Swedish Subtitles

Every once in a while someone asks about various lines from the original Swedish dialogue. Below is the Swedish subtitle track from Låt den rätte komma in, which can be helpful in answering such questions.

Time Index
Dialog
1 00:02:05,865 –> 00:02:09,255 Skrik som en gris.
2 00:02:09,536 –> 00:02:12,096 Skrik, då!
3 00:02:38,481 –> 00:02:41,837 (FLICKAS NYNNANDE)
4 00:03:35,997 –> 00:03:40,275 Skrik. Skrik som en gris.
5 00:04:18,707 –> 00:04:21,938 (RÖSTER)
6 00:05:16,139 –> 00:05:23,727 Polisen har metoder att se om nåt är
galet. Minns ni husbranden i Ängby?
7 00:05:24,189 –> 00:05:29,707 En villa brann ner till grunden och
vi hittade en person, död förstås.
8 00:05:30,070 –> 00:05:38,466 Där visste vi att branden anlagts för
att dölja att personen mördats innan.
9 00:05:38,953 –> 00:05:43,390 Hur kunde vi veta det?
Jo, det… Ja?
10 00:05:44,751 –> 00:05:48,585 För att det inte fanns rök
i lungorna.
11 00:05:48,880 –> 00:05:53,795 Ja, det stämmer.
Räknade du ut det nu?
12 00:05:54,135 –> 00:06:00,688 Nej, jag läser mycket och så…
Vilken sorts böcker, undrar man ju?
13 00:06:01,101 –> 00:06:05,492 Inga särskilda.
Okej.
14 00:06:05,814 –> 00:06:13,050 Nu ska vi prata droger. Vet ni vilka
som är vanligast mellan 13 och 18 år?
15 00:06:16,491 –> 00:06:18,846 Öh, Oskar!
16 00:06:20,120 –> 00:06:24,238 Vad glor du på? Va?
17 00:06:24,541 –> 00:06:27,374 Är det mig du glor på?
18 00:06:27,627 –> 00:06:30,983 Det ska du ge fan i!
19 00:06:35,927 –> 00:06:41,047 Piiiiiip! Vad duktig du var, grisen.
20 00:06:47,605 –> 00:06:53,919 Conny, vart ska du? Vi har gympa nu.
Jag skiter i gympan.
21 00:07:06,499 –> 00:07:11,527 (VÄDERLEKSRAPPORT PÅ RADION)
22 00:08:25,203 –> 00:08:27,876 Ursäkta.
Ja?
23 00:08:28,123 –> 00:08:32,321 Hur mycket är klockan?
Jag har ingen klocka.
24 00:08:32,627 –> 00:08:37,906 Vad är det där?
Det kallas för Halotan.
25 00:08:41,845 –> 00:08:44,439 Men, nej…
26 00:10:29,994 –> 00:10:32,462 Ricky!
27 00:10:36,835 –> 00:10:38,427 Ricky!
28 00:10:38,628 –> 00:10:40,664 (HUNDSKALL)
29 00:10:44,843 –> 00:10:47,152 Stick!
30 00:10:47,387 –> 00:10:50,823 Ricky! Ricky!
31 00:10:56,980 –> 00:10:59,733 Ricky!
32 00:11:03,570 –> 00:11:06,403 Jävla hund!
33 00:11:08,867 –> 00:11:11,222 Ricky!
34 00:12:14,766 –> 00:12:17,758 Vad glor du på?
35 00:12:18,019 –> 00:12:19,975 Va?
36 00:12:21,439 –> 00:12:26,593 Är det mig du glor på?
Det ska du ge fan i.
37 00:12:29,322 –> 00:12:32,997 Vad är det med dig?
38 00:12:33,284 –> 00:12:35,957 Är du rädd?
39 00:12:37,622 –> 00:12:41,297 Skrik, då! Skrik, då!
40 00:12:53,638 –> 00:12:58,314 Vad gör du?
Inget.
41 00:12:58,643 –> 00:13:02,113 Vad gör du?
Ingenting.
42 00:13:02,397 –> 00:13:08,347 Bor du här, eller…?
Ja, här på klätterställningen.
43 00:13:08,737 –> 00:13:12,525 Visst. Men var bor du?
44 00:13:13,950 –> 00:13:19,414 Bredvid dig.
Hur vet du var jag bor?
45 00:13:19,414 –> 00:13:19,846 Bredvid dig.
Hur vet du var jag bor?
46 00:13:25,420 –> 00:13:29,891 Jag kan inte bli vän med dig.
Bara så du vet.
47 00:13:30,216 –> 00:13:36,325 Vadårå?
Måste det finnas en anledning?
48 00:13:36,723 –> 00:13:39,920 Det bara är så.
49 00:13:48,234 –> 00:13:51,988 Tror du jag vill bli vän med dig, då?
50 00:14:18,014 –> 00:14:22,530 Du har ju sagt att du ska hjälpa mig.
51 00:14:29,526 –> 00:14:33,963 Ska jag behöva göra det där själv?
52 00:14:44,749 –> 00:14:48,264 Säg nånting, då!
Förlåt.
53 00:14:51,715 –> 00:14:56,106 Men vet alltså inte varför
den här pojken mördades.
54 00:14:56,428 –> 00:15:02,139 Jag förstår om många är oroliga,
men kuratorn är här hela dan.
55 00:15:02,517 –> 00:15:07,545 Ni kan gå ner och prata med henne
när ni vill. Vill nån fråga nåt?
56 00:15:07,897 –> 00:15:12,095 Om man träffar mördaren,
får man mörda honom då?
57 00:15:12,402 –> 00:15:16,111 Conny, det där var väl onödigt?
58 00:15:27,459 –> 00:15:29,848 Oskar!
59 00:15:31,379 –> 00:15:35,338 Oskar! Grisen!
60 00:15:39,804 –> 00:15:42,716 Var är du, grisen?
61 00:16:00,325 –> 00:16:06,958 Gå hem direkt efter skolan, gå inte
utanför gården förrän jag kommer.
62 00:16:07,374 –> 00:16:12,050 Men det var ju i Vällingby.
Så nån som mördar barn…
63 00:16:12,379 –> 00:16:18,818 …kan inte ta tunnelbanan två
stationer, eller gå en kilometer?
64 00:16:30,397 –> 00:16:35,152 Nej, han ska till sin pappa
nästa vecka, så…
65 00:17:42,635 –> 00:17:46,184 Här kommer ju stumpan.
Tjena, tjena.
66 00:17:47,557 –> 00:17:55,987 Jag anser inte att dödsstraffet har
nån relevans i vårt rättssamhälle.
67 00:17:57,776 –> 00:18:02,213 Det är ju bara nåt nys
de har lurat i oss.
68 00:18:02,530 –> 00:18:07,968 Ungefär som ryssarna eller nåt sånt.
Finns inte ryssar?
69 00:18:08,328 –> 00:18:12,116 Klart det finns ryssar, men…
Jag har aldrig sett honom.
70 00:18:12,415 –> 00:18:18,285 Huggormar då, Jocke? Ärligt talat,
vem har blivit biten av en huggorm?
71 00:18:18,671 –> 00:18:26,589 Han flyttade in på min gård häromdan.
Med en liten unge. Jannes gamla kvart
72 00:18:27,055 –> 00:18:32,652 Ska jag be han komma över?
Nej, nej, för fan!
73 00:18:33,019 –> 00:18:39,652 Han kanske bjuder.
I så fall kan gubben få ha cancer.
74 00:18:45,865 –> 00:18:48,333 Dåligt?
75 00:18:51,204 –> 00:18:54,560 Ja, det är för jävligt.
76 00:18:58,044 –> 00:19:01,878 Du har flyttat in i 15, va?
77 00:19:03,842 –> 00:19:08,870 Ska du sitta ensam? Kom över
och garva lite i stället. Va?
78 00:19:09,222 –> 00:19:13,579 Ja, du, jag har lite bråttom, så…
79 00:19:16,563 –> 00:19:19,077 (TV-RÖSTER)
