 | 00:59:52,360 –> 00:59:54,000 | Not in Sweden, though. | |
| 423 | 01:00:02,240 –> 01:00:07,560 | -It makes you conflicted, but I do like when things are complicated. | |
| 424 | 01:00:11,880 –> 01:00:16,200 | Complicating things is a fundamental goal in my opinon. | |
| 425 | 01:00:16,200 –> 01:00:21,920 | -And so this unbelievably beautiful music. | |
| 426 | 01:00:21,920 –> 01:00:31,120 | It’s like a wave moving back and forth over a beach. | |
| 427 | 01:00:32,600 –> 01:00:34,320 | -This is a good shot. -This is a good shot. |
|
| 428 | 01:00:34,320 –> 01:00:36,280 | -I wasn’t present when this was recorded. | |
| 429 | 01:00:41,440 –> 01:00:44,360 | -It’s unclear whether the police would really do this. | |
| 430 | 01:00:46,200 –> 01:00:48,120 | I know I was the the one who wrote it.. -The down hat! |
|
| 431 | 01:00:53,040 –> 01:00:54,360 | What, if the police..? | |
| 432 | 01:00:54,360 –> 01:00:59,960 | -really would do this, saw out a body and lift it with a forklift. | |
| 433 | 01:00:59,960 –> 01:01:01,640 | -I think it seems plausible. | |
| 434 | 01:01:01,640 –> 01:01:02,680 | -Yes, they aim to preserve. | |
| 435 | 01:01:02,680 –> 01:01:06,040 | I think I actually asked someone when I wrote the book. | |
| 436 | 01:01:12,480 –> 01:01:13,920 | “Can’t be bothered” | |
| 437 | 01:01:17,160 –> 01:01:19,040 | -Guys, when they talk to each other.. | |
| 438 | 01:01:27,880 –> 01:01:29,240 | -She plays really well, I think. | |
| 439 | 01:01:32,280 –> 01:01:37,560 | What’s this music here? -The old Radio Stockholm jingle |
|
| 440 | 01:01:43,920 –> 01:01:46,000 | It was extremely hard to get ahold of. | |
| 441 | 01:01:46,000 –> 01:01:51,200 | It was someone who used to be a technician at Radio Stockholm | |
| 442 | 01:01:51,200 –> 01:01:54,240 | who had a tape at home, in his private collection. | |
| 443 | 01:01:54,240 –> 01:01:57,920 | Apparently, none of this stuff is preserved. | |
| 444 | 01:02:04,320 –> 01:02:09,120 | -Here’s another view of the pool to plant the whole situation. | |
| 445 | 01:02:09,120 –> 01:02:19,480 | This is really nice, because you can see | |
| 446 | 01:02:19,480 –> 01:02:20,480 | that this guy is starting to suck up to Oskar in a creepy manner. | |
| 447 | 01:02:20,480 –> 01:02:27,920 | And we can see Eli who’s excluded from this fellowship. | |
| 448 | 01:02:27,920 –> 01:02:29,400 | She’s so lonely. | |
| 449 | 01:02:29,400 –> 01:02:32,880 | -And she tries to be human now. | |
| 450 | 01:02:32,880 –> 01:02:37,240 | -Right, she’s dressed up in human clothes. | |
| 451 | 01:02:37,240 –> 01:02:39,600 | She has some weird Stenmark hat | |
| 452 | 01:02:43,040 –> 01:02:45,240 | -The eyes here ended up really well. | |
| 453 | 01:02:48,880 –> 01:02:54,520 | You can see the elliptical pupils a second after the light’s been lit too. | |
| 454 | 01:02:54,520 –> 01:02:57,400 | Apart from glowing in the dark. I think it looks great. |
|
| 455 | 01:03:04,400 –> 01:03:06,800 | There they gleam. | |
| 456 | 01:03:06,800 –> 01:03:08,760 | -Goat eyes, isn’t that what they’re called? | |
| 457 | 01:03:08,760 –> 01:03:10,880 | -Perhaps so. Throw a goat’s eye? | |
| 458 | 01:03:10,880 –> 01:03:13,360 | -In the bible. | |
| 459 | 01:03:13,360 –> 01:03:15,560 | That the devil has goat eyes -Perhaps he does, yellow, right?. |
|
| 460 | 01:03:17,320 –> 01:03:19,960 | -And this is Agneta Fältskog | |
| 461 | 01:03:22,840 –> 01:03:27,520 | -Fältskog, an underestimated composer. | |
| 462 | 01:03:27,520 –> 01:03:31,240 | -I know of it though. | |
| 463 | 01:03:31,240 –> 01:03:34,880 | -She’s actually written many good songs. | |
| 464 | 01:03:34,880 –> 01:03:38,680 | -From ‘Om tårar vore gold’ and forward. | |
| 465 | 01:03:40,800 –> 01:03:45,000 | -There’s a The Clash poster on the wall. | |
| 466 | 01:03:46,880 –> 01:03:50,800 | -And it become one. A clash. | |
| 467 | 01:03:52,920 –> 01:03:55,200 | I think they performed in the ice stadium. | |
| 468 | 01:04:04,680 –> 01:04:11,880 | -I have seen this film an insane number of times, but I never get used to this scene. | |
| 469 | 01:04:11,880 –> 01:04:13,920 | -No, ffs! It hurts. | |
| 470 | 01:04:17,000 –> 01:04:19,040 | -Ouch! -Yes, this here. I never get used to it. |
|
| 471 | 01:04:19,040 –> 01:04:22,360 | -And he pulls so hard, too. | |
| 472 | 01:04:22,360 –> 01:04:25,360 | -You’re shaking! | |
| 473 | 01:04:27,560 –> 01:04:30,080 | -He does it really hard too. | |
| 474 | 01:04:30,080 –> 01:04:31,480 | -Fucking maniac! | |
| 475 | 01:04:31,480 –> 01:04:34,880 | Kåre-maniac (=”kåre-dåre”) | |
| 476 | 01:04:36,400 –> 01:04:38,280 | -Though he was actually told to do it like this. | |
| 477 | 01:04:38,280 –> 01:04:41,640 | It’s not himself who.. | |
| 478 | 01:04:42,320 –> 01:04:45,640 | -You ought to know that this Kåre is a very special person. | |
| 479 | 01:04:45,640 –> 01:04:51,440 | You can’t direct him any way you want. |
|
| 480 | 01:04:51,440 –> 01:04:57,600 | Which I think is cool. He wants to do things his own way. | |
| 481 | 01:05:00,280 –> 01:05:04,280 | This here.. | |
| 482 | 01:05:05,160 –> 01:05:06,800 | I would’ve liked to see more of that tongue. | |
| 483 | 01:05:06,800 –> 01:05:09,640 | It could’ve been a few more seconds of that. | |
| 484 | 01:05:09,640 –> 01:05:12,600 | Eli looks so damn creepy there. | |
