Director’s Commentary Track – UK DVD

The United Kingdom DVD release of Let The Right One In included an English commentary audio track with Tomas Alfredson and John Ajvide Lindqvist commenting on various things throughout the film. An srt file has been transcribed from the audio commentary (an srt file is a subtitle file that is compatible with many DVD playing programs, such as vlc). The srt file may be found here.

If you are interested in the commentary but don’t have to time or inclination to actually play the DVD, below is a transcript created from the srt file.

Time Index
1 00:00:05,000 –> 00:00:10,000 Subtitles courtesy of
2 00:00:10,000 –> 00:00:13,000 Special thanks to Gareth
3 00:00:26,607 –> 00:00:33,050 JAL: Hello and welcome to this director and script writer comment to Let The Right One In.
4 00:00:33,489 –> 00:00:37,258 JAL: My name is John Ajvide Lindqvist and I sound like this.
5 00:00:38,003 –> 00:00:46,857 TA: My name is Tomas Alfredson and I’m the director and I sound like this. Hello. Good evening. Good afternoon. Good morning.
6 00:00:49,048 –> 00:00:55,241 JAL: So, where do we begin?
TA: Well, I think the film has started here, hasn’t it?
7 00:00:55,406 –> 00:01:01,400 TA: It is a very subtle start here with a…
8 00:01:02,122 –> 00:01:07,997 TA: We tried to create the sound of snow falling here.
9 00:01:08,709 –> 00:01:18,965 TA: Which was quite complicated when you come to think of it because snow hasn’t got any sound if you listen when snow falls.
10 00:01:18,965 –> 00:01:22,911 TA: But inside your head it has a sound, doesn’t it?
11 00:01:24,050 –> 00:01:30,987 TA: So this is a mixture if you listen if you turn up your receiver without the commentary.
12 00:01:30,987 –> 00:01:43,151 TA: So you will hear… I think it was like small bubbles in mineral water which was recorded in a very high resolution.
13 00:01:43,152 –> 00:01:48,279 TA: And then we took the speed down to like 25% or something.
14 00:01:48,761 –> 00:02:02,525 TA: And it’s also sugar falling onto a very hard surface like if it was marble or a very stiff table. That mixture.
15 00:02:07,051 –> 00:02:12,563 JAL: And this snowfall wasn’t planned to be included in the movie from the beginning but you had saw this beautiful snowfall…
16 00:02:12,563 –> 00:02:16,000 JAL: …and filmed it and decided to include it.
TA: Yeah, yeah, yeah.
17 00:02:16,979 –> 00:02:28,397 TA: And that is the wonderful thing with filmmaking:
that even if you’re planning everything in detail…
18 00:02:28,397 –> 00:02:34,469 TA: …nature comes in and gives you little surprises and gifts.
19 00:02:34,469 –> 00:02:39,630 TA: And this was a gift from nature I think. It was a beautiful shot.
20 00:02:43,071 –> 00:02:51,673 JAL: And here in the shot that comes after this I would like to mention that because this was like the starting point in the story for me,
21 00:02:52,090 –> 00:02:57,821 JAL: This with Oskar standing by his window. The feeling of being alone in the night in your bedroom…
22 00:02:58,226 –> 00:03:05,251 JAL: …looking out at the yard in your apartment complexes just waiting for something to happen.
23 00:03:05,689 –> 00:03:11,902 JAL: Anything. For anyone to come through the darkness. I mean, maybe not to save you, but just to…
24 00:03:12,330 –> 00:03:21,557 JAL: That something would happen, that would maybe change things. That feeling was a very important starting point in writing the story.
25 00:03:26,389 –> 00:03:40,986 TA: I also think that this is a very typical feeling of the Swedish suburbia or this particular suburb outside Stockholm called Blackeberg.
26 00:03:40,986 –> 00:03:53,588 TA: And though it’s not shot in the actual Blackeberg but the feeling and the ambience and the tone is very typical I think.
27 00:03:53,949 –> 00:03:59,746 JAL: And also I grew up in Blackeberg and I can assure you that this looks very much the same.
28 00:03:59,900 –> 00:04:04,053 JAL: As you say it’s got the same feeling even though the buildings aren’t built in exactly the same way.
29 00:04:05,029 –> 00:04:11,910 JAL: And I also had this kind of – what do you call it – panorama tapestry?
This thing with the forest around it.
30 00:04:12,535 –> 00:04:22,891 JAL: And I used to lie there and watch these patterns and see if I could find figures, trolls or goblins, and I would whisper to them when I was a child.
31 00:04:22,891 –> 00:04:31,526 TA: I had also… but I think it was like a tropical sunset or something.
32 00:04:31,723 –> 00:04:43,525 TA: And then I had this very popular poster which I always remember when think of my teens. It is this prick with sunglasses. Do you remember that?
33 00:04:44,182 –> 00:04:48,092 JAL: Uh… (chuckles)
TA: You could buy it on this very famous Swedish record store.
34 00:04:49,311 –> 00:04:54,418 TA: It’s very typically 1980’s. Everybody got it.
JAL: Except me.
35 00:04:54,472 –> 00:05:00,883 TA: (Laughs) Except you. A prick with sunglasses and a cigarette.
JAL: Okay.
36 00:05:02,352 –> 00:05:10,548 JAL: Another one of my big starting points for writing this story in the beginning was to portray Blackeberg, the place where I grew up.
37 00:05:11,129 –> 00:05:17,803 JAL: And the only thing I knew when I was going to be writing the book was that I was to portray Blackeberg and something horrible would come there.
38 00:05:18,306 –> 00:05:21,693 JAL: I didn’t know what it was from the beginning. I didn’t know that it was going to be a vampire.
39 00:05:22,416 –> 00:05:26,394 JAL: But then as the story went on and I knew it was going to be a love story about young people
40 00:05:26,821 –> 00:05:31,095 JAL: I came up with that a vampire would be the best horrible thing to come there.
41 00:05:34,371 –> 00:05:41,856 JAL: And this is also very typical 80s: the policeman coming to visit your class and talking about drugs and what not to get into.
42 00:05:42,086 –> 00:05:44,000 TA: (Chuckles) Yes. Very typical.
43 00:05:44,913 –> 00:05:50,579 JAL: And I remember I think I told you when I did the Swedish commentary, they had this strange show every year in Blackeberg – the police –
44 00:05:50,601 –> 00:05:57,779 JAL: where they showed off their dogs. And the star number was where the dog picked up an egg with his mouth without breaking it.
45 00:05:58,085 –> 00:06:01,975 JAL: And I always thought, “In what situation could they have any use for this?”
(Both laugh)
46 00:06:03,127 –> 00:06:18,611 TA: Totally boring. We also had that in the suburb where I grew up and it was this sort of the stand-up comedian of the police force walking…
47 00:06:18,611 –> 00:06:27,301 TA: …around in the uniform among children and telling them boring jokes. That is a very, very typical Swedish thing.
48 00:06:30,533 –> 00:06:36,506 JAL: And here we get the first big hint on Oskar’s predicament. What his life looks like.
49 00:06:38,029 –> 00:06:40,647 JAL: This hurts.
50 00:06:44,045 –> 00:06:50,028 JAL: And Oskar’s hairdo is also very, very much 1982 or 83 – around that time.
51 00:06:53,041 –> 00:06:58,444 JAL: I think I had that hairdo around that time. Did you?
What do you say – the mop?
52 00:06:59,167 –> 00:07:03,397 TA: The gold mop. The floor mop hairdo.
53 00:07:04,745 –> 00:07:11,079 JAL: And this I know is one of the things that has been suggested as merchandise for this movie: To be able to buy one of these kits. (Chuckles)
54 00:07:11,408 –> 00:07:14,531 TA: Murder kit.
JAL: Yeah, Hakan’s murder kit.
55 00:07:18,104 –> 00:07:24,909 TA: When we were discussing these props I said that I wanted it to be smelly.
56 00:07:26,443 –> 00:07:35,242 TA: So when you see this stuff you could really feel the smell of it. It’s sort of rotten; rotten blood inside that.
57 00:07:37,467 –> 00:07:40,535 JAL: Yeah and he doesn’t clean very properly either.
TA: (Laughs)
58 00:07:40,765 –> 00:07:44,491 JAL: It’s very basic.
TA: It’s not hygenical.
59 00:07:54,902 –> 00:08:08,095 TA: In the background you hear the weather report, which is very useful when you do the sound, I think, to have the everyday feeling to a situation.
60 00:08:08,095 –> 00:08:11,876 TA: The weather report is very good. It makes you feel calm.
61 00:08:18,034 –> 00:08:26,922 JAL: And I was up there to visit when you recorded and it was so – I wasn’t here that night that this was recorded – but it was extremely cold, wasn’t it?
62 00:08:27,273 –> 00:08:37,979 TA: This situation? Yes. It’s outside Lulea. It’s a town in the very far north of Sweden because we really wanted the cold and the snow and the darkness.
63 00:08:37,979 –> 00:08:50,373 TA: So we could work daytime. And it was like ten minutes we could do this shot where he meets the boy because it was typical twilight.
64 00:08:50,373 –> 00:08:55,238 TA: So we had ten minutes of twilight so it was very stressful, this one.
65 00:08:56,893 –> 00:09:04,794 JAL: Well, here’s one of those subtle sound effects: that you hear the small change in his pocket falling down when he is turning upside down.
66 00:09:06,745 –> 00:09:10,416 JAL: It’s one of those small touches that make the soundscape interesting.
67 00:09:19,303 –> 00:09:27,171 JAL: And here also you get the first hint of something that I know we discussed and you talked about: this thing that in this movie horrible things happen…
68 00:09:27,204 –> 00:09:33,417 JAL: …but it’s always right in the corner of your eye. Somebody if they’d just turn their head in the wrong or the right direction…
69 00:09:33,417 –> 00:09:37,439 JAL: …they would have seen it. Somebody can always see what’s happening but nobody does.
70 00:09:38,568 –> 00:09:43,740 TA: Yeah it’s very close. It’s always close to others – the violence.
71 00:09:45,471 –> 00:09:49,340 TA: And you could see the cars moving in the background here. It’s very neat.
72 00:09:50,644 –> 00:09:54,216 TA: Lighting here by Hoyte and the lighting crew.
73 00:09:54,950 –> 00:10:01,821 JAL: And Hakan was a character in the book that I had a lot of trouble with because I didn’t want him to be just a monster.
74 00:10:01,854 –> 00:10:04,725 JAL: It would have to someone that you could feel empathy for.
75 00:10:05,229 –> 00:10:10,489 JAL: And I use a lot of space in the book to describe him in such a way that you could feel some sort of empathy.
76 00:10:11,015 –> 00:10:17,152 JAL: And amazingly enough I think that this goes through even though he’s only got a short role in the movie.
77 00:10:18,256 –> 00:10:30,094 TA: Per who plays – Per Ragnar who plays this character – he does an amazing job and it was his idea to have this very cheesy hat.
78 00:10:30,532 –> 00:10:37,918 TA: I think he bought it in Russia when he was… or Soviet a long time ago when he was on tour.
79 00:10:39,134 –> 00:10:45,008 TA: It’s so uncool, this hat, so it makes you like him more.
80 00:10:54,706 –> 00:10:56,109 JAL: And here drops the blood.
81 00:10:58,629 –> 00:11:04,952 TA: Try to direct a poodle, if you go to director school.
82 00:11:04,952 –> 00:11:07,279 JAL: I like this one here where he looks into the camera here.
TA: (Laughs)
83 00:11:07,279 –> 00:11:11,407 JAL: It’s like he’s asking us, “Did you see this? Do you see what I’m seeing?”
TA: (Laughs) Yeah.
84 00:11:12,941 –> 00:11:18,760 TA: The poodle guy had some poodle…
JAL: Munchies.
85 00:11:19,340 –> 00:11:27,340 TA: No some smell things from a poodle woman. (Chuckles)
86 00:11:27,394 –> 00:11:34,123 JAL: OK. So he would be attracted to the boy hanging upside down. Thinking it was time for some boogie woogie. (Both laugh)
87 00:11:44,260 –> 00:11:55,339 TA: This was the first night of shooting, this scene, I remember. And we started off with a very complicated shot.
88 00:11:56,117 –> 00:12:12,905 TA: This is made in one shot where Eli does the entrance in the film. Here outside the frame she is being helped up on this playground thing, outside the frame.
89 00:12:13,716 –> 00:12:19,841 TA: And I think this is maybe take 15 or something.
90 00:12:21,321 –> 00:12:29,825 JAL: And it’s also something that was – it’s obvious in the film also but it was more developed in the story – this with Oskar’s violent fantasies.
91 00:12:31,716 –> 00:12:39,523 JAL: This thing that he is creating almost a fantasy world where he is a killer and a revenger, avenger to terrible things.
92 00:12:42,459 –> 00:12:47,073 JAL: And in this first meeting of course they are very reluctant to have any contact.