80 00:19:19,315 –> 00:19:22,990 Mamma, jag går ut ett tag.
81 00:19:23,278 –> 00:19:28,511 Men ska du inte titta färdigt?
Nej, det är inget bra.
82 00:19:28,867 –> 00:19:32,906 Bara på gården, då.
Mmm…
83 00:19:34,247 –> 00:19:37,842 Jag ska i alla fall titta klart.
84 00:20:23,004 –> 00:20:27,395 Är du här igen?
Är du här igen?
85 00:20:28,718 –> 00:20:32,427 Jag vill vara i fred.
Jag vill också det.
86 00:20:33,348 –> 00:20:35,942 Gå hem, då.
Gå hem själv.
87 00:20:36,184 –> 00:20:39,859 Jag har bott här längre än du.
88 00:20:45,610 –> 00:20:51,480 Vad är det där?
Det här? Det är en Rubiks kub.
89 00:20:51,866 –> 00:20:55,256 Är det ett pussel?
90 00:20:55,537 –> 00:20:58,176 Ja.
91 00:21:02,919 –> 00:21:06,275 Vill du låna den? Tills i morgon.
92 00:21:08,633 –> 00:21:13,627 Jag kanske inte är här i morgon.
I övermorgon, då. Sen får du inte.
93 00:21:29,362 –> 00:21:34,516 Hur gör man?
Man ska få sidorna enfärgade.
94 00:21:35,660 –> 00:21:37,730 Så här…
95 00:22:05,356 –> 00:22:09,110 Du luktar konstigt.
96 00:22:14,449 –> 00:22:18,124 Fryser du inte?
Nej.
97 00:22:18,870 –> 00:22:22,658 Varför det?
Jag har väl glömt hur man gör.
98 00:22:28,296 –> 00:22:32,084 Vi ses i morrn, då.
Mmm…
99 00:22:34,844 –> 00:22:40,555 (HENNES MAGE KURRAR)
100 00:23:07,252 –> 00:23:10,688 (LÅGMÄLT SMÅPRAT)
101 00:23:12,424 –> 00:23:14,574 Okej.
102 00:23:14,801 –> 00:23:21,593 I glädjens och samvarons tecken, tack
för ännu en kväll, gamla fetknopp.
103 00:23:22,016 –> 00:23:24,052 Vi ses i morrn.
Ja.
104 00:23:24,269 –> 00:23:27,500 Jocke, du är bäst!
Du med.
105 00:23:38,324 –> 00:23:40,155 (MJAU)
106 00:23:45,874 –> 00:23:48,069 Hjälp mig.
107 00:23:55,759 –> 00:23:57,590 MAN: Hallå…
108 00:23:59,888 –> 00:24:03,403 Snälla, hjälp mig.
109 00:24:05,018 –> 00:24:07,771 Har det hänt nåt?
110 00:24:15,528 –> 00:24:18,361 Är du skadad?
111 00:24:20,909 –> 00:24:24,424 Kan du resa dig upp?
Nej.
112 00:24:26,456 –> 00:24:28,572 FLICKA: Aj!
113 00:24:33,380 –> 00:24:40,138 Jag bär dig nånstans du kan ringa.
Du väger ju ingenting.
114 00:24:42,639 –> 00:24:47,394 MAN: Aj, din jävel. Aj, aj!
115 00:24:55,819 –> 00:24:59,095 (SÖRPLANDE)
116 00:25:33,440 –> 00:25:37,035 (ARGA RÖSTER)
117 00:26:24,491 –> 00:26:29,485 (MJAU – MJAU – MJAU)
118 00:26:38,797 –> 00:26:42,472 Aldrig mer göra så.
119 00:26:51,434 –> 00:26:57,907 Gösta? Vad fan, Gösta?
Det var inte i går, och inte i år.
120 00:26:58,316 –> 00:27:01,513 Jocke…
Va?
121 00:27:01,778 –> 00:27:04,497 Jocke…
122 00:27:04,739 –> 00:27:11,736 Jag stod på balkongen däruppe,
så såg jag Jocke och nån liten unge.
123 00:27:12,163 –> 00:27:15,121 Kattunge…
Nej.
124 00:27:15,375 –> 00:27:21,371 Kan det inte ha varit en dvärg?
Det var här nånstans.
125 00:27:24,134 –> 00:27:26,967 Men flytta på dig.
126 00:27:29,431 –> 00:27:34,903 Vad fan är det här för nånting?
Åh, fy satan!
127 00:27:35,270 –> 00:27:41,220 Det är ju blod, för fan.
Vem fan har gjort det här?
128 00:30:36,743 –> 00:30:39,257 Hur gjorde du?
129 00:30:44,209 –> 00:30:46,359 Jag vred.
130 00:30:50,924 –> 00:30:53,882 Luktar jag bättre?
131 00:30:58,890 –> 00:31:02,360 Vad heter du?
132 00:31:02,644 –> 00:31:04,999 Eli.
133 00:31:05,230 –> 00:31:08,984 Vad heter du?
Eli?
134 00:31:09,275 –> 00:31:12,904 Ja.
Oskar heter jag.
135 00:31:15,031 –> 00:31:20,822 Hur gammal är du?
Tolv. Ungefär.
136 00:31:21,204 –> 00:31:26,358 Du, då?
12 år, 8 månader och 9 dagar.
137 00:31:26,710 –> 00:31:29,668 Vadå “tolv ungefär”?
138 00:31:32,465 –> 00:31:36,663 När fyller du år?
Jag vet inte.
139 00:31:38,012 –> 00:31:45,600 Men när har du födelsedag och så?
Dina föräldrar måste ju veta.
140 00:31:52,360 –> 00:31:56,956 Så du får aldrig några presenter?
Nej.
141 00:32:02,996 –> 00:32:07,308 Du kan få den här, om du vill.
Den är din.
142 00:32:13,131 –> 00:32:19,366 Jag fattar inte hur du gjorde.
Ska jag visa dig?
143 00:32:22,015 –> 00:32:27,328 Nu. Visa.
Man måste börja med hörnen.
144 00:32:27,687 –> 00:32:34,638 Så tar man den här sidan, och
så sätter man… och gör så där.
145 00:32:35,070 –> 00:32:41,543 Äh, nej. Så där var det, ja.
Ser du. Så. Där…
146 00:32:44,371 –> 00:32:51,766 “Han sprang bland trädskuggorna och
aktade sig för att komma i ljuset.”
147 00:32:52,212 –> 00:32:58,890 “Snart återvände de för att vakta
porten, muttrande och svärande.”
148 00:32:59,302 –> 00:33:02,772 “Bilbo var räddad.”
149 00:33:07,560 –> 00:33:13,430 Då slutar vi. Har alla lämnat in
lapparna till friluftsdagen?
150 00:33:13,817 –> 00:33:16,775 Bra. Tack för idag, då.
151 00:33:24,285 –> 00:33:30,201 Oskar, ska du inte…?
Nej, jag har lite att göra.
152 00:33:34,421 –> 00:33:37,493 Conny, kom!
153 00:33:51,896 –> 00:33:55,571 Lång, kort, kort.
154 00:34:33,646 –> 00:34:37,559 Vad var det för papper du skrev på?
155 00:34:37,859 –> 00:34:41,818 Vadå “papper”?
Få se…
156 00:34:51,206 –> 00:34:55,040 Nej.
Vadå “nej”? Ge hit den.
157 00:35:37,377 –> 00:35:40,687 (SNYFTNINGAR)
158 00:35:53,184 –> 00:35:57,143 Vem ska prata med hans morsa nu, då?
159 00:35:57,439 –> 00:36:00,158 Men vad fan? Vänta!
160 00:36:00,400 –> 00:36:02,516 Oskar!
161 00:36:04,612 –> 00:36:08,207 (HÅNSKRATT)
162 00:36:08,491 –> 00:36:12,120 Grisen!
163 00:36:13,580 –> 00:36:16,538 Jag ramlade på rasten.
164 00:36:19,335 –> 00:36:21,296 Jag ramlade på en sten.
ÄIskling…
165 00:36:21,296 –> 00:36:24,652 Jag ramlade på en sten.
ÄIskling…
166 00:36:24,924 –> 00:36:28,758 Du måste vara försiktig.
167 00:36:36,728 –> 00:36:41,802 Kort, lång, lång, kort, lång.