| 485 | 01:05:25,600 –> 01:05:31,240 | -Another one of my favorite scenes from the book that you managed to transfer to film. | |
| 486 | 01:05:31,240 –> 01:05:36,680 | -This blood mixing business? -Yes |
|
| 487 | 01:05:36,680 –> 01:05:39,600 | It’s the turnabout in the book, which it’s also here, | |
| 488 | 01:05:39,640 –> 01:05:46,640 | in their relationship. So we have to re-evaluate this that we have.. | |
| 489 | 01:05:52,200 –> 01:05:54,560 | -She looks creepy. | |
| 490 | 01:05:55,880 –> 01:05:59,240 | -Yes, and that which is supposed to unite them | |
| 491 | 01:05:59,240 –> 01:06:04,800 | also makes their relationship impossible. | |
| 492 | 01:06:08,040 –> 01:06:12,920 | Larry’s down hat! -There it is, in its full glory. |
|
| 493 | 01:06:12,920 –> 01:06:15,080 | -Imagine it’s all full of down. | |
| 494 | 01:06:15,080 –> 01:06:18,320 | How soft, comfortable and warm it must be. | |
| 495 | 01:06:18,320 –> 01:06:20,200 | To wear indoors too. | |
| 496 | 01:06:20,200 –> 01:06:21,880 | To smoke wearing your down hat too. | |
| 497 | 01:06:21,880 –> 01:06:26,960 | Paul Olofsson, who plays Larry, is the largest enthusiast of my stories | |
| 498 | 01:06:27,000 –> 01:06:31,960 | and that flattered me because he has a very good merit list. | |
| 499 | 01:06:31,960 –> 01:06:35,680 | He played the ghost in ‘Kåldolmar och kalsipper’. | |
| 500 | 01:06:35,720 –> 01:06:39,520 | and sings the song ‘everyone is afraid of the ghost’. | |
| 501 | 01:06:39,520 –> 01:06:40,920 | -Holy fuck omg! | |
| 502 | 01:06:40,920 –> 01:06:42,120 | I actually didn’t know that. | |
| 503 | 01:06:48,560 –> 01:06:50,760 | And Ika’s nice. | |
| 504 | 01:06:53,800 –> 01:06:55,920 | -She’s so different from her usual self. | |
| 505 | 01:06:55,920 –> 01:06:59,960 | -How changed she became as a blonde. | |
| 506 | 01:07:07,520 –> 01:07:10,960 | I thought a lot about how Chaplin does hobos.. | |
| 507 | 01:07:11,000 –> 01:07:14,720 | -Just let me mention that this is my wife on the right side of the picture. | |
| 508 | 01:07:14,720 –> 01:07:16,240 | -She does that very well. | |
| 509 | 01:07:16,240 –> 01:07:20,160 | -Chaplin. -Chaplin portrays hobos so well. |
|
| 510 | 01:07:20,160 –> 01:07:32,000 | He has a habit of stressing their dignity and strive for dignity | |
| 511 | 01:07:32,000 –> 01:07:36,480 | rather than sinking even further into despair than they actually are. | |
| 512 | 01:07:38,720 –> 01:07:44,080 | And I think you can notice that here, with this gang trying to maintain their dignity. | |
| 513 | 01:07:44,080 –> 01:07:47,720 | -Soon we have valuable shot. | |
| 514 | 01:08:00,880 –> 01:08:06,800 | -Here is that briefcase he carries around, which is also a part of that thought. | |
| 515 | 01:08:06,800 –> 01:08:11,200 | -He carries his chance therein. His way out. | |
| 516 | 01:08:12,840 –> 01:08:16,280 | -This is in Blackeberg, right next to the library. | |
| 517 | 01:08:18,960 –> 01:08:22,720 | -Here’s the funniest line of the film! | |
| 518 | 01:08:22,720 –> 01:08:26,240 | At least according the cutter Dino. | |
| 519 | 01:08:26,240 –> 01:08:28,400 | -That with the lighter? -Correct. |
|
| 520 | 01:08:29,240 –> 01:08:32,720 | -“Hey, you forgot the lighter!”, I mean “Where’s my lighter?” | |
| 521 | 01:08:32,720 –> 01:08:36,440 | -Yes, they’re looking for a lighter It’s the only one they have or something. | |
| 522 | 01:08:37,520 –> 01:08:41,360 | -Dino laughs so hard he falls down on the floor. | |
| 523 | 01:08:41,360 –> 01:08:43,360 | when he hears that line. | |
| 524 | 01:08:43,360 –> 01:08:47,560 | I think it’s funny too. -I haven’t written that one. |
|
| 525 | 01:08:47,560 –> 01:08:50,680 | -I thought it was born in the moment. | |
| 526 | 01:08:50,680 –> 01:08:56,240 | They needed to have a reason to as why they followed him there. | |
| 527 | 01:09:05,120 –> 01:09:12,480 | -This is a scene for which extension I propagated for. | |
| 528 | 01:09:12,480 –> 01:09:15,080 | That it should be longer | |
| 529 | 01:09:15,080 –> 01:09:16,480 | Vigirina turning into a vampire. | |
| 530 | 01:09:18,480 –> 01:09:23,440 | One of my favorite shots of Virigina is when she cuts herself up with a knife | |
| 531 | 01:09:23,440 –> 01:09:24,560 | to drink her own blood. | |
| 532 | 01:09:24,560 –> 01:09:29,440 | But it was not included, and I think it was for the best. | |
| 533 | 01:09:31,920 –> 01:09:36,720 | -Though you’re keen on bringing it up! | |
| 534 | 01:09:36,720 –> 01:09:40,280 | That we actually did think of it. | |
| 535 | 01:09:40,280 –> 01:09:42,040 | And deselected. | |
| 536 | 01:09:45,120 –> 01:09:50,160 | -It would’ve created yet another conflict that’d have been too significant. | |
| 537 | 01:09:50,160 –> 01:09:52,680 | It would have disturbed the balance. | |
| 538 | 01:09:55,080 –> 01:09:57,880 | -But here is at least a hint. | |
| 539 | 01:10:06,840 –> 01:10:08,960 | -And these sounds appear. | |
| 540 | 01:10:13,640 –> 01:10:18,640 | -Oh, Peps! It’s time to choose your side now. | |
| 541 | 01:10:23,080 –> 01:10:24,080 | -This is also a very nice scene. | |
| 542 | 01:10:24,080 –> 01:10:27,880 | It’s very much my own childhood. | |
| 543 | 01:10:27,880 –> 01:10:29,400 | Dad and I would play tons of five in a row. | |
| 544 | 01:10:38,400 –> 01:10:45,400 | -It’s almost unbelievable that Peps can play such good blues. | |