93 00:12:48,541 –> 00:12:53,012 JAL: Tell us about the frame, the playground thing that she is standing on.
94 00:12:55,620 –> 00:13:09,286 TA: Yes. That is designed by Eva Noren who is the set designer and she has made a wonderful job to recreate the early 80s…
95 00:13:10,557 –> 00:13:23,214 TA: …and she designed this playground thing to match the format. It’s made in CinemaScope, this film, and it’s very hard to make the framing for that.
96 00:13:23,257 –> 00:13:28,068 TA: So you have to have elements that fit into the CinemaScope format.
97 00:13:32,451 –> 00:13:39,158 TA: Here you have a little example of what could happen when you make a film.
98 00:13:40,144 –> 00:13:49,941 TA: The children step on their lines here. That wasn’t the intention but the take – the whole – was so good so we kept that.
99 00:13:50,204 –> 00:13:52,094 JAL: You also kept it in the dubbing.
100 00:13:52,390 –> 00:13:59,803 TA: We also kept it in the dubbing, yeah. But I think it’s neat. It’s like… like reality.
101 00:14:05,310 –> 00:14:08,789 TA: An old Swedish subway train.
102 00:14:10,302 –> 00:14:13,671 TA: Do you remember those?
JAL: Yeah I do. You found them.
103 00:14:14,115 –> 00:14:20,444 JAL: And here also we get… here’s the first real hint, I think, of how dangerous Eli actually is.
104 00:14:21,841 –> 00:14:27,172 JAL: Which is mainly done through just Eli’s voice and the expression of his face.
105 00:14:30,114 –> 00:14:39,884 TA: Per does a fantastic job here. His… the terror in his eyes and that he is obeying her.
106 00:14:50,523 –> 00:14:55,510 JAL: And now here we’ve also got this thing you can go to that… I don’t know what this is: the school psychologist or something.
107 00:14:55,510 –> 00:15:01,028 JAL: Always they discussed this in school if something had happened in the world or in the nearby area you could go to the school psychologist…
108 00:15:01,028 –> 00:15:07,395 TA: (Laughs)
JAL: …and no one EVER did. I mean you wouldn’t be seen dead inside that door.
109 00:15:09,460 –> 00:15:15,756 TA: “Hello. I want to talk about the killings…” (Laughs)
JAL: Who would?
110 00:15:16,446 –> 00:15:21,586 TA: This was re-edited, this sequence, because in the original…
111 00:15:22,106 –> 00:15:36,588 TA: …in the book and in the script the tormentors come into the toilet and they bully him in there, but we thought that when we had edited the film…
112 00:15:37,212 –> 00:15:46,165 TA: …too much violence came too early. So we sort of punctured the pressure. So we wanted to wait a little.
113 00:15:48,335 –> 00:15:50,954 JAL: When I wrote the book this is the starting scene of the book.
114 00:15:51,431 –> 00:15:59,436 JAL: I’m more like… when I wrote the book I wanted to kickstart the violence
– the violent part of it. So that’s actually the first scene in the book.
115 00:15:59,943 –> 00:16:05,775 JAL: And one of the things we discussed early on and decided upon as transferring the book into a script was that…
116 00:16:06,252 –> 00:16:14,618 JAL: …we would concentrate completely on the love story between Oskar and Eli. And everything that didn’t have anything to do with that story would go.
117 00:16:15,429 –> 00:16:20,448 JAL: And also the book of course includes a lot of really, really horrific details and scenes…
118 00:16:20,470 –> 00:16:24,908 JAL: …which is more or less unfilmable if you want anyone to watch a movie.
119 00:16:27,067 –> 00:16:40,557 JAL: And here we are to see another aspect of Oskar’s troubled mind: Not only his revenge fantasies but also he’s collecting stories about murder and…
120 00:16:40,557 –> 00:16:46,003 JAL: …mutilation and about people doing bad things to each other with chainsaws and so on.
121 00:16:46,600 –> 00:16:51,378 JAL: Because it gives him some kind of pleasure just pondering these things.
122 00:16:51,970 –> 00:16:53,970 TA: The body of Himler.
123 00:16:54,047 –> 00:17:01,652 JAL: Is that what we see up there?
TA: You see Himler committed suicide when he was caught.
124 00:17:02,912 –> 00:17:07,416 JAL: In here in the background we also hear an original song by Per Gessel.
125 00:17:08,562 –> 00:17:25,760 TA: You know this is the singer and composer in the famous Swedish group Roxette. And Per wrote us a song originally for this film in the style…
126 00:17:25,760 –> 00:17:36,976 TA: …of the early 80s to create the right feeling without playing hit records because I didn’t want hit records in the film.
127 00:17:39,129 –> 00:17:48,521 TA: Well except for the grand finale where we have this Secret Service song Flash In The Night.
128 00:17:50,493 –> 00:17:59,473 JAL: And here we are introduced to the next big group of characters in the movie. The drunks hang around the local Chinese restaurant…
129 00:18:00,262 –> 00:18:03,780 JAL: …which was constructed just for this purpose –
for the movie in Blackeberg.
130 00:18:04,700 –> 00:18:07,506 JAL: And you shot there for two days I think.
131 00:18:09,424 –> 00:18:17,303 JAL: You could smoke inside at that time.
TA: It feels like a hundred years ago but it was just two years ago or something.
132 00:18:20,141 –> 00:18:25,165 JAL: I loved writing about these people. In the book they have a lot of space…
133 00:18:25,242 –> 00:18:33,620 JAL: …some people say too much space – but I really love these characters and Their relationships towards each other and how they relate.
134 00:18:36,250 –> 00:18:44,627 JAL: And here also you can hear and see very clearly the impossibility of Hakan with normal human contact. How he can’t get into society.
135 00:18:47,635 –> 00:19:01,415 TA: Yeah, you imagine this dull life going down to the local Pizza Hut or to the Chinese here because they never make any food at home.
136 00:19:03,289 –> 00:19:08,555 JAL: Maybe they don’t even eat any food there. I mean beer is almost food.
137 00:19:15,272 –> 00:19:20,888 TA: In the background here you hear a famous Swedish musical “Qvis”.
138 00:19:23,086 –> 00:19:27,825 JAL: Called “The Notecrackers”.
TA: “The Notecrackers”, yes! (Laughs)
139 00:19:29,666 –> 00:19:35,403 JAL: I love these little hints that let on… just the thing that Oskar touches his hair a little bit just before going out.
140 00:19:36,065 –> 00:19:38,208 TA: Yeah, he wants to be good looking.
141 00:19:38,734 –> 00:19:45,687 TA: Kare, who plays the part of Oskar, he is a very peculiar young boy.
142 00:19:45,747 –> 00:19:50,843 TA: You cannot direct him to do those things because he wants to do them himself.
143 00:19:50,969 –> 00:20:01,445 TA: And so all those small movements and ticks;
they come from Kare himself.
144 00:20:04,930 –> 00:20:12,568 JAL: Here I just want to mention something: This cube, this Rubik’s Cube – which is very 80s – is in fact in my story.
145 00:20:12,853 –> 00:20:17,861 JAL: It is in fact an homage to Clive Barker and his film HellRaiser.
TA: I didn’t know.
146 00:20:17,970 –> 00:20:27,773 JAL: No. Something called “The Lament Configuration”, a sort of box in the same size which is used to come in contact with the Cenobites from…
147 00:20:28,277 –> 00:20:36,983 JAL: …the other side and in this story its the very prosaic Rubik’s Cube which is used by Oskar to get in touch with the other side, with Eli.
148 00:20:38,550 –> 00:20:52,275 TA: I also think it reflects the fact that we later see that Eli is very interested in different kinds of puzzles and mazes…
149 00:20:52,703 –> 00:21:00,987 TA: …and that a vampire must have enormous amounts of time to kill.
150 00:21:01,946 –> 00:21:08,466 TA: So what do you do when you have a lot of time?
You get into complicated puzzles.
151 00:21:12,548 –> 00:21:26,942 TA: This was also the scene we used when we were casting. So I heard this text thousands and thousands of times and we had gone through it thoroughly.
152 00:21:27,907 –> 00:21:42,158 TA: And it was very well balanced and a good dialog scene to use here, for that purpose.
153 00:21:44,815 –> 00:21:53,434 JAL: And here’s also, I go on about this, the first hint about what Oskar actually can give to Eli, which was trouble for me in writing the story.
154 00:21:53,724 –> 00:21:59,313 JAL: What Eli can give Oskar in protection, strength, and so on is obvious. But why would Eli be interested in Oskar?
155 00:21:59,812 –> 00:22:06,266 JAL: Because Oskar knows how to live in this society and he can be a child together with Eli.
156 00:22:06,266 –> 00:22:09,833 JAL: Eli can be a child for the first time in a very, very long time.
157 00:22:11,318 –> 00:22:14,731 JAL: And he has toys. He can lend them to her.
158 00:22:19,904 –> 00:22:23,060 JAL: Snowflakes in here hair, isn’t it?
TA: Yes.
159 00:22:24,024 –> 00:22:27,498 TA: This is made in a super-cooled studio.
160 00:22:28,079 –> 00:22:42,396 TA: But it’s very cold because we wanted to maintain the air coming out of… when they are breathing. I don’t know what you call it…
161 00:22:43,212 –> 00:22:49,442 JAL: Fumes? Breathing in fumes? Which is I understand very, very difficult to do digitally.
162 00:22:50,450 –> 00:22:56,033 TA: Yeah, you cannot do really it with a good result I think.
163 00:22:58,532 –> 00:23:03,803 TA: It is the old Swedish saying: Shit in – shit out. (chuckles)
164 00:23:12,427 –> 00:23:14,630 JAL: They’re quite cute here.
165 00:23:14,713 –> 00:23:25,578 TA: Yeah, they are. This was an extremely complicated location to find. I think the location manager went crazy on me. He hated me for this…
166 00:23:26,646 –> 00:23:37,927 TA: …for this location because I wanted the very typical 50s house, Blackeberg house in the background, and to have the man outside.
167 00:23:38,650 –> 00:23:53,368 TA: No, in this balcony seeing the whole scenery and to have this road in the foreground. So we were looking at hundreds of locations.
168 00:23:57,745 –> 00:24:06,112 JAL: Here we also see Eli using her child-like, or his child-like appearance to lure people into her fangs.
169 00:24:06,441 –> 00:24:15,986 JAL: Which is really… I think this is very ambivalent shot in that way because Eli pretends to be helpless and begs…
170 00:24:15,986 –> 00:24:22,528 JAL: …for people’s mercy and goodness to help, to be good people. And that’s what’s killing them.
171 00:24:23,643 –> 00:24:36,444 TA: It’s really the only scene where she is evil in that way, or manipulating.
172 00:24:39,135 –> 00:24:47,031 JAL: You could say that. And also I really love this shot which happens in the end when Eli sinks down onto his back. It comes later. Well anyway… but..
173 00:24:48,006 –> 00:25:00,465 JAL: Because in my original story Eli doesn’t really feel that kind of remorse. Eli is a more, not evil, but a less light character in the original story.
174 00:25:00,597 –> 00:25:09,084 JAL: But still when I saw this, because this isn’t in the script, Eli sinking down afterwards I really, really liked it. The way it was portrayed.
175 00:25:12,640 –> 00:25:21,801 JAL: And this Eli does for the plague, the vampiric plague, not to reach the central nervous system, so there would be another vampire.
176 00:25:22,925 –> 00:25:24,925 JAL: Here we see it.
177 00:25:26,990 –> 00:25:32,491 TA: I think she is really tired of this. She’s really, really tired.
178 00:25:38,770 –> 00:25:45,608 JAL: Yeah, it’s true. It’s what she expresses with her body: Fatigue and remorse.
179 00:25:55,378 –> 00:26:02,890 JAL: Here we see also a thing that you and I discussed quite a lot when we were working with the script in the beginning: This thing about barriers…
180 00:26:03,827 –> 00:26:08,996 JAL: …separating them, and doing that in different ways, the windows and wall and so on.
181 00:26:11,437 –> 00:26:22,439 TA: The thin surface dividing us but we are very close to each other. But we have thin surfaces dividing us in modern society so…
182 00:26:23,672 –> 00:26:25,316 TA: Oooooo!
JAL: (Laughs)
183 00:26:25,732 –> 00:26:31,907 TA: Here you could feel the smell, couldn’t you?
JAL: Yeah. And that was also a difficult shot, wasn’t it?
184 00:26:31,935 –> 00:26:34,066 TA: Oof, yeah!
JAL: A very competent shot.
185 00:26:40,077 –> 00:26:44,893 JAL: (Chuckles) The wallpaper. It’s a really good set design.
TA: Yeah.
186 00:26:51,994 –> 00:26:56,772 TA: In Swedish we call that hat he is wearing “mink pussy”.
187 00:27:01,549 –> 00:27:07,489 TA: Just so that you know. I didn’t mean to be rude.