168 00:36:42,400 –> 00:36:46,359 Kort, lång, lång, kort, lång.
169 00:36:46,654 –> 00:36:48,451 Precis.
170 00:36:50,283 –> 00:36:52,001 Här.
171 00:36:56,623 –> 00:36:59,535 Vad har hänt?
172 00:37:00,752 –> 00:37:02,629 Här…
173 00:37:06,383 –> 00:37:09,102 Några klasskompisar.
174 00:37:13,765 –> 00:37:18,395 Var går du i skolan, egentligen?
Oskar, du…
175 00:37:19,813 –> 00:37:23,408 Mmm…
Du ska slå tillbaka.
176 00:37:25,318 –> 00:37:29,789 Mmm…
Du har aldrig slagit tillbaka?
177 00:37:30,240 –> 00:37:36,588 Eller hur?
Börja nu. Slå tillbaka.
178 00:37:37,497 –> 00:37:39,374 Hårt.
179 00:37:41,251 –> 00:37:45,563 Men de är tre stycken.
Då får du slå ännu hårdare.
180 00:37:45,880 –> 00:37:50,590 Slå tillbaka mer än vad du vågar.
Då slutar dom.
181 00:37:51,428 –> 00:37:55,626 Men om dom…
Då hjälper jag dig.
182 00:37:57,267 –> 00:37:59,417 Jag kan det.
183 00:38:12,532 –> 00:38:14,488 Kom!
184 00:38:17,495 –> 00:38:19,406 Kom!
185 00:38:34,262 –> 00:38:36,571 Flytta på dig.
186 00:38:36,806 –> 00:38:40,355 Jag behöver vara här.
Varför det?
187 00:38:40,935 –> 00:38:42,812 Så…
188 00:38:51,529 –> 00:38:53,724 Äh!
189 00:38:56,826 –> 00:39:00,739 Nu ska vi se… kort, kort.
190 00:39:03,958 –> 00:39:06,756 (KNACKNINGAR)
191 00:39:08,046 –> 00:39:09,638 S
192 00:39:09,839 –> 00:39:11,875 O
193 00:39:13,635 –> 00:39:15,671 V
194 00:39:19,182 –> 00:39:20,774 G
195 00:39:20,975 –> 00:39:28,086 Håll avståndet, inte för nära, inte
för långt borta, håll avståndet.
196 00:39:32,821 –> 00:39:35,289 Så, lugnt.
197 00:39:38,785 –> 00:39:40,582 Ja.
198 00:39:45,041 –> 00:39:52,550 Jo, styrketräningen i badhuset…
Kan man anmäla sig till den?
199 00:39:53,007 –> 00:39:57,125 Man behöver inte anmäla sig.
Det är bara att komma, klockan sju.
200 00:39:57,429 –> 00:40:00,068 Vill du göra det?
Ja.
201 00:40:00,306 –> 00:40:06,779 Bra. Du tränar,
sen kan du göra bom 50 gånger.
202 00:40:08,857 –> 00:40:11,052 (REPLIK PÅ SPANSKA)
203 00:40:14,404 –> 00:40:16,679 Vänta lite.
204 00:40:17,991 –> 00:40:20,027 Blandat.
205 00:40:29,252 –> 00:40:31,607 Här.
206 00:40:35,467 –> 00:40:37,185 Nej.
207 00:40:41,306 –> 00:40:43,456 Synd.
208 00:40:45,185 –> 00:40:48,541 Jag kan… prova en.
209 00:41:08,208 –> 00:41:11,166 (KRÄKNINGAR)
210 00:41:28,478 –> 00:41:30,912 Förlåt.
211 00:41:49,124 –> 00:41:51,115 Oskar…
212 00:41:52,544 –> 00:41:55,502 Tycker du om mig?
213 00:41:55,755 –> 00:42:01,591 Ja, jättemycket.
Om jag inte varit en flicka…
214 00:42:01,970 –> 00:42:07,966 Hade du tyckt om mig ändå?
Ja, det hade jag väl.
215 00:42:10,979 –> 00:42:14,016 Varför frågar du det?
216 00:42:45,638 –> 00:42:47,196 Oskar…
217 00:42:47,390 –> 00:42:50,143 Hej! Hej, gubben.
218 00:42:51,770 –> 00:42:54,489 Vad tidigt du kommer.
Hej, pappa.
219 00:44:17,564 –> 00:44:21,079 (FLICKAS NYNNANDE)
220 00:44:25,780 –> 00:44:33,209 Det finns folk som känner igen mig,
som vet att jag bor här med dig.
221 00:44:33,663 –> 00:44:40,102 Du kanske inte ska…
Vad ska du annars ha mig till?
222 00:44:42,797 –> 00:44:45,709 Kan du göra en sak för mig?
223 00:44:45,967 –> 00:44:52,236 Kan du låta bli att träffa den där
pojken i kväll? Åtminstone…
224 00:45:59,082 –> 00:46:02,597 (STÖNANDEN)
225 00:46:29,362 –> 00:46:30,920 Vad fan?
226 00:46:31,114 –> 00:46:37,428 Vart tog Matte vägen? Gå och kolla.
Fan…
227 00:46:45,754 –> 00:46:48,473 Matte.
228 00:46:49,549 –> 00:46:52,746 Fan, taja får du göra hemma.
229 00:46:54,179 –> 00:46:57,216 Matte. Det börjar ju nu.
230 00:46:57,474 –> 00:47:03,424 Varför har du tagit bort handtaget?
Vad håller du på med?
231 00:47:05,190 –> 00:47:08,819 Matte.
Släpp ner mig.
232 00:47:12,197 –> 00:47:15,234 Släpp ner mig!
233 00:47:17,786 –> 00:47:19,663 Hjälp!
234 00:47:24,209 –> 00:47:26,165 Hjälp!
235 00:47:29,506 –> 00:47:31,462 Hjälp!
236 00:47:33,176 –> 00:47:36,532 Matte.
Hjälp!
237 00:47:36,805 –> 00:47:41,003 Nu tar du fram handtaget och öppnar.
Hjälp!
238 00:47:41,309 –> 00:47:44,688 Gå och hämta den där plinten.
Hjälp!
239 00:47:44,688 –> 00:47:45,120 Gå och hämta den där plinten.
Hjälp!
240 00:47:45,271 –> 00:47:48,581 Där ute i gymnastiksalen.
Hjälp!
241 00:47:50,527 –> 00:47:54,759 Hjälp! Hjälp!
242 00:47:55,865 –> 00:48:03,374 Ta tag där! Kom igen här. Jag tar i
här bakom. Okej. Ett, två, tre. Nu!
243 00:48:06,626 –> 00:48:08,184 Hjälp!
244 00:48:12,048 –> 00:48:17,486 Ta ner mig härifrån.
Hur har du hamnat här?
245 00:48:25,186 –> 00:48:27,859 Eli…
246 00:49:58,029 –> 00:50:02,466 …ryska kommunistpartiets
generalsekreterare Leonid Brezjnev.
247 00:50:02,784 –> 00:50:07,812 Identiteten har inte kunnat
fastställas på mannen som greps-
248 00:50:08,164 –> 00:50:13,796 misstänkt för mord, respektive
mordförsök, i Vällingby.
249 00:50:14,170 –> 00:50:20,245 Identifieringen försvåras av att
mannen skadade sig före gripandet.
250 00:50:20,635 –> 00:50:22,512 Sport, Tomas Gustafson…
251 00:50:25,932 –> 00:50:32,849 Det är bara att komma in.
Gå mot dörrarna så öppnar de sig.
252 00:50:46,703 –> 00:50:48,056 Ja?
253 00:50:49,247 –> 00:50:56,244 Förlåt, jag letar efter min pappa.
Är han inlagd här?
254 00:50:56,671 –> 00:51:01,870 Vad heter han, då?
Han är sjuk.
255 00:51:02,218 –> 00:51:07,212 Polisen tog honom.
Var kan han vara då?
256 00:51:09,225 –> 00:51:14,094 Då är han på plan 7, men… man
får inte komma in hur som helst.
257 00:51:14,439 –> 00:51:19,194 Jag kan ringa.
Nej, det behövs inte.
258 00:51:22,572 –> 00:51:25,609 Men, lilla vän…
259 00:52:40,066 –> 00:52:43,183 Får jag komma in?