| 545 | 01:10:47,920 –> 01:10:48,880 | -Here comes someone.. | |
| 546 | 01:10:48,880 –> 01:10:51,440 | -In his creepy slippers. | |
| 547 | 01:10:54,280 –> 01:11:00,200 | He lives next to them and was too lazy to put on real shoes, so he just slipped into his Scholl. | |
| 548 | 01:11:03,400 –> 01:11:08,120 | This here is quite interesting. | |
| 549 | 01:11:08,160 –> 01:11:19,040 | Non-swedish audiences tend to think that he is some sort of lover of the father. | |
| 550 | 01:11:19,040 –> 01:11:23,400 | The thought never even occured to me before. | |
| 551 | 01:11:23,400 –> 01:11:27,320 | But with some imagination you could think so. | |
| 552 | 01:11:27,320 –> 01:11:34,760 | -I thought it’s like you said, that you just go home to someone and drink liquor | |
| 553 | 01:11:34,760 –> 01:11:36,560 | It’s common in Sweden, but perhaps not so much in other countries. | |
| 554 | 01:11:36,560 –> 01:11:41,240 | -Going to someone’s home is very unusual on the continent. | |
| 555 | 01:11:41,240 –> 01:11:44,840 | Someone said that in Belgia, you never go to anyone else’s home. | |
| 556 | 01:11:44,840 –> 01:11:49,840 | Which has resulted in very grand entrances | |
| 557 | 01:11:49,840 –> 01:11:56,800 | When someone comes around to deliver something or whatever, that’s supposed to impress them. | |
| 558 | 01:11:58,760 –> 01:12:00,440 | -This is so good… | |
| 559 | 01:12:00,440 –> 01:12:03,880 | -This betrayal.. | |
| 560 | 01:12:04,320 –> 01:12:10,000 | -Oskar’s last look at father | |
| 561 | 01:12:10,000 –> 01:12:11,440 | I have ceased crying now, the last few times. | |
| 562 | 01:12:18,640 –> 01:12:20,520 | Quote from Romeo and Juliet. | |
| 563 | 01:12:24,160 –> 01:12:25,640 | -It’s charming. | |
| 564 | 01:12:27,000 –> 01:12:30,320 | She’s written it on a Brynäs packet of sweets. | |
| 565 | 01:12:32,200 –> 01:12:36,520 | I remember those Brynäs. They were salty, kinda soft.. | |
| 566 | 01:12:36,520 –> 01:12:40,520 | This scene is very nice -I remember Hoyte being very glad with it. |
|
| 567 | 01:12:40,560 –> 01:12:45,240 | -It’s made using the light from the car only | |
| 568 | 01:12:45,240 –> 01:12:50,200 | Not a single other lamp. That’s pretty impressive. | |
| 569 | 01:13:00,800 –> 01:13:06,080 | -We had some idea of her finding this frozen lump of blood.. | |
| 570 | 01:13:06,080 –> 01:13:09,680 | -That’s what she’s looking for. | |
| 571 | 01:13:11,400 –> 01:13:14,800 | But that she was going to start chewing on it was a bit too much.. | |
| 572 | 01:13:16,840 –> 01:13:19,720 | -On the other hand, that wasn’t my idea. | |
| 573 | 01:13:19,720 –> 01:13:23,040 | I was more fond of her cutting her arms. | |
| 574 | 01:13:29,040 –> 01:13:37,080 | -As you understand, this is one of the most complicated sequences in the film, | |
| 575 | 01:13:38,960 –> 01:13:41,080 | when the cats go crazy. | |
| 576 | 01:13:41,120 –> 01:13:44,600 | -Seeing as cats are non-directable, as you said. | |
| 577 | 01:13:46,080 –> 01:13:51,200 | -They maintain a high level of integrity | |
| 578 | 01:13:51,200 –> 01:13:54,120 | -Yes, they sort of keep to a high level. | |
| 579 | 01:13:56,240 –> 01:14:02,200 | -As I said, this was really complicated. | |
| 580 | 01:14:02,200 –> 01:14:09,160 | And it took weeks of preparations and meetings and drafts and discussions.. | |
| 581 | 01:14:09,160 –> 01:14:21,120 | We used real cats, stuffed cats, synthetic cats, dolls and animated cats. | |
| 582 | 01:14:21,120 –> 01:14:25,280 | Every image contains all sorts of stuff. | |
| 583 | 01:14:25,280 –> 01:14:32,240 | It’s fun doing things like this but it tests your patience. | |
| 584 | 01:14:36,160 –> 01:14:38,040 | -I think that’s a good transition. | |
| 585 | 01:14:38,040 –> 01:14:39,600 | From the fall over to the stretcher | |
| 586 | 01:14:39,600 –> 01:14:42,840 | And the briefcase is here. | |
| 587 | 01:14:46,160 –> 01:14:48,320 | -I think that’s a Sinka (spelling?) | |
| 588 | 01:14:49,680 –> 01:14:51,520 | -You talk a lot about the cars. | |
| 589 | 01:14:51,520 –> 01:14:58,040 | -Yes, I think they’re good for creating the right atmosphere. | |
| 590 | 01:14:59,600 –> 01:15:07,040 | -A common mistake when making a movie from a certain time is that, | |
| 591 | 01:15:07,040 –> 01:15:10,320 | take this film, it’s set in 1982 | |
| 592 | 01:15:10,320 –> 01:15:14,520 | , that all things are from 1982. | |
| 593 | 01:15:14,520 –> 01:15:21,800 | When in reality, cars and furniture etc were from 1982 and older. | |
| 594 | 01:15:28,160 –> 01:15:29,320 | -First time Oskar is in Eli’s home. | |
| 595 | 01:15:31,600 –> 01:15:37,320 | -I think Oskar had fantisized about something more impressive. | |
| 596 | 01:15:37,320 –> 01:15:42,160 | I think he’s quite disappointed when he sees how miserable her apartment is. | |
| 597 | 01:15:44,720 –> 01:15:46,720 | -I think she’s ashamed. | |
| 598 | 01:15:47,840 –> 01:15:49,600 | So that’s why she backs up and closes the door. | |
| 599 | 01:15:49,600 –> 01:15:52,480 | -I think this is one of your nicest solutions. | |
| 600 | 01:15:52,480 –> 01:15:57,040 | This way of doing it is something. I didn’t write in the script. | |
| 601 | 01:15:57,040 –> 01:15:59,960 | -On separate sides of the glass? | |