JAL: (Laughing)
188 00:27:08,562 –> 00:27:16,650 JAL: (Laughing) It’s just the thing that we’re silent for a while, and then this things comes, and then we’re silent again. Really good commentary, this.
189 00:27:17,916 –> 00:27:29,263 TA: Well the difficulty to do a good period piece is that you have to not only find 1982 stuff that’s very typical for this period of time.
190 00:27:29,263 –> 00:27:29,263 TA: You have also to find the stuff that’s 1970 stuff and 1960 stuff…
191 00:27:29,263 –> 00:27:46,830 TA: …because the people obviously have created their homes and bought their clothes before 1982, right?
192 00:27:48,917 –> 00:28:02,670 TA: This shot when Hakan is dragging the body of Jocke… we had a doll made in the proper weight…
193 00:28:03,302 –> 00:28:17,540 TA: …and you really understand the idea why killers slice the corpses or the bodies. Because it’s really totally impossible to move it.
194 00:28:18,044 –> 00:28:32,181 TA: And Per who plays Hakan, he’s very fit and strong person, but he almost couldn’t move the body. It’s extremely heavy.
195 00:28:37,741 –> 00:28:45,697 JAL: Yeah. I remember also in writing this in from the beginning in the book. it was somehow to give an idea to the difficulty and the tediousness…
196 00:28:45,785 –> 00:28:56,000 JAL: …and all the work and the weight, so to speak, involved in killing and disposing of people when Eli has done her handiwork.
197 00:28:56,108 –> 00:29:01,017 JAL: And tells Hakan to take care of the body. It’s a lot of work. It’s not obvious how to do this.
198 00:29:19,339 –> 00:29:22,255 TA: I think this is the first time you see Oskar smile.
199 00:29:22,518 –> 00:29:25,104 JAL: And what a smile.
TA: Yeah.
200 00:29:25,915 –> 00:29:29,487 TA: It’s… uh…
JAL: It’s one of those smiles you can’t help to start smiling yourself…
201 00:29:29,500 –> 00:29:31,065 JAL: …when you see it.
TA: No, it’s beautiful.
202 00:29:31,175 –> 00:29:37,991 TA: And together with this bird, I don’t know what it’s called, but it’s very… a winter sound.
203 00:29:39,832 –> 00:29:41,541 TA: Here.
204 00:29:42,440 –> 00:29:42,472 TA: It is a promise, that smile.
205 00:29:54,319 –> 00:30:01,595 JAL: Here we also get the feeling on this that you talked about before that you wanted this thing of the 80s with the unclean materials.
206 00:30:01,814 –> 00:30:06,066 JAL: you can almost feel these leggings on their legs, where it’s itching a little bit.
207 00:30:06,066 –> 00:30:10,142 TA: Yeah. (Laughs)
JAL: The polyester.
208 00:30:10,274 –> 00:30:12,641 JAL: And this is actual Blackeberg.
209 00:30:12,860 –> 00:30:23,249 TA: This is the actual Blackeberg and we had like one or two days planning for taking shots in the actual Blackeberg and for some reason…
210 00:30:23,249 –> 00:30:36,267 TA: …it was a heavy snowfall before and after that the snow melted so we had some help from the gods.
211 00:30:37,845 –> 00:30:41,571 JAL: So both nature and the gods were with you.
212 00:30:55,641 –> 00:31:08,310 TA: Kare Hedebrandt and Lina Leandersson plays the main parts here and they are one of the most interesting actors I have ever worked with.
213 00:31:08,310 –> 00:31:24,396 TA: They are so intelligent and they are so grown up though they are so young, they are 12 as they are in the film, and we had a casting process…
214 00:31:24,396 –> 00:31:39,781 TA: …that lasted over like 12 months and we met I think a thousand kids to find those two. But they really make this film a lot.
215 00:31:41,141 –> 00:31:51,792 TA: And they are the kind that was… they didn’t want these parts too much. They weren’t so interested, and they have a lot of integrity…
216 00:31:52,055 –> 00:32:03,627 TA: …and I really turn on that, when people have a lot of integrity. And you can really see that in those two kids.
217 00:32:05,424 –> 00:32:09,063 TA: Beautiful conversation, this.
218 00:32:09,545 –> 00:32:15,813 JAL: It’s one piece of dialog I’m quite proud of the thing about when he is asking about her age and he tells his age EXACTLY.
219 00:32:16,865 –> 00:32:25,588 TA: Yeah, It’s very… it’s one of the best dialog scenes. It’s beautifully balanced.
220 00:32:26,289 –> 00:32:33,478 JAL: And here I wish I could have written better dialog explaining how to solve the cube, but unfortunately I don’t know myself really.
221 00:32:33,478 –> 00:32:35,538 JAL: It’s very theoretical, I know.
222 00:32:36,283 –> 00:32:42,551 TA: Yeah, you had to start with the corners.
JAL: Right, you have to start with the corners. That’s one method apparently.
223 00:32:43,647 –> 00:32:51,186 TA: I had one method where you just took a screwdriver and put into it and cracked it and then put it together.
224 00:32:51,186 –> 00:32:58,243 JAL: It’s called cheating Tomas.
TA: No – an alternative…
225 00:32:59,208 –> 00:33:03,065 JAL: Here she is reading from Bilbo.
226 00:33:11,306 –> 00:33:17,618 JAL: Here we saw fit to plan something that was supposed to happen later. Where Oskar was going to make a fire. But he never did as it turned out.
227 00:33:20,949 –> 00:33:33,705 TA: But I really liked the detail because it was so good and it was so… some kind of “Now let’s have a very cozy time reading aloud…
228 00:33:33,705 –> 00:33:39,085 TA: …so I will turn this little oil lamp on.” That’s very typical.
229 00:33:43,480 –> 00:33:46,899 TA: Samuel Morse
JAL: Yes.
230 00:33:47,206 –> 00:33:53,824 TA: The inventor of the Morse system. Alphabet.
231 00:33:55,446 –> 00:34:00,312 JAL: I really don’t like Oskar’s classroom. I wouldn’t want to go to school there.
232 00:34:01,364 –> 00:34:06,054 TA: It’s made in a gym.
JAL: Ah. Okay.
233 00:34:07,544 –> 00:34:12,760 JAL: Here we also have this thing: The teacher in the left of the frame. She could have seen.
234 00:34:13,725 –> 00:34:16,574 TA: She is very close to this.
235 00:34:17,275 –> 00:34:23,806 TA: And then we introduce the tormentors there in the background, which is very elegant I think.
236 00:34:25,823 –> 00:34:41,164 TA: Is also a very fantastic example of Hoyte, Hoyte van Hoytema the director of cinematography, his very special way of lighting…
237 00:34:41,164 –> 00:34:50,808 TA: And the light comes from very high above to sort of recreate the feeling of moonlight.
238 00:34:51,333 –> 00:35:06,237 TA: So there is almost no shadows anywhere and you really cannot see any particular direction from the light, so it is extremely soft lighting.
239 00:35:08,341 –> 00:35:16,689 JAL: Which does also make this scene even more effective. It’s the sort of scene where you would have played with light and shadow to make it more dramatic.
240 00:35:16,844 –> 00:35:21,097 TA: Yeah. That would be the most obvious way to do it.
241 00:35:21,798 –> 00:35:25,305 JAL: This makes it very mundane.
242 00:35:30,214 –> 00:35:37,446 JAL: I know that this is one of the things in the book that people think are more horrible than the scary bits, the horror bits.
243 00:35:37,885 –> 00:35:43,276 JAL: That this bullying scene is terrible. Which it is of course.
244 00:35:43,758 –> 00:35:48,186 JAL: And I love his eyes here, the way he looks at his tormentor.
245 00:35:52,535 –> 00:36:06,683 TA: Johan, the boy who plays the guy who starts crying here, that came spontaneously because he though that this was so cruel…
246 00:36:06,683 –> 00:36:19,263 TA: …this scene and he started crying as a private person and I thought that was a very good and human reaction that even the tormentor starts crying.
247 00:36:20,272 –> 00:36:26,233 TA: And it… it’s very heartbreaking.
JAL: Maybe that is what saves him in the end.
248 00:36:26,890 –> 00:36:28,907 TA: Yeah.
249 00:36:30,748 –> 00:36:34,824 JAL: And Oskar’s mother, she doesn’t really want to know.
250 00:36:38,024 –> 00:36:51,876 TA: It is very useful to depict hands, what the hand are doing, because it is very hard to lie with your hands. So for instance if you have…
251 00:36:51,876 –> 00:36:58,407 TA: …this situation where two young people, a little shy to express what they think and what they feel, you could always use their hands to express…
252 00:36:58,407 –> 00:37:06,867 TA: …what they think and what they feel, you could always use their hands to communicate what they really think.
253 00:37:08,401 –> 00:37:22,164 TA: And little children’s hands, well the age of any hand really, is very moving and touching I think.
254 00:37:22,559 –> 00:37:35,797 TA: And it’s used in a scene later in the film, in the bed scene, where it’s very, very intimate.
255 00:37:38,164 –> 00:37:42,152 TA: And this is the first time where they touch.
256 00:37:43,467 –> 00:37:50,700 JAL: The snowflakes on their fingers.
TA: She wants to emphasize that, “They shouldn’t do this to you.”
257 00:37:51,883 –> 00:38:05,253 JAL: Now this also is exactly the same as in the book, this “Hit back” scene. I mean this is dubious as advice, but in this situation it is the right advice.
258 00:38:05,253 –> 00:38:09,987 TA: Of course.
JAL: Eli being what Eli is and Oskar being what he is in this situation.
259 00:38:12,178 –> 00:38:21,120 TA: And it’s a very… yeah, this guy… it’s also very hard…
260 00:38:21,120 –> 00:38:25,723 JAL: Eli doesn’t really run like a child.
TA: …so… (Laughing)
261 00:38:26,161 –> 00:38:38,259 TA: It’s very hard advice to get to when you are very weak and afraid. And if somebody says, “hit back” it’s very…
262 00:38:38,347 –> 00:38:50,620 TA: I remember that when I was a kid and somebody said to me you have to hit back it’s very scary to get that kind of advice. What to do with it?
263 00:38:50,620 –> 00:38:58,466 TA: That’s the thing that you really cannot.
264 00:38:59,080 –> 00:39:06,225 JAL: But, and then when Oskar says something to the result of it being difficult and Eli says, “Then I will help you.”
265 00:39:06,225 –> 00:39:16,701 JAL: I mean I think that is part of the attraction of this story. It is the dream of any young boy in this age in this situation meeting someone…
266 00:39:16,701 –> 00:39:24,679 JAL: …like Eli who would say that to you. “Then I will help you.”
And you know that somehow she is capable of doing that.
267 00:39:28,229 –> 00:39:35,900 JAL: I had that dream.
TA: Yeah, who hadn’t? Maybe you had the dream being a rock star too.
268 00:39:36,075 –> 00:39:39,713 JAL: No magician. A great magician.
269 00:39:47,121 –> 00:39:53,915 JAL: He’s a very typical 80s Swedish gym teacher somehow.
TA: Yes.
270 00:39:54,003 –> 00:40:06,225 TA: Bernardo really comes from… I think you wanted him to be a Spaniard, but Bernardo is Argentinean, but he makes a beautiful portrait here.
271 00:40:06,758 –> 00:40:12,545 JAL: It’s perfect.
TA: Yeah, and he says, “Get lost” or something here, he says…
272 00:40:12,545 –> 00:40:16,994 JAL: “Listo!” Finished! That’s it!
TA: Yeah, “Listo.” Get out.
273 00:40:17,213 –> 00:40:19,996 JAL: And this is interesting. I don’t know if you want to talk about this.
274 00:40:20,150 –> 00:40:30,801 TA: Well, to have the cat to react this way we had to have another cat exposed to… so it wasn’t Eli.
275 00:40:31,262 –> 00:40:37,464 JAL: This is one of the big difference from the book actually, that in the book Eli simply says that she can’t eat candy.
276 00:40:37,749 –> 00:40:44,740 JAL: But when we discussed this I know you wanted something more visual. I remember we talked a lot about this: Why would Eli eat candy when…
277 00:40:44,740 –> 00:40:53,682 JAL: …Eli KNOWS what’s going to happen? And we talked about it as an act of sacrifice or showing Oskar something. And I think it worked out really well.
278 00:40:54,362 –> 00:40:57,452 TA: Yeah it’s very touching.
JAL: That was one instance when I was a little bit against it…
279 00:40:57,452 –> 00:41:00,959 JA: …from the beginning, I remember. You talked me into it.
280 00:41:03,063 –> 00:41:11,720 TA: Maria Strid, who is the designer of the clothes, she found these fantastic trousers to Eli.
281 00:41:12,092 –> 00:41:23,931 TA: We gave them a name. We call them the “psycho pants”. That was the most complicated thing, I think, to find her appearance in the clothes.