260 00:54:17,372 –> 00:54:20,921 En unge…
261 00:54:21,209 –> 00:54:26,886 Varför i helvete skulle en unge
vilja döda Jocke?
262 00:54:27,257 –> 00:54:29,452 Jag vet inte.
263 00:54:29,676 –> 00:54:34,113 Den finaste, snällaste människa
du kan tänka dig.
264 00:54:35,724 –> 00:54:38,682 Jag ska slita ungjäveln i stycken.
265 00:54:38,935 –> 00:54:42,450 (KNACKNINGAR)
266 00:54:42,731 –> 00:54:44,847 Oskar!
267 00:54:45,066 –> 00:54:48,945 Mmm…
Får jag komma in?
268 00:54:51,489 –> 00:54:54,083 Titta inte.
269 00:54:55,577 –> 00:54:58,614 Men säg att jag får komma in.
270 00:54:59,539 –> 00:55:03,452 Ja, du får komma in.
271 00:55:09,299 –> 00:55:11,654 Blunda, då.
272 00:55:22,604 –> 00:55:25,357 Hur kom du in?
273 00:55:25,607 –> 00:55:29,395 Jag flög.
Visst.
274 00:55:30,862 –> 00:55:34,138 Men du har ju inga kläder på dig.
275 00:55:35,450 –> 00:55:38,681 Du är ju iskall.
276 00:55:38,953 –> 00:55:43,151 Förlåt. Är det äckligt?
277 00:55:46,002 –> 00:55:47,401 Nej.
278 00:55:50,632 –> 00:55:57,151 Bulleri, bulleribock,
hur många horn står opp?
279 00:56:02,435 –> 00:56:04,551 Eli…
280 00:56:07,148 –> 00:56:10,504 Får jag chans på dig?
281 00:56:14,155 –> 00:56:18,387 Vadå?
Ja, alltså…
282 00:56:19,786 –> 00:56:23,620 Vill du bli ihop med mig?
283 00:56:24,833 –> 00:56:29,429 Oskar, jag är ingen flicka.
284 00:56:31,047 –> 00:56:33,003 Nähä.
285 00:56:34,050 –> 00:56:39,966 Har jag chans på dig, eller…?
Kan vi inte ha det som vi har det?
286 00:56:45,353 –> 00:56:47,423 Jo.
287 00:56:47,647 –> 00:56:51,879 Gör man nåt speciellt
när man har chans?
288 00:56:52,193 –> 00:56:53,911 Nej.
289 00:56:55,071 –> 00:56:58,347 Är allt som vanligt?
290 00:57:01,870 –> 00:57:03,428 Ja.
291 00:57:07,375 –> 00:57:10,685 Då har du chans på mig.
Va?
292 00:57:10,962 –> 00:57:13,396 Då är vi ihop.
293 00:57:13,631 –> 00:57:17,624 Säkert?
Ja.
294 00:57:21,097 –> 00:57:23,327 Bra.
295 00:59:21,384 –> 00:59:24,262 (VISSELPIPA)
296 00:59:24,512 –> 00:59:31,224 Lyssna på mig!
Lågstadiet kommer med mig härinne!
297 00:59:31,644 –> 00:59:36,764 Mellanstadiet börjar med fri åkning!
298 00:59:38,651 –> 00:59:43,520 Akta med ishålet därborta! Uppfattat?
299 00:59:45,492 –> 00:59:50,407 Avila, det heter isvak.
Isvak, ja.
300 00:59:51,414 –> 00:59:55,612 Jag menade isvak!
Vill du bada?
301 00:59:55,919 –> 00:59:59,389 Akta med isvaken därborta!
302 01:00:34,833 –> 01:00:39,827 (LÅGMÄLT SMÅPRAT)
303 01:00:57,188 –> 01:00:59,941 Skulle du bada?
304 01:01:05,030 –> 01:01:06,258 Nej.
305 01:01:08,158 –> 01:01:12,276 Magistern, magistern,
jag måste gå och kissa.
306 01:01:12,579 –> 01:01:15,855 Kissa vid trädet där.
På isen?
307 01:01:16,124 –> 01:01:19,594 Vad spelar det för roll?
Det blir ny is. Gul.
308 01:01:22,338 –> 01:01:28,686 Vad ska du med pinnen till?
Slå dig, om du försöker nåt.
309 01:01:29,095 –> 01:01:32,451 Har grisen plötsligt blivit modig?
310 01:01:38,938 –> 01:01:44,854 Jag puttar ner dig, och du kommer
inte göra nånting. Har jag rätt?
311 01:01:45,236 –> 01:01:50,993 Lilla grisen, akta dig, annars tar…
312 01:01:55,497 –> 01:01:57,249 Titta!
313 01:01:59,626 –> 01:02:02,060 Kom, då!
314 01:02:02,462 –> 01:02:09,015 Magistern kommer bli helt galen, ju.
Ska han bara stå där, eller…?
315 01:02:25,568 –> 01:02:27,763 (SKRIK)
316 01:02:27,987 –> 01:02:33,698 Vad håller ni på med därborta?
Oskar och Conny, vad gör ni?
317 01:02:34,077 –> 01:02:37,387 (VÄLDIGA SKRIK)
318 01:02:37,956 –> 01:02:40,231 Aj, aj, aj!
319 01:03:01,354 –> 01:03:03,151 Kom nu.
320 01:03:29,674 –> 01:03:35,351 Jo, det kommer dom,
och vad ska jag svara då?
321 01:03:35,722 –> 01:03:39,681 “Tyvärr, min son har ingen pappa.”
322 01:03:41,227 –> 01:03:45,300 Jo, det är det. Nu kommer han.
323 01:03:45,607 –> 01:03:52,319 De har ringt från skolan. Du får
prata med din pappa, för jag…
324 01:03:52,739 –> 01:03:54,252 Hej.
325 01:03:55,700 –> 01:03:58,089 Det är bra.
326 01:03:58,328 –> 01:04:00,796 Jag vet inte.
327 01:04:01,039 –> 01:04:06,477 Går moppen? Jag får se…
328 01:04:44,624 –> 01:04:46,615 Tja, Oskar.
329 01:04:49,254 –> 01:04:52,644 Så du skulle bada i alla fall.
330 01:04:52,924 –> 01:04:55,996 Äh, jag bara skojade.
331 01:05:16,531 –> 01:05:20,365 Alltså, man får ju inte
vara här egentligen.
332 01:05:20,660 –> 01:05:25,859 Men några killar i 8b
brukar vara det ändå.
333 01:05:27,625 –> 01:05:30,742 Och du, vet du, idag…
334 01:05:32,088 –> 01:05:35,842 De försökte slänga mig i en vak
på isen, men jag…
335 01:05:36,134 –> 01:05:39,490 Oskar…
Jag hade en pinne.
336 01:05:39,763 –> 01:05:44,473 Jag slog Conny så hårt i huvet
att han fick åka till sjukhus.
337 01:05:44,809 –> 01:05:46,845 Oskar…
338 01:05:49,230 –> 01:05:50,743 Ja?
339 01:05:52,233 –> 01:05:54,189 Hurra!
340 01:05:58,782 –> 01:06:01,899 (MUSIK)
341 01:06:46,454 –> 01:06:50,606 Vad var det för grej vi skulle göra?
342 01:07:23,950 –> 01:07:29,468 Vi ska blanda.
Det gör inte alls ont.
343 01:07:31,207 –> 01:07:35,962 Men du behöver ju bara
sticka dig i fingret.
344 01:07:55,440 –> 01:07:57,590 Eli…
345 01:08:00,236 –> 01:08:02,272 Eli…
346 01:08:03,531 –> 01:08:04,805 Gå!
347 01:08:06,534 –> 01:08:08,764 Försvinn!
348 01:08:48,785 –> 01:08:52,824 De fick såga upp honom ur isen.
Bara att gå till snuten nu.
349 01:08:53,123 –> 01:09:00,074 Vad fan nojjar du för?
Förhör och saker…
350 01:09:00,505 –> 01:09:07,297 De kanske sätter mig i ett sånt där
rum och… lyser på mig med en lampa.
351 01:09:07,721 –> 01:09:11,714 Jocke och jag var så här nära.
Jag kan inte.
