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.
|1||00:00:05,000 –> 00:00:10,000||Subtitles courtesy of
|2||00:00:10,000 –> 00:00:13,000||Special thanks to Gareth|
|3||00:00:26,607 –> 00:00:33,050||JAL: Hello and welcome to this director and script writer comment to Let The Right One In.|
|4||00:00:33,489 –> 00:00:37,258||JAL: My name is John Ajvide Lindqvist and I sound like this.|
|5||00:00:38,003 –> 00:00:46,857||TA: My name is Tomas Alfredson and I’m the director and I sound like this. Hello. Good evening. Good afternoon. Good morning.|
|6||00:00:49,048 –> 00:00:55,241||JAL: So, where do we begin?
TA: Well, I think the film has started here, hasn’t it?
|7||00:00:55,406 –> 00:01:01,400||TA: It is a very subtle start here with a…|
|8||00:01:02,122 –> 00:01:07,997||TA: We tried to create the sound of snow falling here.|
|9||00:01:08,709 –> 00:01:18,965||TA: Which was quite complicated when you come to think of it because snow hasn’t got any sound if you listen when snow falls.|
|10||00:01:18,965 –> 00:01:22,911||TA: But inside your head it has a sound, doesn’t it?|
|11||00:01:24,050 –> 00:01:30,987||TA: So this is a mixture if you listen if you turn up your receiver without the commentary.|
|12||00:01:30,987 –> 00:01:43,151||TA: So you will hear… I think it was like small bubbles in mineral water which was recorded in a very high resolution.|
|13||00:01:43,152 –> 00:01:48,279||TA: And then we took the speed down to like 25% or something.|
|14||00:01:48,761 –> 00:02:02,525||TA: And it’s also sugar falling onto a very hard surface like if it was marble or a very stiff table. That mixture.|
|15||00:02:07,051 –> 00:02:12,563||JAL: And this snowfall wasn’t planned to be included in the movie from the beginning but you had saw this beautiful snowfall…|
|16||00:02:12,563 –> 00:02:16,000||JAL: …and filmed it and decided to include it.
TA: Yeah, yeah, yeah.
|17||00:02:16,979 –> 00:02:28,397||TA: And that is the wonderful thing with filmmaking:
that even if you’re planning everything in detail…
|18||00:02:28,397 –> 00:02:34,469||TA: …nature comes in and gives you little surprises and gifts.|
|19||00:02:34,469 –> 00:02:39,630||TA: And this was a gift from nature I think. It was a beautiful shot.|
|20||00:02:43,071 –> 00:02:51,673||JAL: And here in the shot that comes after this I would like to mention that because this was like the starting point in the story for me,|
|21||00:02:52,090 –> 00:02:57,821||JAL: This with Oskar standing by his window. The feeling of being alone in the night in your bedroom…|
|22||00:02:58,226 –> 00:03:05,251||JAL: …looking out at the yard in your apartment complexes just waiting for something to happen.|
|23||00:03:05,689 –> 00:03:11,902||JAL: Anything. For anyone to come through the darkness. I mean, maybe not to save you, but just to…|
|24||00:03:12,330 –> 00:03:21,557||JAL: That something would happen, that would maybe change things. That feeling was a very important starting point in writing the story.|
|25||00:03:26,389 –> 00:03:40,986||TA: I also think that this is a very typical feeling of the Swedish suburbia or this particular suburb outside Stockholm called Blackeberg.|
|26||00:03:40,986 –> 00:03:53,588||TA: And though it’s not shot in the actual Blackeberg but the feeling and the ambience and the tone is very typical I think.|
|27||00:03:53,949 –> 00:03:59,746||JAL: And also I grew up in Blackeberg and I can assure you that this looks very much the same.|
|28||00:03:59,900 –> 00:04:04,053||JAL: As you say it’s got the same feeling even though the buildings aren’t built in exactly the same way.|
|29||00:04:05,029 –> 00:04:11,910||JAL: And I also had this kind of – what do you call it – panorama tapestry?
This thing with the forest around it.
|30||00:04:12,535 –> 00:04:22,891||JAL: And I used to lie there and watch these patterns and see if I could find figures, trolls or goblins, and I would whisper to them when I was a child.|
|31||00:04:22,891 –> 00:04:31,526||TA: I had also… but I think it was like a tropical sunset or something.|
|32||00:04:31,723 –> 00:04:43,525||TA: And then I had this very popular poster which I always remember when think of my teens. It is this prick with sunglasses. Do you remember that?|
|33||00:04:44,182 –> 00:04:48,092||JAL: Uh… (chuckles)
TA: You could buy it on this very famous Swedish record store.
|34||00:04:49,311 –> 00:04:54,418||TA: It’s very typically 1980’s. Everybody got it.
JAL: Except me.
|35||00:04:54,472 –> 00:05:00,883||TA: (Laughs) Except you. A prick with sunglasses and a cigarette.
|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?”
|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.
|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.
|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…
|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?
|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!
|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.
|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.
|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.
|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
|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.
|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.
|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.
|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.
|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.
|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.
|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.
|475||01:09:13,913 –> 01:09:23,716||TA: They have their meetings before deciding the next… (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.
|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…
|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…
|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.
|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.|