282 00:41:24,168 –> 00:41:34,842 TA: I think you have written it in the book that she finds clothes in the garbage and here and there and that she’s not so interested in fashion.
283 00:41:34,995 –> 00:41:41,373 JAL: No. (Chuckles) She just takes what she can find. I think she is wearing Hakan’s sweater later in the movie, the red one. Yeah.
284 00:41:41,592 –> 00:41:44,989 TA: And this hug is so beautiful.
285 00:41:45,471 –> 00:41:52,660 JAL: In this scene it’s also very, very obvious where we see both of them, this polarization between light and dark between them.
286 00:41:55,224 –> 00:42:05,175 JAL: And here Eli hints at a fact which isn’t exactly clear in the movie, which is left ambiguous, but I mean a lot of people know this, so it’s not that…
287 00:42:05,175 –> 00:42:10,478 JAL: …Eli’s hinting not only that Eli is a vampire but also that Eli is a boy
288 00:42:11,267 –> 00:42:16,747 TA: Yeah, this is the first time she… he… or she does that.
289 00:42:16,790 –> 00:42:22,204 JAL: Let’s call Eli “she’ for the time being.
TA: She does that twice.
290 00:42:23,387 –> 00:42:30,379 TA: This is one of the fantastic things with Eva Noren the set designer.
291 00:42:30,883 –> 00:42:41,447 TA: She suddenly comes when we were to take this scene when he is looking out the window. And she found this little plastic toy.
292 00:42:41,447 –> 00:42:46,444 TA: And she says, “Put this in. Have him to play with this.”
And it’s beautiful.
293 00:42:46,444 –> 00:42:50,849 JAL: Yeah, it’s perfect.
TA: It is very, very typical for a child in his…
294 00:42:52,054 –> 00:42:59,528 JAL: This scene, where they hug in the beginning and also this… it took me 5 or 6 times watching this movie where I didn’t start crying…
295 00:42:59,528 –> 00:43:05,423 JAL: …because this is very much for me a portrayal of things between me and my father.
296 00:43:07,922 –> 00:43:10,990 JAL: Who is dead now.
297 00:43:15,176 –> 00:43:24,162 JAL: And the thing you told me, this typical 80s detail.
TA: (Chuckles) Yeah, with the sweater inside your jeans. That’s an 80s detail.
298 00:43:24,162 –> 00:43:26,639 TA: This is very good.
299 00:43:29,970 –> 00:43:36,238 TA: And also that cardigan that’s hanging there on the chair. It’s from the book.
300 00:43:41,235 –> 00:43:50,440 JAL: And this thing with wearing your father’s sweater is something special when you are a child. The smell of it. It’s like creeping inside your father’s skin.
301 00:43:59,645 –> 00:44:03,831 TA: Form one home to another. (Laughs)
JAL: Yes. You could say that. You could say that.
302 00:44:04,883 –> 00:44:07,470 TA: Oh, well… oh, yes… this one… yeah.
303 00:44:10,122 –> 00:44:17,376 JAL: (Laughing) There IS something vaguely comic about Hakan all the time. You can’t help it. The way he rubs his hands.
304 00:44:18,910 –> 00:44:24,400 TA: One of the worst killers in film history. He is very inept.
305 00:44:26,756 –> 00:44:30,088 TA: And here is this acid introduced.
306 00:44:35,676 –> 00:44:39,446 JAL: (Unintelligible) Eli really looks starving here.
307 00:44:42,142 –> 00:44:52,618 JAL: And also in my original story here Hakan’s demands for doing this thing are much harder so to speak than what he says in the movie.
308 00:44:52,618 –> 00:44:59,061 JA: He only asks Eli not to meet that boy. In my original story he wants… bad things from Eli.
309 00:45:01,012 –> 00:45:05,000 JAL: And this is only a hint of what their relationship is based on.
310 00:45:05,680 –> 00:45:16,354 TA: I would say that is the biggest difference between the book and the film that the pedophilia theme… we took that out from the film…
311 00:45:16,354 –> 00:45:23,170 TA: …because I thought it would really take too much space shadowing the love story.
312 00:45:23,170 –> 00:45:29,832 JAL: Yeah, I think it was like one of the first things we said when talking about the script: This must go out.
313 00:45:30,008 –> 00:45:37,898 JAL: But for me it was necessary because my first of Hakan when writing the book was a terrible Patrick Bateman American Psycho type of character…
314 00:45:37,920 –> 00:45:43,114 JAL: …doing this for money and power. And I had to throw everything out and rewrite it and think…
315 00:45:43,114 –> 00:45:46,840 JAL: “What could make a person to do something like this, killing young people?”
316 00:45:47,234 –> 00:45:56,001 JAL: And it had to be some sort of obsession – or love – and that you would be
a pedophile. And it would be because of this that he is being with Eli.
317 00:45:56,396 –> 00:46:06,631 TA: Some people say that this is an old lover to Eli, that a long time ago when he was young he was like Oskar. Replaced…
318 00:46:07,069 –> 00:46:14,499 JAL: I think the film implies this and that Oskar would become a new Hakan, and I think this is great for the film.
319 00:46:14,740 –> 00:46:22,038 JAL: It’s not the original story I wrote, but the film implies it and I think it’s a good thing.
320 00:46:22,630 –> 00:46:30,476 JAL: But in my original story it’s more obvious that Hakan is someone Eli picked up just like a year ago from the gutter. When he was an alcoholic.
321 00:46:31,243 –> 00:46:34,640 JAL: While Oskar is a different matter. But here it works very well.
322 00:46:35,320 –> 00:46:47,374 TA: Well there is also the… I mean the book is a stronger medium than film in that sense because you could really play on many strings at the same time…
323 00:46:47,374 –> 00:46:59,384 TA: …and you could get deep into explanations and people’s inner thoughts that you really cannot do in a film. The film has much more limitation than a book.
324 00:46:59,581 –> 00:47:08,370 TA: So that was also one of the reasons that we really tried to concentrate on the love story because that’s how film works.
325 00:47:08,370 –> 00:47:16,501 TA: But I think you don’t have to compare them, really, they are autonomous pieces of art and they stand on their own legs.
326 00:47:17,158 –> 00:47:27,109 JAL: And to my amazement the first time I saw the movie in its completeness, I saw that, well this is basically the story. It is the same story as in the book.
327 00:47:27,262 –> 00:47:31,645 JAL: A lot has been removed, but it’s basically the same story still.
328 00:47:34,758 –> 00:47:45,015 JAL: It is this thing with acid, it doesn’t really burn very… not like that. It burns slowly through skin and bone. Or jackets.
329 00:47:45,168 –> 00:47:56,718 TA: We had to invent this detail to show how dangerous the acid works. To have it spilling on the jacket.
330 00:47:57,639 –> 00:48:04,805 TA: And then we didn’t need to show how the face was destroyed.
331 00:48:05,989 –> 00:48:09,912 JAL: You just can feel it. What is going to happen. Which is better.
332 00:48:10,964 –> 00:48:17,802 JAL: I think we discussed this for like an hour. I remember this, how could the acid be made to seem dangerous.
333 00:48:18,635 –> 00:48:32,442 TA: This whole sequence is extremely complicated and it was also complicated to find the right location so we had the right components in the right places.
334 00:48:32,902 –> 00:48:46,206 TA: And Magnus Jonason who was working together with me as a storyboard artist made a tremendous job in that sequence solving each and every frame…
335 00:48:46,579 –> 00:48:49,954 TA: …to have it in the right way.
336 00:48:50,655 –> 00:48:56,331 TA: So I could really… thank him a lot.
337 00:48:56,331 –> 00:49:10,775 TA: It would have been impossible to improvise that or to solve it in any other way than designing it very thoroughly beforehand.
338 00:49:12,462 –> 00:49:15,772 TA: This a very cruel sequence, too.
339 00:49:19,015 –> 00:49:23,486 JAL: Those are quite typical. You probably do it all over the world…
340 00:49:23,486 –> 00:49:26,029 TA: Yeah.
JAL: …with people like Oskar.
341 00:49:26,840 –> 00:49:32,384 JAL: That was one of the things that actually did happen to me. This story is quite autobiographical.
342 00:49:32,472 –> 00:49:39,025 JAL: But just things of a similar significance happened to me – not the actual things. But this thing I remember.
343 00:49:52,942 –> 00:49:58,180 TA: This is a very old school shot.
JAL: It is. It is.
344 00:49:58,378 –> 00:50:01,994 TA: Like an old school horror film.
345 00:50:02,783 –> 00:50:15,210 TA: Here is one of the few details that says it is 1982:
The radio announcer is talking about President Brezhnev.
346 00:50:17,182 –> 00:50:23,341 JAL: Ah yes, here we into my little contribution in this movie…
TA: Yeah! Here is your voice.
347 00:50:23,341 –> 00:50:27,198 JAL: …inviting Eli into the hospital outside of the frame.
348 00:50:30,069 –> 00:50:44,534 TA: I think that was a little accident that we didn’t introduce the fact that she has to be invited everywhere she goes.
349 00:50:45,060 –> 00:50:50,035 TA: (Chuckles) Oops! She comes into the hospital without being invited.
350 00:50:50,035 –> 00:50:57,312 JAL: I even forgot it in the book, yes. But I explained it to somebody who asked me when the book was just out that this is a public area…
351 00:50:57,728 –> 00:51:01,958 JAL: …not a private abode.
TA: (Laughs) That’s a poor excuse.
352 00:51:01,958 –> 00:51:05,152 JAL: Yeah I know because she needs an invitation to crash the windows at the swimming pool in the end, in the book…
353 00:51:07,656 –> 00:51:11,733 JAL: … so obviously she would need an invitation here too, but I forgot.
354 00:51:11,733 –> 00:51:21,420 TA: But you know I think she is invited in the pool scene by somebody outside that frame – maybe the teacher or somebody else.
355 00:51:22,384 –> 00:51:32,356 TA: I didn’t think it interesting enough to show that. The scene is so intense and it would take the feeling out of the tension.
356 00:51:34,022 –> 00:51:40,991 TA: This is a very delicate shot I think.
JAL: I takes time before you realize what’s going to happen.
357 00:51:44,958 –> 00:51:50,635 JAL: Also one of the few things we actually see of Eli’s superhuman abilities.
358 00:51:53,352 –> 00:52:01,089 TA: She would be the ideal window cleaner, she and George Formby.
JAL: George Formby? Why?
359 00:52:01,440 –> 00:52:07,927 TA: (Sings) The window cleaner. You know? The famous song.
JAL: Ah! Okay. Fine.
360 00:52:08,037 –> 00:52:11,982 TA: Ukulele song.
JAL: Okay.
361 00:52:14,721 –> 00:52:24,584 JAL: I think I went to great lengths in the book to describe this thing, which would be obvious effects in a movie, that Eli can actually transform his body…
362 00:52:24,650 –> 00:52:32,101 JAL: …into to just thinking long nails, thinking claws, and the claws appear, thinking sharp teeth…
363 00:52:32,101 –> 00:52:35,717 JAL: Because I didn’t want Eli to walk around with these typical vampire teeth.
364 00:52:35,717 –> 00:52:46,457 JAL: So Eli would… in every moment she would have to think and parts of her body would transform into the thing that Eli needs at the moment, or wings even.
365 00:52:46,566 –> 00:53:01,250 TA: Lina who plays Eli has vampire teeth but they are extremely subtle on her corner teeth but I really didn’t want you to… to show too much.
366 00:53:01,338 –> 00:53:07,102 TA: But there is actually a small, small shadow on her upper lip.
367 00:53:13,743 –> 00:53:20,712 JAL: I remember when you were doing this, before you started, I knew that you were going to do a very, very good movie out of this…
368 00:53:20,712 –> 00:53:28,252 JAL: …I was confident in that. But I didn’t think it would be very bloody. But then when I saw the finished result I was very satisfied in that aspect.
369 00:53:28,263 –> 00:53:31,912 TA: (Laughs)
JAL: I think the blood is really there. There for example.
370 00:53:32,558 –> 00:53:37,742 TA: And this is dunk – Aye!
JAL: “Aye!” means “Ouch!” in Swedish.
371 00:53:38,936 –> 00:53:44,624 TA: The last… breath… of Hakan.
372 00:53:45,785 –> 00:53:49,664 JAL: And you told me you could see the fumes coming out of the hole in his cheek.
373 00:53:50,946 –> 00:53:55,648 JAL: And here we imply the wings a little bit. This is the sound of flapping.
374 00:53:56,513 –> 00:54:02,190 JAL: In the script I think it’s even described how Eli is on the roof naked and making these bubble wings.
375 00:54:02,190 –> 00:54:10,945 TA: Yeah, I got… that was a nightmare for me to try to do that. And also the fact that she is moving very fast.
376 00:54:11,143 –> 00:54:20,216 TA: It would be like, you know… Benny Hill, when people are moving fast on the screen. It’s so complicated to do.