352 01:09:12,017 –> 01:09:17,887 Det finns faktiskt nåt som heter
“vittnesplikt”.
353 01:09:18,273 –> 01:09:20,912 Fan…
354 01:09:21,151 –> 01:09:26,020 Ni sitter och surrar om “jävla
fin människa” och allt det där.
355 01:09:26,364 –> 01:09:30,039 Jag har ingenting kvar
nu när han är borta.
356 01:09:31,536 –> 01:09:33,652 Ingenting!
357 01:09:33,872 –> 01:09:37,103 Men Lacke…
Sluta med det där jävla…
358 01:09:37,375 –> 01:09:41,254 Kom inte med ditt jävla
“Lacke, Lacke”.
359 01:09:41,546 –> 01:09:46,666 Du fattar inte ett skit. Du är kall.
Du är helt jävla iskall.
360 01:09:48,303 –> 01:09:52,262 Och så ska man köra över dig där…
361 01:09:54,559 –> 01:09:57,278 Aj! Fan…
362 01:09:58,772 –> 01:10:02,287 Det där skötte du ju jävligt snyggt,
Lacke.
363 01:10:04,069 –> 01:10:08,108 Hörru, Ginia! Men vänta då!
364 01:10:12,535 –> 01:10:14,605 (SNYFTNINGAR)
365 01:10:14,829 –> 01:10:20,665 Men, Ginia, snälla, för fan,
vi kan väl snacka om saken?
366 01:10:28,718 –> 01:10:30,470 Hörru…
367 01:10:48,196 –> 01:10:49,788 (SKRIK)
368 01:10:52,200 –> 01:10:57,149 Släpp mig! Släpp mig!
Ge fan i det där.
369 01:11:09,009 –> 01:11:10,965 Ginia…
370 01:11:12,470 –> 01:11:19,387 Men vänta, då! Du tog min tändare.
Jag menade inte så där, Ginia.
371 01:11:21,855 –> 01:11:24,164 Jag älskar ju dig.
Aj!
372 01:12:08,902 –> 01:12:11,018 (BULLER)
373 01:12:21,873 –> 01:12:24,103 Vad fan?
374 01:13:23,643 –> 01:13:25,873 Nej…
375 01:13:33,278 –> 01:13:36,714 Jag såg inte den.
Som vanligt.
376 01:13:36,990 –> 01:13:41,780 Visst. Men nu tar jag dig.
Du kan ju alltid drömma.
377 01:13:42,120 –> 01:13:45,192 Du börjar.
Självklart.
378 01:13:49,336 –> 01:13:51,486 (KNACKNING)
379 01:13:53,590 –> 01:13:59,028 Jaha, får vi storfrämmande?
God afton i stugan.
380 01:14:03,433 –> 01:14:07,267 Jaha, här sitter ni och har det bra.
381 01:14:07,562 –> 01:14:10,030 Jodå.
382 01:14:11,608 –> 01:14:15,965 Så Oskar är här.
Mmm…
383 01:14:24,662 –> 01:14:26,539 Tja…
384 01:14:29,417 –> 01:14:36,289 Pappa! Det är din tur.
Ja, ja, men vi har ju gäster nu.
385 01:14:37,217 –> 01:14:40,653 Vad varmt och skönt ni har det här.
386 01:14:45,934 –> 01:14:49,370 Så det fanns lite hemma ändå?
387 01:16:24,157 –> 01:16:29,185 Det är ju fel. Vi räknade ut
att det skulle bli perfekt.
388 01:16:29,537 –> 01:16:35,009 Så fick de fel på mätstickan
eller vad fan de använder.
389 01:16:35,377 –> 01:16:39,131 Så blev det fel från början,
och bara mer fel.
390 01:16:39,422 –> 01:16:42,732 Nu går man mellan husen
och känner att…
391 01:16:43,009 –> 01:16:46,285 Det var en jävla trafik ikväll.
392 01:16:46,554 –> 01:16:51,344 Jo, men kom in.
Man undrar vad det är för material?
393 01:16:51,685 –> 01:16:57,954 Lågbetald, hela skiten kanske, går
rakt in i knoppen och vad händer?
394 01:16:58,358 –> 01:17:04,752 Det börjar växa naglar i huvet.
Det går dåligt. De tror att…
395 01:17:05,156 –> 01:17:08,671 Ginia, var fan har du varit?
396 01:17:11,413 –> 01:17:18,569 Vad gör du? Jag måste få snacka
med dig. Jag har varit så orolig.
397 01:17:19,004 –> 01:17:23,759 Ta bort dom!
Nu tar du det jävligt lugnt.
398 01:17:24,092 –> 01:17:28,210 Är du inte klok?
Släpp mig.
399 01:17:28,513 –> 01:17:34,224 Vad är det med katterna?
Gösta, ta hand om dina kattjävlar.
400 01:17:34,602 –> 01:17:37,116 Öppna, din jävel!
401 01:17:48,116 –> 01:17:51,426 Släpp mig! Ge fan i…
402 01:17:54,456 –> 01:17:56,048 (SKRIK)
403 01:18:14,517 –> 01:18:17,350 Oskar, är det du?
404 01:18:17,604 –> 01:18:19,356 Ja.
405 01:19:21,793 –> 01:19:24,751 Är du vampyr?
406 01:19:28,717 –> 01:19:33,154 Jag lever på blod. Ja.
407 01:19:35,056 –> 01:19:37,570 Är du…
408 01:19:38,810 –> 01:19:40,766 …död?
409 01:19:42,105 –> 01:19:46,701 Nej. Märks inte det?
410 01:19:50,697 –> 01:19:53,086 Men liksom…
411 01:19:55,118 –> 01:19:57,313 Är du gammal?
412 01:19:58,621 –> 01:20:04,776 Jag är 12 år,
fast det har jag varit väldigt länge.
413 01:20:30,153 –> 01:20:33,190 Är ni liksom fattiga?
414 01:20:35,742 –> 01:20:42,341 Ser du ägget där? Om man sålde det,
skulle man kunna köpa kärnkraftverk.
415 01:20:42,749 –> 01:20:45,058 Det är sant.
416 01:20:45,293 –> 01:20:48,285 Ja, sure.
417 01:20:52,050 –> 01:20:54,723 Lägg ditt finger här.
418 01:21:11,277 –> 01:21:15,714 De där ringarna,
var har du fått dom ifrån?
419 01:21:20,662 –> 01:21:26,339 Jag ska gå hem nu.
Jag ska dela ut reklam i morgon.
420 01:21:26,710 –> 01:21:31,704 För att tjäna pengar?
Mmm…
421 01:21:32,048 –> 01:21:35,279 Men du kan ju få pengar av mig.
422 01:21:41,933 –> 01:21:43,810 Här.
423 01:21:44,019 –> 01:21:46,738 Ta om du vill.
424 01:21:51,067 –> 01:21:53,297 Du har snott dom.
425 01:21:55,613 –> 01:21:59,447 Av folk du har dödat. Eller hur?
Jag har fått dom.
426 01:21:59,743 –> 01:22:03,418 Av vem då?
Olika.
427 01:22:07,208 –> 01:22:10,484 Jag vill gå hem nu.
428 01:22:13,089 –> 01:22:15,842 Om jag får?
429 01:22:27,854 –> 01:22:32,882 Nu jävlar ryker den, ser du.
Farsans frimärkssamling.
430 01:22:33,234 –> 01:22:38,069 Vilken jävla lirare, va.
Ett frimärke…
431 01:22:42,827 –> 01:22:49,778 80000. Åttio lakan.
Bara fixa fram en intressent, vet du.
432 01:22:50,210 –> 01:22:54,522 Jag kommer inte pruta. “Nej,
det finns andra. Folk står i kö.”
433 01:22:54,839 –> 01:23:02,519 Då kan vi tjacka det där fina torpet.
Finns fan inte vackrare trakter.
434 01:23:02,972 –> 01:23:10,287 Vi flyttar, du och jag, hör lärkan
sjunga, potatis och rödbetor…
435 01:23:12,357 –> 01:23:18,273 Lacke, du måste hjälpa mig.
Ja, ja, visst.