| 602 | 01:15:59,960 –> 01:16:02,880 | -I wrote the dialog, but not that it was to be acted out in this manner. | |
| 603 | 01:16:03,640 –> 01:16:05,360 | -Yes, it worked out nicely. | |
| 604 | 01:16:05,360 –> 01:16:11,200 | And Vava, the scenographer, had found these doors somewhere. | |
| 605 | 01:16:11,200 –> 01:16:16,160 | And he talked about them with admiration long before we got started. | |
| 606 | 01:16:16,160 –> 01:16:22,760 | Because they’ve got a spiderweb-like net engraved in them. | |
| 607 | 01:16:22,760 –> 01:16:25,560 | Old 50’s doors. | |
| 608 | 01:16:27,440 –> 01:16:30,120 | -It’s usually hard to depict glass on film. | |
| 609 | 01:16:30,120 –> 01:16:34,720 | Unless there’s something on the glass, like reflections or a special light environment. | |
| 610 | 01:16:34,720 –> 01:16:39,680 | So the pattern is very suitable. | |
| 611 | 01:16:40,680 –> 01:16:42,320 | -This is also one of these scenes where I was with you when you recorded. | |
| 612 | 01:16:42,320 –> 01:16:46,000 | I sat in some room close by and watched it on a monitor. | |
| 613 | 01:16:46,000 –> 01:16:51,040 | I got to see how you worked with the children, by playing. | |
| 614 | 01:17:02,840 –> 01:17:09,840 | -Your body language also expresses your attraction to someone | |
| 615 | 01:17:09,840 –> 01:17:13,600 | you start mimicking their movements. | |
| 616 | 01:17:13,600 –> 01:17:19,280 | So that’s also an underlying thought in this scene. | |
| 617 | 01:17:24,000 –> 01:17:24,600 | -What a good line! | |
| 618 | 01:17:37,000 –> 01:17:40,560 | -This here often generates laughter… | |
| 619 | 01:17:40,560 –> 01:17:42,160 | when he says “I’m just gonna go home now”. | |
| 620 | 01:17:42,160 –> 01:17:43,960 | -After this when the rings, yeah. | |
| 621 | 01:17:48,280 –> 01:17:50,920 | -He thinks it’s a bit creepy. | |
| 622 | 01:17:50,920 –> 01:17:52,760 | -Still he doesn’t leave. | |
| 623 | 01:17:59,680 –> 01:18:00,920 | -His gesture there.. | |
| 624 | 01:18:07,680 –> 01:18:12,000 | -This shot ended up very typical too, with the man and woman in the background there. | |
| 625 | 01:18:12,000 –> 01:18:20,280 | It’s an electric appliance.. from Philips I think. Perhaps a record player. | |
| 626 | 01:18:20,280 –> 01:18:22,640 | a box for a record player. | |
| 627 | 01:18:22,640 –> 01:18:26,480 | It shows a man who sings and a woman who dances. | |
| 628 | 01:18:29,080 –> 01:18:31,480 | -Here he receives one bill of each denomination. | |
| 629 | 01:18:31,480 –> 01:18:33,680 | Which kinda annoys me. | |
| 630 | 01:18:33,680 –> 01:18:37,960 | It’s an negative detail. | |
| 631 | 01:18:37,960 –> 01:18:41,400 | One 1000 SEK-bill, one 100 SEK-bill, one 50 SEK-bill and one 10 SEK-bill. | |
| 632 | 01:18:41,400 –> 01:18:42,680 | Why did she choose that? | |
| 633 | 01:18:43,920 –> 01:18:45,800 | -Well, she just took some random bills from her drawer. | |
| 634 | 01:18:45,800 –> 01:18:49,040 | -I still don’t think it’s very good.. | |
| 635 | 01:18:49,040 –> 01:18:50,400 | It should’ve been more money too. | |
| 636 | 01:18:53,680 –> 01:18:59,040 | Here a lot of questions are raised, how does Eli earn her money? | |
| 637 | 01:18:59,040 –> 01:19:02,160 | Is she a murderer and a thief? | |
| 638 | 01:19:02,160 –> 01:19:03,720 | -She is. | |
| 639 | 01:19:07,400 –> 01:19:10,800 | -This is so horrible. | |
| 640 | 01:19:14,360 –> 01:19:18,120 | His way out of this misery. -Peter Carlberg is good here. |
|
| 641 | 01:19:32,480 –> 01:19:34,720 | Oh, how she does not listen to this. | |
| 642 | 01:19:34,720 –> 01:19:38,640 | -They’re in two completely different places. | |
| 643 | 01:19:44,800 –> 01:19:52,520 | These straps that are use to constrain people against their will are creepy. | |
| 644 | 01:19:52,520 –> 01:19:56,240 | All such tools are very creepy. | |
| 645 | 01:19:56,240 –> 01:20:01,760 | Like cells and handcuffs. | |
| 646 | 01:20:01,800 –> 01:20:06,280 | Tools for constraint. Straitjackets too. | |
| 647 | 01:20:08,840 –> 01:20:12,960 | I never tried one on, but I’d imagine it’s horrible. | |
| 648 | 01:20:12,960 –> 01:20:14,720 | Have you tried one on? -No. |
|
| 649 | 01:20:14,720 –> 01:20:18,200 | I was never a master at escapology back when I was a wizard. | |
| 650 | 01:20:18,200 –> 01:20:23,080 | I just did the one where you break loose from ropes around your hands. | |
| 651 | 01:20:23,920 –> 01:20:25,360 | -This is actually an improvisation. | |
| 652 | 01:20:25,360 –> 01:20:31,840 | -Really nice. It’s good to have a warm scene between the mother and Oskar. | |
| 653 | 01:20:44,520 –> 01:20:46,360 | -These dogs.. | |
| 654 | 01:20:46,360 –> 01:20:49,440 | -Will we see them again? | |
| 655 | 01:20:49,440 –> 01:20:51,040 | -You never know. | |
| 656 | 01:21:00,440 –> 01:21:02,600 | And so this sacrificial act again. | |
| 657 | 01:21:09,280 –> 01:21:10,480 | This is hand acting. Really good. | |
| 658 | 01:21:15,320 –> 01:21:17,160 | -Oh no, what’s she gonna do now? | |
| 659 | 01:21:29,720 –> 01:21:30,600 | Her face is so good here. | |
| 660 | 01:21:40,440 –> 01:21:42,880 | -This aggressive burning is cool. | |
| 661 | 01:21:42,880 –> 01:21:47,160 | As if it was water that sprinkled upwards with great force. | |
| 662 | 01:21:49,560 –> 01:21:55,160 | -Here you pointed out to me how Oskar’s status in school has completely changed. | |