377 00:54:20,972 –> 00:54:28,172 TA: Well, it gets very comical, like in Forest Gump for instance when he running fast.
378 00:54:28,588 –> 00:54:39,141 TA: Otherwise you have to have people flying weightless like Superman or Spiderman. But when people are running fast it gets comical.
379 00:54:41,563 –> 00:54:45,716 JAL: And now we come to at least my favorite scene in the whole movie.
380 00:54:46,012 –> 00:54:57,157 JAL: I think that if everything I have done and will do in the movies would be destroyed and I could only save one thing that I was involved in…
381 00:54:57,255 –> 00:55:02,910 JAL: …I think it would be this scene. It’s sort of the dialog that I am most happy with.
382 00:55:04,532 –> 00:55:18,000 TA: The acting is beautiful and also this is the one of the most intimate sound editing scenes, which was extremely complicated to…
383 00:55:18,000 –> 00:55:33,385 TA: …everything is overdubbed here. We wanted to have the extreme closeness to the characters. You even hear the heartbeats and you hear the breathing…
384 00:55:33,385 –> 00:55:49,658 TA: …and the tongues moving in their mouths and the subtleness of skin and the fabric in the sheets… Yeah, everything. It’s beautiful sound editing work.
385 00:55:50,776 –> 00:56:00,803 TA: And you can see on their eyes that this scene is made in extreme low light levels because the pupils are so big.
386 00:56:01,295 –> 00:56:11,432 TA: And you also can see that we almost didn’t use any makeup because it’s very hard to use makeup on small children.
387 00:56:11,903 –> 00:56:30,171 TA: Their skin is so subtle so you would immediately see if you put the brush in their face. So it’s only Eli that has slight makeup in certain scenes.
388 00:56:30,385 –> 00:56:37,502 JAL: From a storytelling perspective I love this because it so clearly describes the essence of what you might call pure love.
389 00:56:38,006 –> 00:56:48,143 JAL: That when Oskar asks Eli if they can go steady and Eli says, “I’m not a girl.” “Do you want to go steady or not?” He doesn’t really care.
390 00:56:48,176 –> 00:56:57,162 JAL: And in the original story also it comes to the point where he realizes, “
OK Eli is a vampire, Eli is a boy, still I have to be with Eli.”
391 00:56:57,238 –> 00:57:01,578 JAL: “No matter what.”
TA: Yeah, it doesn’t matter. It’s beautiful.
392 00:57:02,750 –> 00:57:11,068 TA: She stinks, and she’s bloody in her face. She’s flying around.
JAL: And in the book she also smells of gasoline in this scene…
393 00:57:11,068 –> 00:57:16,843 JAL: …because she has burned someone.
TA: Yeah. He wants to hang around with her anyway.
394 00:57:17,971 –> 00:57:24,492 JAL: And also I love this scene because it is very asexual, I feel. It’s…
395 00:57:25,335 –> 00:57:33,803 JAL: The idea for me with the exact age of 12 – not 11 or 13 – would be that you would be on the verge of sexuality but not yet there.
396 00:57:33,894 –> 00:57:43,274 JAL: It would still be possible to feel this innocent love. Just… he doesn’t really think about sexual matters here. It’s not that thing.
397 00:57:44,019 –> 00:57:46,759 JAL: It’s just someone being close to him.
398 00:57:47,165 –> 00:57:50,288 TA: And here comes the hands again.
399 00:57:51,284 –> 00:57:58,484 JAL: It’s also important because this isn’t… this is also explained in the original story but not here that Eli is forever freezed in the body…
400 00:57:58,484 –> 00:58:05,969 JAL: …frozen in the year of a 12 year old. And also in Eli’s mind – that Eli has to sleep for long periods of time…
401 00:58:06,517 –> 00:58:13,223 JAL: …and when he wakes up again he has forgotten everything he has learned. He has the memories but he hasn’t really grown.
402 00:58:13,519 –> 00:58:21,116 JAL: So basically Eli isn’t a 200 hundred year old inside the body of a 12
year old. Eli is a 12 year old who has lived for a very long time.
403 00:58:22,286 –> 00:58:24,828 TA: A status quo character.
JAL: Yeah.
404 00:58:25,831 –> 00:58:33,491 JAL: So Eli is not really shifting… or tricking Oskar, not being an old person. Because Eli isn’t.
405 00:58:34,395 –> 00:58:48,063 TA: This was a very good proposal from Dino, who was the editor of the film, he said that, “Why don’t we postpone the moment where we read the message…”
406 00:58:48,063 –> 00:59:00,985 TA: “…on this little cardboard thing.” And it’s a little secret that he carries for yet another 15 minutes or something, what the text is there.
407 00:59:05,025 –> 00:59:09,600 TA: And he’s so… He gives us a little smile again.
JAL: One of those. But it is in fact a quote from Romeo & Juliet.
408 00:59:09,600 –> 00:59:13,059 JAL: There are… well it’s just this one in the movie.
409 00:59:13,059 –> 00:59:17,994 TA: Romeo & Juliet by August Strindberg, the Swedish author you know.
JAL: (Laughing)
410 00:59:20,826 –> 00:59:29,116 TA: The music is so beautiful here. Johan Soderqvist, the composer, has one of his highlights here and especially in the ending of the scene…
411 00:59:29,116 –> 00:59:36,134 TA: …where he captures the triumph Oskar feels when he gets his revenge.
412 00:59:37,197 –> 00:59:44,911 TA: And it’s one of the few moments in the film where the music is really narrating the action rather than counteracting.
413 00:59:46,386 –> 00:59:52,818 JAL: Here are some word play, which is untranslatable, about holes in the ice, and so on.
414 00:59:59,726 –> 01:00:03,661 JAL: He’s chewing air inside his mouth when he is thinking.
415 01:00:07,226 –> 01:00:24,095 TA: And here comes this location back which not everybody sees or thinks about but this is the location where obviously Hakan has put the corpse of Jocke.
416 01:00:24,948 –> 01:00:29,941 JAL: And it’s smoke that we see in the right of the frame. I know there has been some confusion about this.
417 01:00:30,045 –> 01:00:34,167 TA: Yeah, this is the sausage grill.
JAL: Right.
418 01:00:34,701 –> 01:00:39,798 JAL: Which is a typical thing also to do: When you’re outside and you do the sausages.
419 01:00:44,476 –> 01:01:01,764 TA: The Friluftsdag. That means the day when you force the children to skate or to run around in the forest for no reason. And just feeling uncomfortable.
420 01:01:03,366 –> 01:01:11,609 JAL: That’s the idea behind it. And the stick that Oskar is holding here is the same stick that Hakan is using when sinking the body.
421 01:01:21,234 –> 01:01:34,631 TA: And wherever you have a hole in the ice you put small branches of pine or something to warn that there is a hole in the ice.
422 01:01:36,570 –> 01:01:41,725 TA: For you who don’t live in a cold society.
423 01:01:47,925 –> 01:02:00,034 JAL: This is… you can see this in Oskar’s eyes later after he hits Conny with the stick that this is a sort of a fulfillment of the promise…
424 01:02:00,034 –> 01:02:06,605 JAL: …given to us as viewers when Oskar was being whipped and he gave this look after getting the (kkkk sound) over his cheek.
425 01:02:07,070 –> 01:02:13,583 JAL: This is the fulfillment of that moment, where he is basically doing the same thing – but worse.
426 01:02:18,761 –> 01:02:30,882 TA: And this is a very complicated scene too, I think, because you really feel that Oskar does the right thing here.
427 01:02:31,311 –> 01:02:40,692 TA: And you could really feel the comfort he is feeling and he knows that everybody is going to be very angry at him…
428 01:02:40,692 –> 01:02:46,021 TA: …and they are going to call his parents and he is going to be punished in some way.
429 01:02:46,416 –> 01:02:51,501 TA: But it doesn’t matter – he has to do this, and you really feel his comfort here.
430 01:02:54,201 –> 01:02:57,636 JAL: Which is a bit problematic on the bigger scale.
431 01:03:01,757 –> 01:03:04,447 JAL: But I wouldn’t really say that the thing he does is wrong.
432 01:03:08,222 –> 01:03:15,893 JAL: Especially if you… that’s the thing – if the scene in the toilet had been included… I think it’s the right thing to leave it out.
433 01:03:16,391 –> 01:03:23,871 JAL: But then the balance would have shifted too much in Oskar’s favor. That you would just only feel, “Yeah! Yeah! Yeah! Go Oskar!”
434 01:03:24,106 –> 01:03:31,076 JAL: Here it’s still problematic that he’s lashing out like this. But it’s included in the deleted scenes.
435 01:03:32,045 –> 01:03:35,130 TA: Yeah, it is.
JAL: So then you can start working on your hatred.
436 01:03:44,105 –> 01:03:47,267 TA: And his mother is really pissed here but he doesn’t mind.
437 01:03:47,738 –> 01:03:56,669 JAL: No. And here we get very clearly and subtly to see what the relationship between his mother and father actually is about. It’s not very good.
438 01:04:04,663 –> 01:04:08,948 JAL: And I know when I have seen this in the movie theaters people – I think especially the first time…
439 01:04:09,244 –> 01:04:17,303 JAL: …when Oskar is bench pressing people start laughing because the weights are so small. It’s not Karate Kid really.
440 01:04:17,966 –> 01:04:24,026 TA: Ok, that’s really the bullies point of view.
JAL: It is.
441 01:04:25,522 –> 01:04:40,995 TA: And here we had a lot of discussions around this scene because this is very subtle that you imply that he is now changing sides.
442 01:04:41,856 –> 01:04:49,105 TA: This character. That he is on Oskar’s side.
443 01:04:58,238 –> 01:05:05,180 JAL: But here is the one who really is on Oskar’s side and can’t be because of the circumstance.
444 01:05:05,690 –> 01:05:11,158 TA: Yeah. It’s a very moving shot here when she stands outside the swimming pool.
445 01:05:12,079 –> 01:05:25,683 TA: She tries to impersonate a human being by wearing the same clothes as the other teenagers. It’s very moving.
446 01:05:31,743 –> 01:05:36,253 TA: Here’s a favorite of yours, isn’t it? This shot.
JAL: Yeah, I like this.
447 01:05:38,483 –> 01:05:42,641 JAL: It’s one of the few moments just before the actual vampiric thing…
448 01:05:42,641 –> 01:05:49,326 JAL: …strikes in where Oskar could see that something is wrong with Eli in the elliptical pupils there. Gone.
449 01:05:51,918 –> 01:05:55,518 TA: We see them but Oskar doesn’t.
JAL: (Whispers) Oskar doesn’t see them.
450 01:05:56,931 –> 01:06:01,473 JAL: And this is Agnetha Faltskog, former singer of ABBA, singing for us.
451 01:06:03,572 –> 01:06:08,805 TA: An own composition. She’s a very good composer, Agnetha Faltskog.
452 01:06:09,643 –> 01:06:15,632 TA: And this is recorded somewhere in 68 or 69 I think.
453 01:06:15,648 –> 01:06:24,601 TA: It’s a beautiful song. It’s a very typical Swedish channel 3 radio sound.
454 01:06:25,406 –> 01:06:29,154 JAL: And she was apparently quite OK with the song being included here.
TA: Yeah.
455 01:06:29,653 –> 01:06:41,603 TA: She was very happy, because I think she’s happy to be remembered as a composer, too. And she’s a lyricist too.
456 01:06:44,068 –> 01:06:49,087 JAL: And I remember writing the book this is one of the scenes I was really happy with when I came up with it.
457 01:06:49,570 –> 01:06:53,756 JAL: I had a problem here: How am I going to show to Oskar that Eli is a vampire?
458 01:06:54,545 –> 01:07:00,106 JAL: And the combination of this idea with him wanting to show his love for Eli with bonding, mixing blood…
459 01:07:00,106 –> 01:07:07,317 TA: (Gasps) I hate this. I hate this. This is the worst shot for me. I never get used to it. Sorry.
460 01:07:08,078 –> 01:07:17,826 JAL: OK. This that I really, really want to be your friend, I want us to mix blood. And this of course is the worst idea he could come up with, with Eli.
461 01:07:19,672 –> 01:07:28,351 TA: Yeah, it really works. It seems to be very obvious as a construction but it really works.
462 01:07:28,685 –> 01:07:34,406 TA: You really believe in why he wants to do this.
463 01:07:35,485 –> 01:07:39,666 TA: And it’s a very strong conflict of course.
464 01:07:44,783 –> 01:07:50,175 JAL: Oskar’s human nature conflicted with Eli’s vampire traits.
465 01:07:51,703 –> 01:07:53,709 JAL: And that tongue.
466 01:07:59,089 –> 01:08:11,209 TA: Here you see Eli for a short glimpse how she maybe would have looked if she had been her proper age.