436 01:23:18,655 –> 01:23:24,605 Det där barnet…
Hon måste ha smittat mig.
437 01:23:27,664 –> 01:23:31,100 Jag vill inte leva.
438 01:24:26,681 –> 01:24:32,870 God morgon. Det ser bra ut, det här.
Du kommer nog få åka hem idag.
439 01:24:33,271 –> 01:24:38,789 Det känns väl skönt?
Jag ska bara öppna den här.
440 01:24:39,152 –> 01:24:46,263 Och ta ett litet blodprov på dig.
Så där. Så.
441 01:24:46,701 –> 01:24:49,454 Du…
Ja.
442 01:24:51,456 –> 01:24:58,851 Skulle du vilja öppna persiennen?
Ja, visst kan jag göra det.
443 01:25:10,684 –> 01:25:17,078 Ge mig mössan. Ge mig den.
Har du problem, eller…? Ge mig den.
444 01:25:17,482 –> 01:25:21,157 Men ge mig den.
Är du dum i huvet, eller…?
445 01:25:21,444 –> 01:25:23,674 Kom igen nu, Conny.
446 01:25:24,322 –> 01:25:28,440 Ta i lite nu, Conny.
Är du både blind och döv?
447 01:25:28,743 –> 01:25:31,894 Tja.
Tja. Vad gör du?
448 01:25:32,163 –> 01:25:35,439 Du, får jag låna nycklarna?
Jag ska hem.
449 01:25:35,709 –> 01:25:40,260 Visst. Här…
Tack. Vi ses.
450 01:25:40,588 –> 01:25:43,944 Vem bestämmer hemma hos dig, va?
Jaså, du, Conny…
451 01:25:44,217 –> 01:25:49,496 Vad skrattar du åt, då?
Du hör ju bara hälften så mycket.
452 01:25:56,104 –> 01:25:58,459 (DÖRRKLOCKAN)
453 01:26:10,368 –> 01:26:13,678 Tja.
Hej.
454 01:26:22,297 –> 01:26:27,451 Du måste bjuda in mig.
Vad händer om jag inte gör det?
455 01:26:29,929 –> 01:26:36,277 Vad händer om du går in ändå?
Finns det nåt här, eller…?
456 01:27:40,583 –> 01:27:44,371 Nej! Du får komma in!
457 01:27:56,307 –> 01:27:58,821 Vem är du?
458 01:28:01,312 –> 01:28:03,906 Samma som du.
459 01:28:04,482 –> 01:28:06,234 Vadå?
460 01:28:06,443 –> 01:28:11,597 Vad glor du på? Va?
Är det mig du glor på?
461 01:28:13,742 –> 01:28:16,495 Skrik, då! Skrik!
462 01:28:19,664 –> 01:28:23,703 Det var det första
jag hörde dig säga.
463 01:28:27,172 –> 01:28:30,926 Jag dödar inte folk.
Nej.
464 01:28:31,217 –> 01:28:37,929 Men du skulle vilja. Om du kunde.
För att hämnas.
465 01:28:38,350 –> 01:28:42,138 Eller hur?
Jo…
466 01:28:42,437 –> 01:28:46,191 Oskar, jag gör det för att jag måste.
467 01:28:48,860 –> 01:28:51,772 Bli mig lite…
468 01:29:14,928 –> 01:29:20,127 Snälla, Oskar, bli mig lite.
469 01:29:36,116 –> 01:29:39,426 (MUSIK)
470 01:30:13,653 –> 01:30:16,850 Du kan låna en klänning av min mamma.
471 01:30:46,936 –> 01:30:49,370 (DÖRRKLOCKAN)
472 01:30:51,191 –> 01:30:54,706 Oskar, kan du öppna?
473 01:30:58,782 –> 01:31:06,097 Kan du öppna? Vad gör du därinne?
Ja, jag kommer. Jag sitter på toa.
474 01:31:06,539 –> 01:31:12,057 Öppna nu. Jag står härute med mat
och jag hittar inte nycklarna.
475 01:36:33,950 –> 01:36:37,499 Fan, man ser ju inget.
476 01:36:37,787 –> 01:36:39,778 Nej!
Va?
477 01:36:47,672 –> 01:36:49,867 Släpp!
478 01:36:51,051 –> 01:36:53,519 Släpp, för fan!
479 01:36:57,307 –> 01:36:59,980 Aj! Aj!
480 01:37:14,199 –> 01:37:17,555 (RÖSTER FRÅN ANDRA LÄGENHETER)
481 01:37:17,827 –> 01:37:20,785 (BULTANDE I TAKET)
482 01:37:40,433 –> 01:37:42,185 Tack.
483 01:37:47,190 –> 01:37:49,420 Oskar…
484 01:37:53,780 –> 01:37:56,533 Jag måste åka.
485 01:38:36,781 –> 01:38:39,420 (BULTANDE I TAKET)
486 01:38:47,167 –> 01:38:49,886 (HENNES ORD DRÄNKS I MUSIK)
487 01:41:13,605 –> 01:41:16,517 (TELEFONEN RINGER)
488 01:41:27,702 –> 01:41:31,012 Hallå? Oskar, är du där?
489 01:41:31,289 –> 01:41:34,167 Ja.
Tja. Det är Martin.
490 01:41:34,417 –> 01:41:39,093 Magistern undrade om du skulle
komma på träningen i kväll.
491 01:41:39,422 –> 01:41:45,611 Hur så?
Vet inte. Han bara undrade.
492 01:41:46,012 –> 01:41:51,848 Kanske ville att du skulle komma.
Jag vet inte.
493 01:41:52,227 –> 01:41:58,700 Du, förresten, det var bra, det där
du gjorde mot Conny. Han behövde det.
494 01:41:59,150 –> 01:42:01,869 (Fan, vad bra han spelar.)
495 01:42:02,112 –> 01:42:04,228 Tycker du?
Ja.
496 01:42:04,447 –> 01:42:07,564 Men du kommer väl
på träningen i kväll?
497 01:42:31,391 –> 01:42:33,461 Bra, Oskar.
498 01:42:35,186 –> 01:42:36,585 Hej.
499 01:42:42,027 –> 01:42:43,506 Hej, Oskar.
500 01:42:49,242 –> 01:42:51,358 Hej.
501 01:42:51,578 –> 01:42:55,332 Nu börjar vi med vattengymnastik.
502 01:43:07,093 –> 01:43:10,210 Skynda dig nu, då.
503 01:43:22,359 –> 01:43:29,231 Kom igen, Oskar. Vamos, vamos!
Uno, dos, uno, dos. Ta i ordentligt.
504 01:43:39,167 –> 01:43:40,680 Va?!
505 01:43:59,062 –> 01:44:01,781 Ring brandkåren! Det brinner!
506 01:44:23,920 –> 01:44:25,672 Stick!
507 01:44:26,715 –> 01:44:28,512 Ut!
508 01:44:32,929 –> 01:44:35,363 Flytta på dig!
509 01:45:06,296 –> 01:45:09,333 Vet du vem jag är?
510 01:45:09,591 –> 01:45:13,982 Ja.
Bra. Då fattar du.
511 01:45:14,304 –> 01:45:21,494 Vi ska ha en liten tävling nu.
Du stannar under vattnet i…
512 01:45:21,936 –> 01:45:27,613 …tre minuter. Fixar du det,
så gör jag bara en liten rispa.
513 01:45:27,984 –> 01:45:33,138 Fixar du det inte så…
sticker jag ut ena ögat på dig.
514 01:45:33,490 –> 01:45:37,722 Ett öga för ett öra, va? Okej?
515 01:45:38,036 –> 01:45:44,145 Men… men det går ju inte.
Det är ditt problem.
516 01:45:56,179 –> 01:45:58,898 Tre minuter.
517 01:46:00,308 –> 01:46:03,664 Passa på att andas.
518 01:46:03,937 –> 01:46:11,207 Fem, fyra, tre, två, ett.
519 01:46:49,774 –> 01:46:51,924 Jimmy.
Håll käften!
520 01:46:52,610 –> 01:46:56,569 Conny, vi sticker.
Håll käften, sa jag.
521 01:48:06,935 –> 01:48:10,530 (SNYFTNINGAR)
522 01:49:20,967 –> 01:49:24,676 (KNACKNINGAR)
523 01:54:24,396 –> 01:54:27,354 (Textning: Marianne Marty)

