Director’s Commentary Track – UK DVD | Wolfchild's Let The Right One In Site

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	Dialog	Scene

1	00:00:05,000 –> 00:00:10,000	Subtitles courtesy of http://www.let-the-right-one-in.com
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.