467 01:08:11,730 –> 01:08:22,162 TA: I think she’s… Well the timelessness shows when she’s in between human and in between being this monster.
468 01:08:23,203 –> 01:08:29,153 TA: So there is this critical line where maybe you could see a mixture.
469 01:08:30,929 –> 01:08:34,693 JAL: This is also a scene that normally would have been done very effects.
470 01:08:34,775 –> 01:08:41,136 JAL: We would see be growing her nails and climbing up the tree, but instead it’s just a shadow.
471 01:08:44,112 –> 01:08:48,451 JAL: And this is maybe the clearest shot of Eli’s monster nature, so to speak.
472 01:08:51,130 –> 01:08:55,190 JAL: And that tree is still standing, in the square in Blackeberg, where she is sitting?
473 01:08:55,941 –> 01:08:57,974 TA: Yeah. Try to climb it, if you can.
474 01:09:08,110 –> 01:09:11,754 TA: Here are the Nobel Prize Committee.
JAL: (Laughing)
475 01:09:13,913 –> 01:09:23,716 TA: They have their meetings before deciding the next… (Laughing)
JAL: (Laughing)
476 01:09:25,003 –> 01:09:31,150 JAL: I think they are going for Paul Oster next. This time, finally. At last.
TA: (Laughing)
477 01:09:35,336 –> 01:09:41,889 TA: Ike is so beautiful. Ike is her name who plays this character she has…
478 01:09:41,889 –> 01:09:55,045 TA: …this (unintelligible) appearance I think. She is so good looking and so friendly and so lovable.
479 01:09:59,304 –> 01:10:04,562 JAL: And I was never included in the movie, in the shot, but there is my wife on the right side of the screen.
480 01:10:05,603 –> 01:10:11,526 TA: Yeah. Wow – how she walks. (Chuckles)
JAL: Yes, how she walks.
481 01:10:12,692 –> 01:10:16,448 JAL: I remember how I was impressed with your eye for detail.
482 01:10:16,715 –> 01:10:19,520 JAL: These two people in this Chinese laundromat.
483 01:10:20,129 –> 01:10:27,427 JAL: We had two Asian people who were inside the fumes there all the time only for that small, small element of the picture.
484 01:10:40,697 –> 01:10:46,100 TA: This was expensive. A very expensive camera crane here.
485 01:10:55,639 –> 01:11:02,110 JAL: And here also I think that you added, which is not in the script, this suitcase that Lacke is carrying around all the time.
486 01:11:02,563 –> 01:11:07,253 JAL: It is explained eventually what’s inside it, but it’s not in the script.
487 01:11:09,200 –> 01:11:24,076 TA: I thought that very poor people or unemployed or drunk or addicts, they really think a lot about their pride.
488 01:11:24,602 –> 01:11:31,177 TA: To look as if they money or they were wanted.
489 01:11:33,549 –> 01:11:43,522 TA: So that suitcase reflects that he wants to be… You know, somebody. He is wanted somewhere.
490 01:11:43,911 –> 01:11:48,469 TA: But it’s just air inside.
491 01:11:51,461 –> 01:11:55,477 JAL: Here’s one of the things that I had great joys writing about in the book.
492 01:11:56,885 –> 01:12:05,093 JAL: Thinking about what would it be like when someone actually started to turn into a vampire before you were a fully fledged vampire…
493 01:12:05,411 –> 01:12:14,386 JAL: …knowing how to do everything? When you have started to feel this urge or disease where you can’t eat regular food, all that, how it starts.
494 01:12:15,104 –> 01:12:19,684 JAL: And this was one of the greatest things, describing in the book.
495 01:12:20,117 –> 01:12:24,467 TA: Yeah, it is very itchy isn’t it? It’s itching inside your veins.
496 01:12:24,582 –> 01:12:29,716 JAL: Yeah. And of course you can’t stand sunlight or sun.
497 01:12:34,297 –> 01:12:40,606 TA: This was a very good solution from the sound department here…
498 01:12:40,606 –> 01:12:51,606 TA: …how to reflect the subjective sound inside her head when she wakes up after this night.
499 01:12:53,151 –> 01:12:58,734 TA: Like if she was hung over and you have this construction sounds outside the window.
500 01:12:59,775 –> 01:13:06,202 JAL: Or she has more acute hearing also. She also… it’s like she can hear voices in the other apartments and so on.
501 01:13:06,915 –> 01:13:12,098 JAL: Which she does in the book. She’s got more animal senses.
502 01:13:18,267 –> 01:13:27,911 TA: So here comes the scene where the American people think that the father is a homosexual just because his neighbor is coming to get some free drinks.
503 01:13:30,585 –> 01:13:36,957 JAL: I think actually it’s the look that the other guy gives Oskar’s father there for a short moment, which is…
504 01:13:37,110 –> 01:13:42,458 JAL: I would call it seedy. But it’s alcohol he is after, not anything else.
505 01:13:45,039 –> 01:13:50,655 TA: And this tells us it’s a neighbor, coming in his slippers.
JAL: Yeah. He doesn’t walk far.
506 01:13:54,540 –> 01:14:02,912 JAL: I hate this scene. I think it’s a great scene. It almost had me crying the first time because this is also from my own life of course.
507 01:14:04,462 –> 01:14:13,018 JAL: And this guy, these people who came in and they just destroyed everything, and it’s so well reflected in his face.
508 01:14:13,443 –> 01:14:19,831 JAL: You had, I saw some early cuts of this scene where there was a lot more action included. And also they started playing music and so on.
509 01:14:20,270 –> 01:14:29,305 JAL: And in this case as in many others you decided on doing more in silence in the in-betweens and it was so much better this way.
510 01:14:45,633 –> 01:15:04,350 TA: That’s a very typical Swedish habit. You know, just sitting, drinking raw liquor until the bottle is empty. It is very cruel and not so funny.
511 01:15:04,909 –> 01:15:09,064 JAL: No. And this look that Oskar gives his father the next time.
512 01:15:09,909 –> 01:15:14,064 JAL: I remember this breaking my heart the first time I saw it. And the fourth, and the fifth.
513 01:15:15,686 –> 01:15:17,691 JAL: (Whispers) This one.
514 01:15:22,754 –> 01:15:26,770 JAL: And now we get to see…
TA: …the Strindberg quote.
515 01:15:29,165 –> 01:15:31,472 JAL: “To flee is life. To linger, death.”
516 01:15:37,312 –> 01:15:45,619 TA: And this is a nice piece of cinematography. It is made with just the lights from the car.
517 01:15:46,638 –> 01:15:57,454 TA: Which you have to be kind of brave to do that, but Hoyte thought that, “What the Hell? Let’s do it.”
518 01:15:58,380 –> 01:16:00,440 TA: It works.
JAL: It works fine.
519 01:16:03,415 –> 01:16:10,127 JAL: There’s a bit removed there, I think. I don’t know if you shot it where he’s wearing his father’s sweater still while walking out of the house…
520 01:16:10,680 –> 01:16:16,302 JAL: …before starting to hitchhike he throws it in a ditch, as a sign of separation.
521 01:16:16,779 –> 01:16:21,146 TA: Yeah. We took that away for some reason.
522 01:16:22,357 –> 01:16:26,061 JAL: No, but it’s very clear he makes his choice there:
To flee is life and to linger, death.
523 01:16:26,115 –> 01:16:36,624 JAL: That he has refused Eli after she is licking blood from the floor. But now he has… it’s only Eli left. His father was an option but isn’t any more.
524 01:16:38,520 –> 01:16:50,974 TA: Yeah, I thought we were trying to emphasize the fact that he is not leaving his father, he is going to Eli, rather.
525 01:17:00,782 –> 01:17:17,526 TA: And if you are planning to be a director in the future I would strongly recommend you not to create situations where you have to direct cats.
526 01:17:20,704 –> 01:17:25,488 TA: They’re not very good as actors.
527 01:17:28,693 –> 01:17:32,556 JAL: Even when computer-generated they could cause problems.
TA: (Laughs) Yeah.
528 01:17:34,720 –> 01:17:37,377 JAL: But this small one is quite good. He is doing a good job.
529 01:18:01,519 –> 01:18:08,433 JAL: And now for the first time Oskar has got to come to Eli’s home and to see what it looks like there.
530 01:18:12,636 –> 01:18:27,221 TA: And I thought that she should be very… feel ashamed for her poverty and the sort of… the poverty of her life.
531 01:18:30,065 –> 01:18:36,158 TA: And you could see Hakan’s shoes there. The now dead Hakan.
532 01:18:38,552 –> 01:18:50,053 TA: And he thinks it’s very empty and dull and it stinks in there.
533 01:18:50,924 –> 01:18:58,003 JAL: I remember, I don’t know if this was in the script but Oskar is actually quite angry at Eli for not telling him, for not being honest with him.
534 01:18:58,124 –> 01:19:07,121 JAL: So he teases Eli a lot before going in the door saying, “Can I come in?
Say that I can come in.” But instead that scene is more or less placed here.
535 01:19:13,049 –> 01:19:16,709 JAL: And this is the spider web design that you were so happy with, that someone had found.
536 01:19:16,797 –> 01:19:24,177 TA: Well, yeah. Eva found it somewhere in some garbage container, this door.
537 01:19:24,380 –> 01:19:28,950 JAL: Here is the only time the “V” word is spelled out.
538 01:19:30,204 –> 01:19:36,977 TA: It is quite cool that he asks straightforward if she is a vampire.
539 01:19:45,513 –> 01:19:56,614 TA: The DOP, Hoyte and I, we tried to find a word for this very special kind of lighting. We call it “spray light”.
540 01:19:57,074 –> 01:20:05,879 TA: It’s as if you had canned light in a spray can that you just sprayed around in the room.
541 01:20:06,838 –> 01:20:17,555 TA: It really hasn’t got any direction. It doesn’t come form any particular angle. It’s just all around the apartment, coming from nowhere.
542 01:20:19,188 –> 01:20:22,531 TA: Yeah, this is Hakan’s sweater.(Laughs)
JAL: Hakan’s old sweater.(Laughs)
543 01:20:23,889 –> 01:20:31,829 TA: His red sweater. Why not use it? And she also wants to look a little better.
544 01:20:35,659 –> 01:20:46,179 TA: And here are the different things that maybe tell something of Eli’s earlier life. Some clues.
545 01:20:51,636 –> 01:20:59,126 TA: And this egg of course is a complicated thing to build.
JAL: So it’s not really built.
546 01:20:59,997 –> 01:21:06,150 TA: Well, it’s built in a computer…
JAL: …pixels.
547 01:21:07,778 –> 01:21:16,396 JAL: And it’s also a sort of hint. I actually would have liked it to be falling into more pieces because it’s a sort of a hint of how Eli spends her time.
548 01:21:16,857 –> 01:21:20,960 JAL: It must take days and weeks to put that together again.
549 01:21:23,097 –> 01:21:27,820 JAL: But I think you had something like that but it didn’t show clearly enough what it was.
550 01:21:35,814 –> 01:21:49,786 TA: Dino the editor was teasing me every time we came to this scene that Eli is coming with one bill of each value and he thought it was so cheesy.
551 01:21:50,104 –> 01:22:03,791 TA: One tenner, one hundred, one fifty, and one thousand, of the old kronor bills of that time.
552 01:22:05,681 –> 01:22:09,966 TA: As we were to show we have fixed old money.
553 01:22:15,593 –> 01:22:26,261 TA: So here is… here comes the deleted scene if you have the possibility to see that.
554 01:22:27,406 –> 01:22:35,055 TA: After that scene, the deleted scene where they fight comes in this position in the film.
555 01:22:36,036 –> 01:22:42,710 JAL: It’s also one scene I remember being quite proud of in the book this thing where they are just rolling around each other fighting very hard…
556 01:22:43,099 –> 01:22:48,342 TA: …but really trying hard not to hurt each other. It’s just something they have to do.
557 01:22:50,764 –> 01:22:58,868 TA: And also her ability of totally crashing him if she wants to.
JAL: Of course, if she wants to break him but she doesn’t.
558 01:23:07,892 –> 01:23:19,875 JAL: Here I remember it originally Virginia explicitly asking Lacke to put a stake through her heart. And Lacke doesn’t want to, of course.
559 01:23:24,905 –> 01:23:31,606 JAL: It’s also done to show some sort of measurement of what Eli has gone through.
560 01:23:31,907 –> 01:23:37,644 JAL: But Eli hasn’t answered the question in the way that Virginia does – she wants to die. She can’t live like this.
561 01:23:37,929 –> 01:23:42,027 JAL: Eli has decided to live no matter what the cost.
562 01:23:43,671 –> 01:23:55,391 TA: I also see those two, Lacke and Virginia, as a reflection of Oskar and Eli if they should have stayed.
563 01:23:56,459 –> 01:24:11,472 TA: If they had taken the punches from the tormentors. If they did not choose to be themselves, they would have been turned into those two.