Let the Right One In: The company of children by Matthew Krause

This piece was originally posted by Matt Krause on his blog on February 7, 2010. It has since disappeared from its original location. However, I had liked it enough to start a forum thread about it. Matt has kindly allowed me to repost his article here.


I was on one of those message boards they have on IMDb, where people can post topics and start online discussions about the movies they love. On a board devoted to the Swedish film Let the Right One In, which I and many others have dubbed “Twilight for grown-ups,” one of the adult men opened a thread where he admitted a strong attraction to actress Lina Leandersson, who plays the child vampire Eli and was herself 12 years old at the time of shooting. “I’ve never felt this before,” the man said. “Is something wrong with me?”

At once, other posters on the board called this man out, labeling him a pervert and a pedophile. I refrained from posting anything myself, but I do admit sharing the sentiments of the others on the board … at first. It was only when I reflected a bit on the film (which is one of my favorites) and the startling performance by Lina Leandersson that I began to at least appreciate what I believe the man meant to write but failed to articulate.

First of all, I cannot speak for an anonymous poster on a message board, but I can speak for myself. And before I turn my attention to the young Ms. Leandersson, let me explain what I find attractive when it comes to women in movies.

I am not really one to fall into the mainstream male’s obsession with sex goddesses. There are many actresses out there who are indeed beautiful, but I personally find few of them attractive in the sense that I lie awake pining for them. I am not aroused by actresses because of the way they look; I am instead aroused by the characters they play.

For instance, I’m not really turned on by Meg Ryan, although I do think she is beautiful, but I am extremely turned on by Sally Albright, the character she plays in When Harry Met Sally. I do not know Meg Ryan well enough to know if I would like her, but she is a talented attress and gives such a charming and honest performance in this film that I do feel that I know Sally Albright. As such, when I first saw When Harry Met Sally back in college, I actually pined for Sally Albright, wishing–nay, praying–that a girl like her would come into my life some day.

Who else has turned me on in movies?

I like Marion Ravenwood (Karen Allen) in Raiders of the Lost Ark. Ms. Allen is cute as a button anyway, but Marion is the kind of woman I’ve always found attractive–tough, resourceful, minimal bullshit, but not so strong-willed that she forgets how to be a woman (ironically, she is a lot like my wife). I always thought Indy was a schmuck for letting her get away, and one of the reasons I was one of the ten or so people who liked the most recent Indiana Jones movie was because Marion returned and Indy finally did right by her.

Who else?

Diane Freeling (JoBeth Williams) in Poltergeist. When her children are in peril near the end and her maternal instinct turns her into this primal creature sprinting down the hall to save her, I get chills all over my body.

Tracy Di Vicenzo (Diana Rigg) in On Her Majesty’s Secret Service. James Bond always has his pick of the most beautiful women in the world, but there’s something about Tracy that makes him want to settle down, and Ms. Rigg does a wonderful job of letting the rest of us see just what that “something” is.

Catherine Chandler (Linda Hamilton) in the TV series Beauty and the Beast. A smart, principled woman with reserves of tenderness that allow her to see past Vincent’s beastly appearance to the soul of a poet that lies beneath. I longed for a woman who saw me that way (and found her the day I met my wife). Sadly, Ms. Hamilton eschews her more feminine side as Sarah Connor in Terminator 2: Judgment Day, making me forget Catherine all to quickly.

Ilsa Lund (Ingrid Bergman) in Casablanca. There is no question Ingrid Bergman is beautiful, and I have enjoyed her in many, many films. Ilsa Lund is the only character she has played that I would like to have known personally, and I still get a bit weepy at the end of this film, sensing deeply just how great a sacrifice it is for Rick to let her go.

All of this goes to illustrate what I think is often overlooked in most sex symbols. When it comes to celebrities, we don’t fall in love with the people themselves; we fall in love with their personas. One of the reason I’ve never gotten all moist for Angelina Jolie as a sex symbol is because she hasn’t played a character that excited me sexually since Playing By Heart. Oh, I think she is gorgeous and extremely talented, and I admire her philanthropic spirit, but while I’ve liked many of her movies, she seldom plays a character I would want to date (although some of her characters might be my good friends). I like people and all of their intricacies. When I go to a movie, I am not paying just to see a certain actor or actress; rather, I am wagering the price of a ticket that I might get to experience that wonderful moment when a talented performer meets a well-written character and manages to make movie magic (something Meryl Streep seems to do almost effortlessly).

So … back to this issue of 12-year-old Lina Leandersson and the message board poster who found her so attractive.

Let’s get this much out of the way: Lina Leandersson is a lovely little girl. She turns 15 this year and is showing signs of blossoming into a beautiful young woman. But at this point, she is still an adolescent, and at the time she made Let the Right One In she was very much a child, a little girl.

I do not think our mysterious poster is harboring the thoughts of a pederast where Lina Leandersson is concerned. Rather, I think that Eli, the character she plays, touched something in his heart as it did mine, and like me he has found the character to be haunting and unforgettable. There is something very appealing about Eli and yet something very tragic, and that is what makes her so unique and Lina Leandersson’s performance so special.

For those of you who have not seen Let the Right One In, it is a love story of sorts between two lonely creatures: A 12-year-old boy named Oskar (Kare Hedebrandt) who is so brutally bullied at school that he retreats into homicidal revenge fantasies; and Eli, who appears to be a 12-year-old girl but is really a 200-year-old creature of the night (there is more to her than her vampirism, but that is one of the movies best-kept secrets). What starts out as a series of casual conversations in the playground outside their block flats grows into a cautious friendship, arousing within Oskar and Eli a hunger for human connection.

It must be stated that Eli is not a sexualized creature for reasons that go well beyond her vamprism. However, because of her unique situation, she has been forced to call upon her sexuality numerous times in order to survive. Although an immortal, Eli still has the same vulnerabilities as other vampires, such as not being able to come out in the daylight (she won’t sparkle like Edward Cullen; she’ll burst into flames). At the same time, she is still trapped in the body of a child. Finding a place to sleep and an adult to protect her is no easy task.

As such, when we first meet Eli, she is traveling with Hakan (Per Ragnar), a broken, withered old man with the kind of unhealthy appetites that might turn our stomach. Hakan clearly desires Eli (in the book, he believes he is in love with her), and Eli keeps him at bay with the promise of sexual favors provided he do her bidding. This bidding not only entails proofing their apartment from the sun and guarding Eli during the day, but also the unsavory task of stalking and murdering victims for Eli, draining their blood so she does not have to go on the hunt herself (the main reason for this is so that Eli will not go out and create other vampires, but when she is forced to do her own hunting, she violently twists her victim’s head off after feeding before she can infect the entire body).

As unsettling as this may sound, the film is actually quite beautiful, handling its more violent elements with grace and aesthetic distance while keeping its focus on this friendship between Oskar and Eli. Although she does awful things, Eli is not a monster but a fractured little soul who has forgtten how it feels to love and be loved. And although Oskar’s homocidal ideations are frightening at first, his eyes flicker with such loneliness that we realize he has not been lost just yet.

Let the Right One In resonated with me, and not just because I like horror movies. I found myself identifying with Oskar from the outset, sympathizing with him during his torment, longing to protect him from the evils of his life, and nodding with understanding when he stood alone in the playground, stabbing a tree with a knife and pretending it was one of his tormentors.

It was because of this connection that I totally welcomed Eli into the story. I saw Eli as Oskar saw her, and I sensed his great relief when he came to realize that there was another in the world who wanted to understand him. We have all craved this kind of intimacy in our lives at one time or another, but at the tender age of 12, that unsteady precipice before puberty, our desire for a connection is almost painful. I have friends I have known since grade school who all seemed so assured when we were Oskar’s age, and yet all of them have admitted that those years were marked by terror and loneliness.

What person wouldn’t be attracted to Eli? She is like that perfect invisible friend. When I was 12, I would have gone to the ends of the earth for someone like Eli to come into my life. In fact, while watching Let the Right One In, I was reminded of the scary stories my brothers told me when I was child, tales of a girl named Patty who had allegedly died in our house before we moved in and whose spirit now dwelt in our attic. Rather than being terrified, I imagined that Patty’s spirit would come down into my room at night to play with me.