| 663 | 01:21:55,160 –> 01:21:57,720 | He stands as if he had the right to be there. | |
| 664 | 01:21:57,720 –> 01:22:00,880 | While Conny receives a sneer in the background. | |
| 665 | 01:22:03,600 –> 01:22:13,280 | -You trick people into thinking that Oskar won when he hit him. | |
| 666 | 01:22:13,280 –> 01:22:15,400 | He looks satisfied. | |
| 667 | 01:22:16,920 –> 01:22:19,160 | -“You just hear half as much!” | |
| 668 | 01:22:19,160 –> 01:22:21,120 | -What is this, Tomas, that Oskar listens to? | |
| 669 | 01:22:21,120 –> 01:22:26,360 | -It’s a childrens’ show with Martin Jung that was done for UR (lit. the educational radio) | |
| 670 | 01:22:26,360 –> 01:22:30,080 | I’ve forgotten its title, but it’s Martin’s voice anyway. | |
| 671 | 01:22:33,440 –> 01:22:37,760 | -He eats blood pudding there as a joke. | |
| 672 | 01:22:37,760 –> 01:22:40,440 | A little treat for the attentive viewer. | |
| 673 | 01:22:44,160 –> 01:22:48,360 | -Do you remember that I originally opposed this scene? | |
| 674 | 01:22:53,960 –> 01:22:57,920 | I couldn’t understand how the hell I could make this work. | |
| 675 | 01:22:57,920 –> 01:23:02,320 | -To me this is something new in the vampire mythology | |
| 676 | 01:23:02,320 –> 01:23:05,960 | getting to see what actually happens when you enter a room uninvited. | |
| 677 | 01:23:05,960 –> 01:23:09,440 | But didn’t your solution surface when you had the idea of extreme close-ups? | |
| 678 | 01:23:12,840 –> 01:23:19,520 | -Well.. I don’t know. But I was nervous because of this scene. | |
| 679 | 01:23:24,120 –> 01:23:24,960 | -You don’t have to be anymore. | |
| 680 | 01:23:24,960 –> 01:23:32,960 | -It works, but it didn’t work for until after a lot of work. | |
| 681 | 01:23:32,960 –> 01:23:44,400 | Not until we added the sounds, Per and I, when we were in Oslo, | |
| 682 | 01:23:44,400 –> 01:23:46,840 | that we made it work. | |
| 683 | 01:23:46,840 –> 01:23:51,120 | There was originally tons of music and effects | |
| 684 | 01:23:51,120 –> 01:23:58,680 | But it worked the best when we removed all of that. | |
| 685 | 01:23:58,680 –> 01:23:59,720 | -Poof, the eardrum. | |
| 686 | 01:24:02,280 –> 01:24:08,600 | -With all the sound, it became American in a bad way. | |
| 687 | 01:24:08,600 –> 01:24:10,720 | It can of course be American in a good way too, | |
| 688 | 01:24:10,720 –> 01:24:13,880 | but it’s American in a bad way when it becomes too much. | |
| 689 | 01:24:13,880 –> 01:24:18,640 | -Now it’s instead like an everyday, cruel game between two children. | |
| 690 | 01:24:18,640 –> 01:24:23,840 | And the fact that you don’t go all out and make it symbolic and sacrificial | |
| 691 | 01:24:23,840 –> 01:24:27,160 | Now it’s just “this is what can happen, when my friend visits. Fuck, how wrong that went.” | |
| 692 | 01:24:32,160 –> 01:24:35,200 | -Lina does this well -She becomes unpleasant. |
|
| 693 | 01:24:40,720 –> 01:24:42,840 | -And Elif, should be added. | |
| 694 | 01:24:42,840 –> 01:24:50,280 | -Right, we could mention that Eli’s voice is dubbed by a girl named Elif. | |
| 695 | 01:24:50,280 –> 01:24:56,080 | Almost the same name as the character, but with an F. | |
| 696 | 01:24:56,080 –> 01:25:03,680 | We thought Lina’s voice was too high pitched | |
| 697 | 01:25:03,680 –> 01:25:10,000 | for someone androgynous, or a boy, almost. | |
| 698 | 01:25:11,120 –> 01:25:12,720 | -Good line.. | |
| 699 | 01:25:26,000 –> 01:25:31,360 | This is where Oskar, in the book, sees bits of Eli’s past. | |
| 700 | 01:25:31,360 –> 01:25:37,200 | -I didn’t manage to solve that. | |
| 701 | 01:25:37,200 –> 01:25:40,760 | -But it’s still present somehow, “Become me for a while”. | |
| 702 | 01:25:42,000 –> 01:25:43,440 | He enters. | |
| 703 | 01:25:47,080 –> 01:25:50,880 | -Here it’s suggested that Eli was just a product of his imagination. | |
| 704 | 01:25:50,880 –> 01:25:52,280 | -No way! | |
| 705 | 01:25:52,280 –> 01:25:53,000 | -In that shot, yes. | |
| 706 | 01:25:53,000 –> 01:25:54,160 | -No-uh. | |
| 707 | 01:25:54,160 –> 01:25:55,160 | -But then she returns. | |
| 708 | 01:25:55,160 –> 01:25:56,000 | -Yeah, I know. | |
| 709 | 01:25:56,000 –> 01:25:59,520 | -That’s what I thought anyway. That it goes poof – where’d it go? | |
| 710 | 01:25:59,520 –> 01:26:02,880 | -It’s just me who doesn’t like that interpretation. | |
| 711 | 01:26:02,880 –> 01:26:06,240 | People who read the book also thought that. | |
| 712 | 01:26:08,800 –> 01:26:11,600 | The picture works very well there. | |
| 713 | 01:26:11,600 –> 01:26:13,400 | It’s like it sinks into Oskar. | |
| 714 | 01:26:13,400 –> 01:26:14,400 | This about “Become me a little”. | |
| 715 | 01:26:20,120 –> 01:26:23,680 | -Here’s the Gessle song again. -Here comes Per again. |
|
| 716 | 01:26:24,880 –> 01:26:27,720 | -I’m thinking she never listens to music. She likes it. | |
| 717 | 01:26:28,880 –> 01:26:30,480 | -She moves to the music here. | |
| 718 | 01:26:33,800 –> 01:26:36,280 | -I think they’re so cute when they stand there digging the music. | |
| 719 | 01:26:36,320 –> 01:26:37,320 | -And soon comes the brief shot that has confused and bewildered many people. | |
| 720 | 01:26:45,920 –> 01:26:48,640 | It’s often discussed, in the US for example. | |
| 721 | 01:26:48,640 –> 01:26:50,880 | You’re not allowed to do this. | |