564 01:24:20,535 –> 01:24:30,151 JAL: He really has a bad day, Lacke. So many bad things happen to him. Everything is taken away from him by Eli, really.
565 01:24:34,512 –> 01:24:46,413 JAL: And I remember us also removing this whole police investigation bit around Hakan from the script because there would be two threats against Eli.
566 01:24:46,566 –> 01:24:55,782 JAL: It was enough just with Lacke because you can thoroughly understand his hatred towards this being that has torn his life apart.
567 01:25:05,488 –> 01:25:13,573 TA: It is a very aggressive fire . Indoors.
568 01:25:15,874 –> 01:25:21,112 JAL: Yeah, you had to shoot it under very special circumstances. I remember it was a kind of a laboratory almost.
569 01:25:23,951 –> 01:25:31,304 TA: Yeah, it was made at the fire fighters’ school outside Stockholm.
570 01:25:35,325 –> 01:25:40,465 TA: So here he is introduced: the older brother of Conny.
571 01:25:43,155 –> 01:25:54,990 TA: And it’s a double scene where you might think that Oskar has gained some power in school, too.
572 01:25:55,007 –> 01:26:02,935 JAL: Yeah, like you said some time that he’s standing in the schoolyard like he’s got a right to be there – for the first time.
573 01:26:04,102 –> 01:26:16,901 TA: There was a little joke: He’s eating a very strange Swedish food called “blood pudding”.
574 01:26:19,422 –> 01:26:22,529 JAL: Made from pig’s blood.
575 01:26:28,041 –> 01:26:36,966 TA: And this scene John I have to thank you for being so strong and keeping this in the script…
576 01:26:37,081 –> 01:26:42,664 TA: …because I really had a hard time to imagine how to do this, to solve it.
577 01:26:47,459 –> 01:26:55,146 JAL: Yeah, but it was really from… that I really, really wanted this scene to stay was because I know from a horror genre perspective…
578 01:26:55,146 –> 01:27:01,935 JAL: …I know this is quite an original scene. The vampire not being able to enter a building without being invited, you’ve seen this…
579 01:27:02,280 –> 01:27:06,324 JAL: …but you have never seen what actually happens if a vampire walks in anyway.
580 01:27:07,682 –> 01:27:14,816 TA: And it really was a son of a bitch doing because it really didn’t work for a very long time.
581 01:27:14,860 –> 01:27:26,574 TA: And Per and I, Per who is the mixer, we were mixing this in Norway and I think it didn’t work.
582 01:27:26,805 –> 01:27:41,029 TA: But finally when we came home we made some alterations and we took away a lot of effects and music from here so it’s a very quiet and dry scene.
583 01:27:43,472 –> 01:27:51,214 TA: But after we did those alterations it really worked and it’s so dull.
584 01:28:04,868 –> 01:28:08,813 JAL: It’s almost like an emblematic picture, this, with Eli with the blood running from her face.
585 01:28:10,260 –> 01:28:18,851 JAL: It’s funny when I think about it: The first scene of Eli sacrificing, you really wanted to keep there, when she is eating candy…
586 01:28:19,060 –> 01:28:22,911 JAL: …and the second one I really wanted to keep there, when she is walking in uninvited.
587 01:28:36,609 –> 01:28:55,337 TA: In the book this is the moment where Oskar gets a glimpse into Eli’s mind and learns what her history is and learns also that…
588 01:28:55,644 –> 01:29:13,276 TA: …Eli is a castrated boy originally. And this is just suggested now in the very short clip in a moment where you see the genitals. Her genitals.
589 01:29:13,873 –> 01:29:21,314 JAL: But here it is also suggested that there is somehow like watercolors on a paper they glide into each other and become each other a little bit…
590 01:29:21,462 –> 01:29:31,105 JAL: …which is exactly what Eli is asking for, “Be me a little.” And how Oskar actually manages to be that, to merge with Eli for a moment.
591 01:29:33,423 –> 01:29:38,042 TA: Yeah, here comes this Per Gessel song.
592 01:29:48,874 –> 01:29:59,306 TA: It is a very special thing this; playing your favorite music to somebody else. It’s very private. You get very nervous.
593 01:30:01,213 –> 01:30:07,098 JAL: Oh I remember in the former scene also where he glimpses into Eli’s past it’s also the first time they kiss in the book.
594 01:30:07,251 –> 01:30:11,065 JAL: And this wouldn’t have been a good thing because then the kiss at the end would have lost its power.
595 01:30:20,062 –> 01:30:25,650 TA: And he is of course very interested in having a little glimpse here.
596 01:30:28,094 –> 01:30:31,283 JAL: He is doing this very well.
TA: Yeah. Tum-da-dum-da-dum.
597 01:30:36,247 –> 01:30:48,071 TA: A lot of people have reacted on this shot of Eli’s genitals. I think it does its job because it tells you something about her history.
598 01:30:49,309 –> 01:30:55,501 TA: It also suggests that she might have been a boy. That she has been castrated.
599 01:30:56,334 –> 01:31:05,451 TA: And of course as anybody would understand this is made artificially with a doll, this shot.
600 01:31:07,402 –> 01:31:15,686 JAL: I love this look on Oskar’s face here because, “OK, you’re a vampire. You can do those things. This is really cool actually.”
601 01:31:16,782 –> 01:31:19,072 TA: “I have a very cool friend.”
602 01:31:19,741 –> 01:31:28,365 JAL: And this I remember the script was somehow put down in all thoroughness the misery of Eli’s existence, her loneliness.
603 01:31:29,209 –> 01:31:33,603 JAL: But it doesn’t really turn out that way. It’s sort of because you’re hmm-hmm-hmm-hmm-hmm.
604 01:31:33,888 –> 01:31:39,783 JAL: It’s more an after reflection on being together with Oskar. Which is fine also. It’s just a different interpretation.
605 01:31:40,123 –> 01:31:47,871 TA: I think its a little too gloomy for my taste.
JAL: (Laughs) Well, maybe happy isn’t the word.
606 01:31:52,418 –> 01:32:04,023 TA: Here he leaves his mother. He sort of cuts all of the threads one after one. With school, with his father, with his mother, to choose her.
607 01:32:11,869 –> 01:32:18,401 JAL: Poor Lacke.
TA: Yeah, he’s got nothing now but his lousy jacket.
608 01:32:25,184 –> 01:32:39,660 TA: I think that this is the result of some re-arrangement in the editing of this sequence I remember. This came earlier I think.
609 01:32:40,460 –> 01:32:44,273 JAL: it’s a different time line here than in the original script.
610 01:32:44,679 –> 01:32:48,536 JAL: And I remember also in the original story this is a big decision on Oskar’s behalf.
611 01:32:48,613 –> 01:32:55,374 JAL: It’s after the night where he has found out the Eli is in fact a boy and he has wrote in this note, “I like you so very much” and so on.
612 01:32:55,538 –> 01:33:01,401 JAL: “Would you like to see me tonight?” And we don’t know what is going to decide and eventually he uses the other half of the paper…
613 01:33:01,401 –> 01:33:04,952 JAL: …where he has to write in big, big letters, “YES”.
614 01:33:07,187 –> 01:33:09,390 JAL: “I don’t care. I still want to see you.”
615 01:33:12,875 –> 01:33:22,518 TA: And here is the reason we put this poster in the window. It was to have something for Lacke to remember.
616 01:33:23,406 –> 01:33:31,504 TA: In the beginning of the film he is peeing outside their window and he looks up and sees Hakan putting up this poster.
617 01:33:32,369 –> 01:33:39,577 TA: Because to give him something to remember that window with, we put that very typical poster.
618 01:33:39,577 –> 01:33:44,577 TA: A lot of people have asked me about that, Why that poster?
619 01:33:45,015 –> 01:33:52,971 TA: Because that’s a complication why Lacke finds this apartment and why he comes to this specific place.
620 01:33:53,464 –> 01:33:58,702 JAL: I remember it was, it’s not in the book but in the script, to try to describe this because I know we discussed this a lot.
621 01:33:58,724 –> 01:34:06,280 JAL: I came up with the solution that he is home at Virginia’s place just remembering her and he sees that she has covered all the windows…
622 01:34:06,494 –> 01:34:12,981 JAL: …with blankets and so on to keep the light out. And then he makes the connection when he sees Eli’s covered windows.
623 01:34:18,855 –> 01:34:28,630 TA: that’s the kind of material you used during the war to put up in the windows to keep it dark.
624 01:34:30,986 –> 01:34:33,561 JAL: It’s the actual stuff?
TA: Yeah, the actual stuff.
625 01:34:42,344 –> 01:34:53,527 TA: Yeah, this is a good… it’s very Hitchcockian way to design the structure of the scene.
626 01:35:00,885 –> 01:35:07,718 JAL: Of course… and this is also something I considered a lot, that what would Eli… I wouldn’t want Eli to sleep in a coffin and so on…
627 01:35:07,773 –> 01:35:12,638 JAL: …when I wrote the book so in the book Eli is sleeping in a bathtub full of blood.
628 01:35:13,553 –> 01:35:21,515 JAL: But even before we discussed it I took this out of the movie because it would be too much in an image…
629 01:35:22,167 –> 01:35:28,829 JAL: …with a bathtub of blood, just a simple effect. In the book it works, but I don’t think it would have in a movie.
630 01:35:36,922 –> 01:35:41,245 JAL: Eli breaths blood so to speak.
TA: Like a fish.
631 01:35:52,258 –> 01:36:04,438 TA: Hitchcock uses this trick a lot in his films to have a bird’s eye angle before something violent happens.
632 01:36:06,164 –> 01:36:11,408 TA: So it’s a warning sort of signal, to have the bird’s eye point of view.
633 01:36:15,430 –> 01:36:18,525 JAL: Eli looks so sweet and defenseless in that shot.
634 01:36:23,500 –> 01:36:25,928 TA: Killing her with a little fruit knife.
635 01:36:29,023 –> 01:36:35,412 TA: And here comes his knife, which was a
promise in the beginning of the film.
636 01:36:43,428 –> 01:36:48,606 JAL: We were speaking of timing earlier. THIS is an example of good timing.
637 01:36:48,907 –> 01:36:54,666 JAL: How everything happens in that scene.
TA: Yeah, the silence before she jumps out at him is very efficient.
638 01:36:58,408 –> 01:37:03,285 JAL: It’s also in writing the story I remember this was one of those moments of decision for Oskar…
639 01:37:03,285 –> 01:37:09,635 JAL: …where he leaves that door half open and he goes to the front door and we think that he’s going out, but he’s not.
640 01:37:10,013 –> 01:37:14,816 JAL: He locks it from the inside and goes back into the apartment.
641 01:37:18,122 –> 01:37:21,454 JAL: So it’s very much on one level a story of Oskar’s decisions.
642 01:37:29,996 –> 01:37:40,891 TA: And I think this was the most critical moment for the actors, Kare and Lina, to kiss.
643 01:37:40,891 –> 01:37:45,891 TA: Of course it was. Everything else was nothing compared to this.
644 01:37:47,162 –> 01:37:51,717 JAL: But they do, and for me this is the best film kiss ever.
645 01:37:51,732 –> 01:37:54,033 TA: (Chuckles) Yeah, with blood.
JAL: I love this.
646 01:37:56,350 –> 01:37:58,701 TA: What did you think when you saw them first?
647 01:37:58,882 –> 01:38:03,588 JAL: Well, the first time I saw them together was you showed me this early casting thing…
648 01:38:03,835 –> 01:38:07,955 JAL: …and they did this very first thing where he is stabbing into the tree and they meet.
649 01:38:08,624 –> 01:38:14,021 JAL: Well it was the same sentiment as I’ve got all the time through this movie: it’s perfect. They’re perfect.
650 01:38:14,514 –> 01:38:23,609 TA: Because I would suppose you have your own very clear images of how the people look in the film because this is very autobiographical.
651 01:38:23,670 –> 01:38:29,067 JAL: Yeah, well Oskar is… you know to a certain extent he is playing me but still it doesn’t really matter…
652 01:38:29,083 –> 01:38:33,812 JAL: …and still when I think about this movie when someone talks to me, or when someone talks to me about the book…
653 01:38:34,513 –> 01:38:40,140 JAL: …I can’t really help thinking of Eli and Oskar as they look in the movie, not as I imagined them when I wrote the book.
654 01:38:40,589 –> 01:38:44,184 JAL: These two children, Kare and Lina, are Oskar and Eli for me too now.
655 01:38:48,315 –> 01:38:56,660 TA: This is what you in theater call a “False Final”
where the film has actually come to an end.
656 01:38:57,493 –> 01:39:02,900 TA: This sequence is putting everything together and he doesn’t need her anymore.
657 01:39:03,109 –> 01:39:10,730 TA: Because he has learned how to handle his situation now, and…
JAL: There are so many subtle things here.
658 01:39:10,840 –> 01:39:15,607 JAL: Saying that now the movie is over. Like this for example here the closing of the doors.