| 722 | 01:26:54,560 –> 01:26:55,960 | -You can’t show it, you mean? | |
| 723 | 01:26:55,960 –> 01:26:56,960 | -Exactly. | |
| 724 | 01:26:56,960 –> 01:26:59,720 | -But it doesn’t actually show anything. | |
| 725 | 01:27:03,040 –> 01:27:15,600 | -This is the only explicit suggestion that Eli is in fact a castrated boy. | |
| 726 | 01:27:15,600 –> 01:27:28,520 | It’s very exposing for both the actress and the character to show your genital area. | |
| 727 | 01:27:28,520 –> 01:27:41,640 | But in these circumstances, I think it’s justified. | |
| 728 | 01:27:41,640 –> 01:27:47,120 | -Definitely. Perhaps I should add that the shot is not Lina. | |
| 729 | 01:27:47,120 –> 01:27:53,080 | -No, it’s actually – I think you can reveal that – a doll. | |
| 730 | 01:28:00,240 –> 01:28:02,360 | Here’s the next goodbye. | |
| 731 | 01:28:05,680 –> 01:28:08,720 | -Leaving everything behind, one thing at a time. | |
| 732 | 01:28:14,160 –> 01:28:16,600 | This is where Systembolaget (liquor store) was situated during that time. | |
| 733 | 01:28:16,600 –> 01:28:19,240 | -On the right side? -Yes. |
|
| 734 | 01:28:21,560 –> 01:28:29,240 | Here I think you can hear Johan Söderquist’s – the composer – Swedish origin. | |
| 735 | 01:28:29,240 –> 01:28:34,480 | It sounds like folk music. He’s got his roots in folk music. | |
| 736 | 01:28:42,030 –> 01:28:49,623 | Here you can also hear that glass-like instrument that Johan wanted to include. | |
| 737 | 01:28:49,624 –> 01:28:53,619 | It’s very winter-like and sparkly. | |
| 738 | 01:28:53,620 –> 01:28:55,945 | It fits the movie very well. | |
| 739 | 01:28:56,449 –> 01:29:00,065 | There it is.. it sounds like someone’s playing on glasses. | |
| 740 | 01:29:00,066 –> 01:29:07,267 | It’s an instrument called waterphone. | |
| 741 | 01:29:07,268 –> 01:29:20,799 | It consists of thin metal strings welded to a box that resonates. | |
| 742 | 01:29:22,858 –> 01:29:25,269 | -There’s that picture again. | |
| 743 | 01:29:29,348 –> 01:29:33,357 | -I remember this was one of the weak spots in the story. | |
| 744 | 01:29:33,358 –> 01:29:41,355 | How he would get the impulse to enter this particular apartment. | |
| 745 | 01:29:41,356 –> 01:29:53,088 | That Lacke, sort of.. puts two and two together and investigates this weird apartment. | |
| 746 | 01:29:55,200 –> 01:29:56,971 | I think it works just fine. | |
| 747 | 01:30:04,371 –> 01:30:09,654 | This is also a change from the book, that Oskar’s already in the apartment. | |
| 748 | 01:30:12,111 –> 01:30:14,000 | -Here’s a funny detail. | |
| 749 | 01:30:14,001 –> 01:30:17,848 | It’s silly but it works. | |
| 750 | 01:30:17,849 –> 01:30:26,583 | When he removes the cardboard, the sound from the outside increases | |
| 751 | 01:30:26,584 –> 01:30:33,295 | which is of course not reasonable, but it does work somehow. | |
| 752 | 01:30:33,296 –> 01:30:37,615 | Perhaps the sound would get a tiny, tiny bit louder, but not audibly so. | |
| 753 | 01:30:39,540 –> 01:30:45,396 | -But it’s an suggestion of the threat from the outside. | |
| 754 | 01:30:45,397 –> 01:30:47,926 | That the outdoors will kill you using the sun. | |
| 755 | 01:30:50,769 –> 01:30:54,277 | -Ugh, here he fetches something.. | |
| 756 | 01:31:15,227 –> 01:31:22,420 | -I have gotten a few complaints that Eli does not – like in the book – sleep in a tub full of blood. | |
| 757 | 01:31:22,421 –> 01:31:29,165 | I thought that was almost exaggerating in the book too, but I kept it. | |
| 758 | 01:31:29,166 –> 01:31:30,647 | In the movie it didn’t feel right. Why would she? | |
| 759 | 01:31:34,887 –> 01:31:39,491 | -You could ask yourself where she’d get all that blood from. | |
| 760 | 01:31:39,492 –> 01:31:41,530 | Pretty large quantities. | |
| 761 | 01:31:44,589 –> 01:31:46,522 | Perhaps she killed a preschool class. | |
| 762 | 01:31:50,782 –> 01:31:54,555 | -The sound technician is looking at us, wondering if she should cut that.. | |
| 763 | 01:31:54,556 –> 01:31:57,918 | -No. | |
| 764 | 01:32:02,436 –> 01:32:05,061 | It’s a blackout blanket from the way | |
| 765 | 01:32:05,062 –> 01:32:07,590 | The one on top. | |
| 766 | 01:32:07,591 –> 01:32:11,144 | -You could wonder how Eli got it there so neatly. | |
| 767 | 01:32:11,145 –> 01:32:25,243 | -There’s actually a small ribbon so she could actually have pulled it in place from the inside. | |
| 768 | 01:32:25,244 –> 01:32:26,862 | That’s a crayfish knife. | |
| 769 | 01:32:26,863 –> 01:32:34,193 | -Very soon we get to see the only shot where Eli’s teeth are visible. | |
| 770 | 01:32:34,194 –> 01:32:35,289 | -She’s got teeth during the whole film. | |
| 771 | 01:32:35,290 –> 01:32:36,290 | -lollolo wtf u suck | |
| 772 | 01:32:36,291 –> 01:32:37,966 | -No, but I mean vampire teeth. | |
| 773 | 01:32:37,967 –> 01:32:38,967 | -Oh. | |
| 774 | 01:32:40,685 –> 01:32:45,175 | -To give her a very very subtle bump on the lip. | |
| 775 | 01:32:49,013 –> 01:32:55,741 | They’re not the most overdone Dracula’s sister-teeth. | |
| 776 | 01:32:56,835 –> 01:33:00,653 | -This is also a typical shot, soon. | |
| 777 | 01:33:07,065 –> 01:33:10,268 | -The sound works wonders here. You can hear what’s happening. | |
| 778 | 01:33:10,269 –> 01:33:16,245 | -The banging of the metal bathtub | |
| 779 | 01:33:19,861 –> 01:33:24,487 | -The shot of the knife hitting the floor is a complement. | |
| 780 | 01:33:24,488 –> 01:33:37,563 | It’s so important to thoroughly plant them when you work with such highly visual objects | |
| 781 | 01:33:37,564 –> 01:33:46,277 | So it was important to let Oskar put away his weapon. | |
| 782 | 01:33:56,697 –> 01:33:57,305 | -Here it comes.. | |
| 783 | 01:33:57,306 –> 01:34:02,922 | My all-time favorite film kiss. | |
| 784 | 01:34:34,307 –> 01:34:36,396 | This is you right? -This is me! |
|
| 785 | 01:34:36,397 –> 01:34:40,078 | I play the neighbour above | |
| 786 | 01:34:40,079 –> 01:34:44,353 | Mr Lindblad. | |
| 787 | 01:34:45,278 –> 01:34:56,672 | -On was some chat thing I heard from the ones who lived on top of Eli’s apartment | |
| 788 | 01:34:56,673 –> 01:34:58,971 | and they were correct, that was indeed the apartment above. | |
| 789 | 01:34:58,972 –> 01:35:05,432 | And so they’re supposedly the ones pounding the floor there. | |
| 790 | 01:35:05,433 –> 01:35:09,733 | But I don’t know if they lived there back then. | |
| 791 | 01:35:11,842 –> 01:35:13,794 | There’s that (Eli’s bloody shirt). -There comes that. |
|
| 792 | 01:35:13,795 –> 01:35:16,042 | “Who killed the man in the ice?” | |
| 793 | 01:35:27,800 –> 01:35:29,074 | Is that Eli who travels there? | |
| 794 | 01:35:29,075 –> 01:35:31,291 | -Are you asking me? | |
| 795 | 01:35:31,292 –> 01:35:33,086 | -I’m asking what you perceive. | |
| 796 | 01:35:33,087 –> 01:35:35,327 | -Of course it’s Eli. Why else would he..? | |
| 797 | 01:35:35,328 –> 01:35:42,358 | -It could’ve been some car passing by and he thinks Eli might be inside. | |
| 798 | 01:35:42,359 –> 01:35:44,024 | -But it is Eli. -k. |
|
| 799 | 01:35:47,469 –> 01:35:50,977 | -This is nice. -Yes, that’s an eye. |
|
| 800 | 01:35:50,978 –> 01:35:54,015 | -I think it’s a period mark. End. | |
| 801 | 01:35:54,016 –> 01:35:56,905 | It’s like a final picture. Now the end credits start. | |
| 802 | 01:35:56,906 –> 01:35:59,907 | -It’s a so-called false finale. | |
| 803 | 01:36:02,131 –> 01:36:06,247 | -And another one. This melting hand print. | |
| 804 | 01:36:06,248 –> 01:36:08,144 | Everything disappears. | |
| 805 | 01:36:11,250 –> 01:36:14,483 | Very good, I think. -Yeah, it’s charming. |
|
| 806 | 01:36:14,484 –> 01:36:17,830 | A lot of people think this should be the end. | |
| 807 | 01:36:19,501 –> 01:36:25,824 | But.. then we wouldn’t get to see the nice closing scene. | |
| 808 | 01:36:31,662 –> 01:36:34,480 | -Do a lot of people really think so? | |
| 809 | 01:36:34,481 –> 01:36:38,271 | -I’ve read several comments that say so. | |
| 810 | 01:36:38,272 –> 01:36:41,098 | -But that’s no fun. | |
| 811 | 01:36:41,099 –> 01:36:44,451 | -False finale. | |
| 812 | 01:36:46,353 –> 01:36:55,107 | -No, that closing scene, apart from the short epilogue, was really the driving force behind me writing the whole story. | |
| 813 | 01:36:55,108 –> 01:37:01,357 | It was my grand finale. That was my goal. | |
| 814 | 01:37:01,358 –> 01:37:05,154 | In the book I never had to opportunity to depict that scene | |
| 815 | 01:37:05,155 –> 01:37:11,715 | but the movie continues a while after where the book finishes. | |
| 816 | 01:37:18,912 –> 01:37:26,144 | -I remember that this was one of the last scenes we added. | |
| 817 | 01:37:26,145 –> 01:37:29,721 | In the scipting process, I mean. | |
| 818 | 01:37:31,444 –> 01:37:37,229 | -It exists in the movie, but it was probably not in the script until later, yeah. | |
| 819 | 01:37:37,230 –> 01:37:41,312 | But we needed a real.. -A kiss of Judas. |
|
| 820 | 01:37:48,782 –> 01:37:52,001 | Now we understand that Oskar’s fucked. Things will go to hell. | |
| 821 | 01:37:52,002 –> 01:37:56,611 | In English speaking countries they laugh when this shot comes up. | |
| 822 | 01:37:56,612 –> 01:38:00,887 | Bad (which of course means bath btw). | |
| 823 | 01:38:04,851 –> 01:38:07,566 | -This was a rather complicated shot, right? | |
| 824 | 01:38:07,567 –> 01:38:13,556 | -This is one of the most difficult pans. | |
| 825 | 01:38:13,557 –> 01:38:21,128 | It’s something we call objective panning | |
| 826 | 01:38:21,129 –> 01:38:27,683 | which means that the camera tells its own story. | |
| 827 | 01:38:27,684 –> 01:38:32,947 | It goes past this mirror here on the left side. | |
| 828 | 01:38:32,948 –> 01:38:38,777 | Then it’s a window where the camera woulld be visible in. | |
| 829 | 01:38:42,248 –> 01:38:44,843 | -There you are. | |
| 830 | 01:38:46,657 –> 01:38:51,271 | There comes that… | |
| 831 | 01:38:51,272 –> 01:38:52,272 | I remember an interpretatation that the real vampires were the bullies. | |
| 832 | 01:38:52,273 –> 01:38:57,267 | Because they’re not visible in the mirror. | |
| 833 | 01:38:57,268 –> 01:38:59,222 | -Holy fuck | |
| 834 | 01:38:59,223 –> 01:39:01,332 | -But I don’t think that was your intention, was it? | |
| 835 | 01:39:01,333 –> 01:39:10,326 | -No, I think it’s Jimmy who enters that door. | |
| 836 | 01:39:16,887 –> 01:39:22,851 | It’s so silly to keep praising things, but this is very good. | |
| 837 | 01:39:26,091 –> 01:39:28,139 | It’s Secret Service we’re listening to. | |
| 838 | 01:39:28,140 –> 01:39:33,311 | -Secret Service with Ola Håkansson singing. | |
| 839 | 01:39:33,312 –> 01:39:43,283 | It’s really good, but to me it gives me some teenage anxiety | |