659 01:39:20,527 –> 01:39:24,560 JAL: “Who Killed The Man In The Ice?” maybe it’s said in the translation, I don’t know.
660 01:39:26,187 –> 01:39:37,852 TA: And this also gives the audience a clue that maybe all this is fantasy if it has come from the article.
661 01:39:38,526 –> 01:39:49,167 TA: And when he comes into the apartment beside maybe it’s an empty apartment.
662 01:39:49,167 –> 01:39:59,807 TA: I wanted to give the audience that possibility that this might be just a fantasy.
663 01:40:00,711 –> 01:40:07,346 TA: But it is not.
JAL: No. Right. Good that you say it. It’s usually me saying that. (Both laugh)
664 01:40:10,212 –> 01:40:18,261 JAL: No it’s a good thing visually I think too, but it’s… well, I’m not too keen on interpretations.
665 01:40:18,332 –> 01:40:22,107 JAL: This is actually what happens. It’s about a boy meeting a vampire.
666 01:40:22,995 –> 01:40:27,576 JAL: But it’s good if it also works on a psychological level of course.
667 01:40:34,775 –> 01:40:45,136 TA: And here comes this very cruel telephone call.
668 01:40:45,416 –> 01:40:50,215 JAL: But this struck me the first time when I saw the finished movie as a very brave shot to do.
669 01:40:50,380 –> 01:40:55,114 JAL: To include this, this very, very long shot of his face, crying.
670 01:40:58,456 –> 01:41:03,470 TA: Yeah, it’s too long. But on purpose too long.
671 01:41:06,587 –> 01:41:10,483 JAL: It’s a way to start again, to give us a blank page for a short time, isn’t it?
672 01:41:15,716 –> 01:41:23,485 TA: And the freshness of the day, and the sunlight, that a new chapter has started.
673 01:41:27,814 –> 01:41:31,501 JAL: This is really terrible. He’s really the worst of them, the one who calls Oskar.
674 01:41:31,578 –> 01:41:34,219 TA: Yeah. He is the worst.
675 01:41:36,662 –> 01:41:39,632 TA: The Judas.
JAL: Yeah. So to speak.
676 01:41:40,564 –> 01:41:45,276 JAL: And that scene in the pool where he is saying “Hi” to Oskar and so on he is just trying to feel things out.
677 01:41:45,276 –> 01:41:49,106 JAL: “Maybe Oskar is starting to gain power. I shouldn’t be too bad to him.”
678 01:41:51,073 –> 01:41:55,078 JAL: But now Oskar has lost power so he is just playing along with the others.
679 01:41:56,968 –> 01:42:03,751 TA: Old payphone. With you could pay with coins. Do they exist any more?
680 01:42:04,206 –> 01:42:06,705 JAL: I don’t think so. It’s just credit cards now.
681 01:42:06,886 –> 01:42:12,239 JAL: English speaking audiences laugh here. “BAD”. It means “bath” in Swedish.
682 01:42:13,181 –> 01:42:22,775 TA: This is one of the most complicated track shots in the film. We had a lot of differences to avoid the reflections in the windows here.
683 01:42:23,531 –> 01:42:27,805 TA: We had to rehearse it for like three hours before shooting it.
684 01:42:28,789 –> 01:42:39,168 JAL: And actually this is, it’s in the movie too, but actually Mr. Avila, the gym teacher here, he’s actually the only good adult in the book.
685 01:42:40,225 –> 01:42:45,618 JAL: The only person with a good mind, of the adults, who is not all wrapped up in himself.
686 01:42:47,115 –> 01:43:00,003 TA: Yes, but he’s also… he could have, in the film I mean, if he had tried a little harder he could have seen this.
687 01:43:00,693 –> 01:43:06,574 TA: But he doesn’t try really hard, or he doesn’t try enough.
688 01:43:18,503 –> 01:43:29,393 TA: Of course this sequence was very complicated to do to work underwater.
689 01:43:32,197 –> 01:43:39,250 TA: And I think we made this in like 2 days, this sequence.
690 01:43:41,357 –> 01:43:46,891 TA: And it contains a lot of complicated shots and a lot of rehearsals…
691 01:43:46,891 –> 01:43:57,828 TA: …to get the proper timing and the most complicated shot of them all, the final shot sort of.
692 01:44:00,337 –> 01:44:07,438 JAL: I remember I was very happy writing the script with this because this final scene in the book as well as in the movie…
693 01:44:07,844 –> 01:44:12,643 JAL: …was sort of my reason for writing the book from the beginning. To be able to do this scene…
694 01:44:12,720 –> 01:44:16,205 TA: (Laughs)
JAL: …where Eli comes to save Oskar and rips the head off the tormentors…
695 01:44:16,205 –> 01:44:24,752 JAL: …or my tormentors so to speak. But in the book I came to the conclusion that this scene cannot be included. There was too much violence preceding it.
696 01:44:25,388 –> 01:44:34,659 JAL: Here it’s not, so I got the chance to actually, if from an underwater perspective, but still to describe what happens afterwards when Eli comes in.
697 01:44:37,608 –> 01:44:43,075 TA: Here you have for the first time in the film a recognizable song.
698 01:44:43,667 –> 01:44:54,022 TA: It’s A Flash In The Night with Secret Service, which I think was a hit record around this time and for some reason I thought it was very suitable here.
699 01:44:54,844 –> 01:45:09,999 TA: It has a sort of a claustrophobic feeling which enriches the scene and it almost feels like the singer, Ola Hakansson, is singing underwater I think.
700 01:45:11,808 –> 01:45:18,240 JAL: This is a change that you made I know from the script. He is more obviously violent from the beginning, this guy.
701 01:45:18,613 –> 01:45:22,831 JAL: And I think he jumps into the pool and grabs Oskar…
TA: Yes.
702 01:45:23,434 –> 01:45:31,435 JAL: …but you made a change that Oskar sort of accepts his fate. When he makes this “chk chk” “Come here”, Oskar just does it.
703 01:45:33,965 –> 01:45:46,863 TA: I think it had some technical reason to it that I didn’t want Jimmy in the water.
704 01:45:48,869 –> 01:45:52,638 JAL: Well of course not, because in this scene where we just have Oskar in the foreground…
705 01:45:52,638 –> 01:45:55,159 JAL: …and we see what is happening in the background, he couldn’t have been there.
706 01:45:55,652 –> 01:46:01,723 JAL: But I remember in the script I just said that we are to see it from an underwater perspective…
707 01:46:01,777 –> 01:46:07,717 JAL: …but through Oskar’s eyes and we will see what happens on the surface through the water.
708 01:46:07,991 –> 01:46:13,481 JAL: But you made the inclusion that Oskar is to be in the frame, which is better.
709 01:46:32,034 –> 01:46:38,817 TA: Somebody came with the idea that Oskar dies in this scene…
710 01:46:39,880 –> 01:46:43,233 TA: …and the scene after this is his…
711 01:46:47,036 –> 01:46:52,537 TA: He goes to heaven when he travels with the train.
712 01:46:54,191 –> 01:47:03,057 JAL: OK. Well… once again I wouldn’t like that interpretation. It’s not mine but it’s…
713 01:47:03,758 –> 01:47:06,256 TA: It’s possible.
JAL: It’s possible.
714 01:47:15,472 –> 01:47:22,694 JAL: There’s one small thing I am missing here: It’s the shards of glass flying into the pool after Eli breaks the window.
715 01:47:24,272 –> 01:47:45,980 TA: Yes. It was impossible to do for real because it was too dangerous to have real glass and it was too tough to do that digitally.
716 01:47:48,567 –> 01:47:55,383 JAL: So if you saw the kiss, the Film Kiss of the Year before,
I think this is the Film Smile of the Year.
717 01:47:55,524 –> 01:48:01,640 TA: Yeah. You even see her smile in her eyes.
718 01:48:03,360 –> 01:48:05,990 JAL: That’s what happens if you are bad to people.
TA: Yeah.
719 01:48:08,971 –> 01:48:14,461 TA: Be good. Be nice. Behave.
720 01:48:15,568 –> 01:48:18,077 JAL: That’s the thing we want to leave you with.
721 01:48:19,809 –> 01:48:24,795 JAL: And that’s another false ending.
TA: That’s another false ending, yeah. The second.
722 01:48:31,337 –> 01:48:39,764 JAL: So this is… you could say that this snow fall here is like the equivalent of the close shot of Oskar’s face to clear the frame one more time.
723 01:48:39,764 –> 01:48:42,745 JAL: For the last time. One more final thing to tell.
724 01:48:44,728 –> 01:48:50,306 JAL: So it gives you sort of the time ponder, “So what happened after that?”. And then you get to see it.
725 01:48:53,867 –> 01:48:55,939 JAL: So this would be heaven then.
726 01:48:56,486 –> 01:49:04,694 TA: Or the way to heaven with Swedish Railway. Royal Swedish Railway. You see how royal it is.
727 01:49:10,951 –> 01:49:13,088 TA: It is nice going with the train.
728 01:49:14,118 –> 01:49:17,570 JAL: I see this as a very happy ending, a very positive ending.
TA: Me too.
729 01:49:17,680 –> 01:49:22,195 JAL: Me, uh… or him going out on life’s big adventure.
730 01:49:23,915 –> 01:49:30,534 TA: I remember that you wanted this song here…
JAL: Yeah. (Chuckles)
731 01:49:33,548 –> 01:49:42,303 TA: …and I think I also promised to give you that…
JAL: Or half promised, I would say.
732 01:49:42,336 –> 01:49:45,646 TA: I promised to try.
JAL: Yes. You promised to try. That you said.
733 01:49:45,810 –> 01:49:52,549 JAL: But it was too happy. It would be almost like you could… ironic to put that song there. It’s a very happy song.
734 01:49:52,549 –> 01:49:58,308 TA: Yeah it was a very bright and… Yeah it would have pushed out people, sort of.
735 01:50:02,839 –> 01:50:16,975 TA: Yes and here comes Johan’s beautiful music. We hadn’t had the time to talk about the music but in the very early stage we, Johan Soderqvist and I…
736 01:50:17,786 –> 01:50:27,342 TA: …discussed that the music should emphasize the romantic parts of the film rather than the scary parts.
737 01:50:28,021 –> 01:50:43,473 TA:And here comes this very beautiful love theme with the full orchestra, with the Bratislava Symphony Orchestra.
738 01:50:44,327 –> 01:50:54,727 TA: And it’s also totally analog. There is no synthesizers. Everything is made by hand…
739 01:50:55,231 –> 01:51:07,482 TA: …and we have this really strange instrument called “water phone” which is nearly undescribable but you could look it up on the internet anyhow…
740 01:51:07,493 –> 01:51:18,628 TA: …and it gives you this very crispy, icy, cold sound. It comes a lot in the film. It plays beautifully.
741 01:51:18,945 –> 01:51:24,645 JAL: I also want to mention someone here because someone who worked with me which is Dennis Magnusson here…
742 01:51:25,832 –> 01:51:28,495 JAL: …since you talked about a lot of people who worked with you in the movie.
743 01:51:28,495 –> 01:51:35,914 JAL: And Dennis Magnusson was the one who helped me out in the final versions of the script with the structure and so on and did that very well.
744 01:51:36,451 –> 01:51:39,711 JAL: So, Dennis Magnusson. He is not mentioned very often.
745 01:51:41,272 –> 01:51:52,510 TA: Here is an idea we tried to… that’s really one thing I’m not so happy about: The background turning red and then black again.
746 01:51:52,554 –> 01:52:08,159 TA: I think it’s too… it would have been more self-confident to have it black all the way through, but sometimes you get a little too many ideas.
747 01:52:10,444 –> 01:52:13,446 JAL: Here we have for example these two ice divers.
748 01:52:14,191 –> 01:52:22,169 JAL: It’s those people you never really see in the movie. The two people who are down in the hole taking on the doll which Hakan pushed into the water.
749 01:52:22,284 –> 01:52:29,582 TA: You know, having to work with people under the ice, it’s really scary.
750 01:52:30,256 –> 01:52:39,637 TA: What a job. And those guys are really heroes, working with saving people, and in accidents.
751 01:52:42,157 –> 01:52:48,305 TA: You really feel like a wimp when you’re beside them.
752 01:52:50,294 –> 01:52:54,096 JAL: OK, so let’s say goodbye with that sentiment.
753 01:52:55,247 –> 01:53:09,060 TA: And thank you for listening to us, if you have and please see our next film coming up in 25 years… no. I don’t know when it comes.
754 01:53:09,131 –> 01:53:13,651 JAL: No. Three or five or six or seven maybe. Something like it.
755 01:53:15,180 –> 01:53:23,086 TA: And if you meet this Eli keep her on distance. She’s dangerous.
756 01:53:24,374 –> 01:53:32,154 JAL: Possibly, and also remember to be nice to people. They might get supernatural help and come after your head later.