| 840 | 01:39:46,444 –> 01:39:49,156 | because it reflects that time very strongly. | |
| 841 | 01:39:50,866 –> 01:39:55,808 | It has such a.. -He’s the worst one, really. |
|
| 842 | 01:39:55,809 –> 01:40:03,060 | – ..claustrophobic sound, this song. | |
| 843 | 01:40:06,969 –> 01:40:12,005 | -Ugh, this is heart-rending. -Yes, he stands there fooling him. |
|
| 844 | 01:40:14,834 –> 01:40:21,044 | -And with some enjoyment too. He likes it. | |
| 845 | 01:40:40,196 –> 01:40:44,672 | -Oskar is so small and lonely. | |
| 846 | 01:41:23,161 –> 01:41:27,498 | -Here’s an addition you made, or a different interpretation | |
| 847 | 01:41:27,499 –> 01:41:33,854 | In mine he jumps into the pool and grabs ahold of him. | |
| 848 | 01:41:33,855 –> 01:41:39,591 | While you made Oskar accept his fate. | |
| 849 | 01:41:39,592 –> 01:41:42,004 | -That Oskar swims to him, yeah. | |
| 850 | 01:41:48,868 –> 01:41:58,509 | This scene has a complicated architecture so it was about that too, | |
| 851 | 01:41:58,510 –> 01:42:01,964 | the he wasn’t supposed to be in the water with Oskar because of what happens next | |
| 852 | 01:42:08,962 –> 01:42:16,139 | -In the script this is written as seen through Oskar’s eyes. | |
| 853 | 01:42:16,140 –> 01:42:22,182 | But pulled this off very well, we actually get to see Oskar. | |
| 854 | 01:42:22,183 –> 01:42:31,667 | -Oh yeah, it was as if it was from Oskar’s point of view. | |
| 855 | 01:42:31,668 –> 01:42:34,963 | -Then the things would enter the water and all that. | |
| 856 | 01:42:34,964 –> 01:42:37,495 | -But that wasn’t possible to do. | |
| 857 | 01:42:37,496 –> 01:42:40,022 | -It’s much better this way. | |
| 858 | 01:42:41,314 –> 01:42:44,379 | -There comes this.. | |
| 859 | 01:42:45,576 –> 01:42:48,066 | This also generates cheers sometimes. | |
| 860 | 01:42:56,873 –> 01:43:00,859 | Much is told during that short period when he’s dragged through the water. | |
| 861 | 01:43:15,251 –> 01:43:20,154 | -The arm that gets bit off, and the saving arm. | |
| 862 | 01:43:20,155 –> 01:43:24,632 | I’m very proud of that shot. | |
| 863 | 01:43:27,353 –> 01:43:29,824 | Eli smiles here. | |
| 864 | 01:43:30,946 –> 01:43:32,848 | And the way he does so.. | |
| 865 | 01:43:35,768 –> 01:43:40,363 | You can see it in her eyes without seeing her mouth. | |
| 866 | 01:43:45,189 –> 01:43:49,743 | -That’s what happens.. when you’re not kind. | |
| 867 | 01:43:49,744 –> 01:43:54,676 | -That’s the conclusion we want to give all listeners of this commentary. | |
| 868 | 01:43:54,677 –> 01:43:59,784 | So you understand that’s what we’re trying to convey. -Be kind. |
|
| 869 | 01:44:02,763 –> 01:44:05,349 | That’s a good message. | |
| 870 | 01:44:06,701 –> 01:44:08,554 | -I think this is pretty brave. To put this snowfall here again. | |
| 871 | 01:44:08,555 –> 01:44:11,114 | You think it’s really over now. | |
| 872 | 01:44:13,368 –> 01:44:17,135 | -The most eager ones usually stand up now. | |
| 873 | 01:44:18,409 –> 01:44:20,437 | And the ones having to visit the toilet.. | |
| 874 | 01:44:22,928 –> 01:44:28,233 | -But for the faithful, there’s another small part. | |
| 875 | 01:44:29,770 –> 01:44:33,140 | -I also want to ride in a train like this. | |
| 876 | 01:44:33,141 –> 01:44:35,198 | -On your way to the great adventure? | |
| 877 | 01:44:35,199 –> 01:44:37,158 | -Yeah. | |
| 878 | 01:44:37,159 –> 01:44:38,962 | -With a friend.. in a box. | |
| 879 | 01:44:38,963 –> 01:44:41,510 | -In a box.. a secret friend. | |
| 880 | 01:44:41,511 –> 01:44:43,869 | How cool. | |
| 881 | 01:44:45,837 –> 01:44:49,751 | It’s a nice old second class wagon. | |
| 882 | 01:44:53,642 –> 01:44:57,450 | -Someone asked if they had that ripped off head in that bag, remember? | |
| 883 | 01:44:57,451 –> 01:45:04,499 | -Yeah, someone had imagined the head was in the bag. I don’t know why. |
|
| 884 | 01:45:04,500 –> 01:45:12,655 | -Here’s your homework, to decipher what he knocks here. | |
| 885 | 01:45:12,656 –> 01:45:14,288 | Or should we say it? | |
| 886 | 01:45:14,289 –> 01:45:16,250 | -We can say it. I thought it was so sweet. | |
| 887 | 01:45:16,251 –> 01:45:21,164 | -Kåre and I discussed what he should knock there. | |
| 888 | 01:45:21,165 –> 01:45:26,751 | And we agreed on “puss” (small kiss). | |
| 889 | 01:45:29,172 –> 01:45:30,773 | I thought that worked nicely. | |
| 890 | 01:45:30,774 –> 01:45:33,672 | -And that’ll be the closing word. | |
| 891 | 01:45:33,673 –> 01:45:34,673 | -Yeah.. | |
| 892 | 01:45:36,342 –> 01:45:41,571 | Kisses to you all and try to be kind. | |
| 893 | 01:45:41,572 –> 01:45:44,605 | Don’t pour acid on your face. | |
| 894 | 01:45:48,951 –> 01:45:51,387 | Don’t make films with cats. | |
| 895 | 01:45:56,017 –> 01:45:59,465 | -Thanks for this moment and your attention. | |
| 896 | 01:46:04,569 –> 01:46:06,607 | -Let’s hope we meet again some time in the future. | |
| 897 | 01:46:06,608 –> 01:46:08,242 | -Good bye! -Bye! |
|
| 898 | 01:46:08,243 –> 01:46:10,288 | Swedish commentary translated to English By Se[BBB]e – Sebastian Fabian |
|
| 899 | 01:46:10,630 –> 01:46:12,438 | I apologize for any oddities and errors =) | |
| 900 | 01:46:12,439 –> 01:46:22,847 | Feel free to contact me at sebastianfabian@hotmail.com for any reason. |