That is what I thought when this film introduced me to Eli. Of course I was attracted to her, not as an unstable adult to a child, but as the fragile 12-year-old who sometimes still lives inside, a vulnerable little tike who would have loved to have a friend like Eli. As I said, I saw her through Oskar, and I sort of saw myself through both of them … an interesting idea as I think about it, because my most favorite passage of the book is about Oskar having a similar experience:

Eli turned her face to Oskar’s, said:

“I …”

Closed her mouth. Then pressed a kiss on Oskar’s lips.

For a few seconds, Oskar saw through Eli’s eyes. And what he saw was … himself. Only much better, more handsome, stronger than what he thought of himself. Seen with love.

For a few seconds.

There are fans of the book that find this to be one of the most beautiful passages they have ever read. It is many times more beautiful than anything I have read in Twilight. In a few short sentences, author John Ajvilde Linqvist illustrates what it is that attracts us to another, that in fact makes us love then.

We see our best selves through their eyes.

I saw myself as Oskar while watching this film, saw myself through Eli’s eyes, and felt that intense connection to her well after the film had ended. That, I think, is what the message board poster was trying to say. Not that he lusted after a 12-year-old girl and wanted to do awful things to her. But that he remembered what it was like to be 12 years old, to be alone, to feel advancing changes of puberty on the horizon, and to look at someone your own age, feel those first pangs of attraction, and wonder how it would feel if the two of you were friends.

That doesn’t mean he is a pederast. That means that where he was concerned, the movie worked its magic. And isn’t magic what we’re all looking for anyway?

Sympathy For Eli

A post on the forum (thanks cmfireflies :-) ) and a similar one at IMDB caused me to remember something that I had seen Tomas Alfredson say in an interview. Each of those posts basically asked how we could have sympathy for Eli. How could we identify with, and in fact root for, a monster that must kill in order to survive? We all know that Eli’s survival means that more people will die. How can we look past that? I started writing a reply to cmfireflies’ post, and it kept going and going. It finally became too long to be a forum post, so instead I made it into this page.

What I had recalled Tomas Alfredson saying on the topic of Eli was:

The film suggests that love is possible and everybody has a choice and the one character that does not have a choice is the vampire [Eli] because she has to kill to survive.

I didn’t realize it at the time I read that interview, but Eli is the only character in the film who is fully sympathetic. Except for Jocke, Eli is the only the only character whose character is not criticized by the film. And Jocke was basically just a Star Trek extra in a red shirt. Of all the thoughtless, cruel, and horrible things that we see done in this film, Eli is the only one who has no choice but to do them. Her survival depends upon her doing what she does. Everyone else chooses to be thoughtless, cruel, or horrific. Even Oskar at one point chooses to be cruel to Eli. Among the major characters of the film, and even most of the supporting characters, Eli is the one who seems the most worthy of our sympathy.

Let’s just run through the characters:

Gösta He witnesses Jocke’s killing, but he lets some neurosis keep him from reporting it to the police. In the film we are shown absolutely no reason for him to fear the police, yet still he cannot bring himself to report the death of his friend because he is afraid that they will treat him like a criminal.
Oskar’s Teacher I don’t believe that we are told the name of Oskar’s teacher, not even in the credits. This is because she is a minor character in both the film and Oskar’s life. Every bullying scene except for the one at pool takes places under the auspices of Oskar’s school. Perhaps Oskar’s teacher has not made any conscious choices to be oblivious to Oskar’s torment, but as Alfredson said, “All the scary activity is going on close to the grown-ups, but the grown-ups are turned away. The teacher is at the window, but she is doing something else.”
Mr. Avila The high school gym teacher and also apparently the physical fitness coach at the Bad. I beleive Mr. Avila came the closest of anyone in the film (other than Eli) to take an interest in Oskar. We see him personally spotting him when Oskar is lifting weights and personally leading Oskar’s water aerobics workout. Out on the ice, he is trying to keep an eye on Oskar to see how the confrontation with the bullies is going to play out. From his distance he doesn’t know the serious nature of the confrontation, but it would be natural to link it to Oskar’s new-found interest in physical fitness.

However, as with every other adult in the film, Mr. Avila’s head gets turned away by a distraction. Out on the river he is distracted by the little girl. At the pool side he is distracted by the fire in the dumpster. Even in the locker room he gets distracted from Oskar by a spilled bottle of shampoo.

Erik
(Oskar’s father)
He allows his drinking to push aside involvement in his son’s life (ignoring the debate about his sexuality). Apparently this is also the cause of his estrangement of from Oskar’s mother and has led to Oskar’s fractured family life. I know some people will claim that alcohol is a disease, an addiction – not a choice, blah blah blah. Nope. He chose his bottle over his boy.
The bullies The film has absolutely nothing good to say about any of them. Obviously they were choosing to bully Oskar. When Oskar stays after school copying a Morse code key, the bullies wait outside for him well after it has turned dark. This was not opportunistic bullying. They did not just bully Oskar because he happened to be to available. They chose to give up their after-school time in order to lay in wait for Oskar. Although I have seen LTROI fans claim that they should not have been murdered, I don’t think this qualifies them as sympathetic figures in the film.
Virginia Poor Virginia. She did not choose to become a vampire. She is perhaps worthy of some sympathy. Yet, after she turns why does she go to Gösta’s apartment? She was going there to nom him of course. After failing to find a frozen blood Popsicle where Jocke got killed, she then headed up to Gösta’s place. Once Gösta invited her in, without hesitation she headed straight for him – until she realized that there was someone else there. However the cats had read the script and they knew why she was there. Vampire or not, it is not easy to sympathize with someone who would choose to kill her friend for his blood. Perhaps this is what vampires do, but… not all vampires.
Yvonne
(Oskar’s mother)
Although she is Oskar’s primary caregiver she seems uninterested in Oskar or unable to manage becoming engaged in his life. She blithely accepts Oskar’s feeble explanation for the scratch on his face. When the school called after Oskar whacked Conny, she was only worried about how it will reflect on her. Oskar overhears her on the phone with Erik when she says, “Oh yes, they will blame us!” When Oskar comes in all she can do is put Oskar on the phone with his father. And when Oskar runs away from his father and disappears for a night, she allows him to walk past her and then slam the door to his room in her face. As a parent myself, I can say that she could have and should have chosen to be a better parent to Oskar.
Håkan Although he is devoted to Eli, his bungling renders his murderous help pointless. By forgetting the jug of blood, his murder of the boy in the woods has no benefit for anyone and in fact results in Jocke’s death. His poor choice of victims the second time results in his own demise. His desire to help Eli could be considered admirable. However it seems unlikely that merely enabling her squalid existence is the best help that he could offer her. Also, his jealousy of Oskar is hardly the result of any altruistic impulse. He evenuses Eli’s hunger to to keep her from seeing Oskar. Whatever the reason, he has chosen his devotion to Eli, and unlike Eli he has freely chosen the horror that must accompany her survival.
Lacke Lacke is the closest that any character in the film comes to being a sympathetic figure (besides Eli and Oskar). His best friend is killed by Eli. His lover kills herself because of Eli. However he is also pathetic. He apparently lives a life of idleness. He thinks nothing of urinating in public – as he is doing when we first meet him. He hangs around with a crowd of friends who can only muster one cigarette lighter between them. While Virginia is his lover, he not only takes her for granted, but he lashes out at her when she tries to console him in his grief at Jocke’s death. Worse still, he almost always carries with him the ticket for escape from this tawdry existence: his father’s stamp collection. If he could really sell it and move with Virginia to the country, why hasn’t he already done so? He has chosen to keep this pathetic life that he has.

He can’t even bring himself to try to kill Eli, although he has every reason to. He is standing there with the knife to her throat as she sleeps. Instead of following through, he chickens out and complains to himself that he can’t see what he is doing.* The film portrays Lacke basically as a bum without ambition or initiative – and he could better his life but he chooses not to.

Oskar Oskar is largely a sympathetic character in the film. The film opens by showing us his isolation from the world and goes on to show us why. Despite this, he is kind and generous with Eli during their second meeting even though she went out her way to brush him off at their first meeting.

However, even he shows the ability to choose cruelty when he senses that he has some power. In the “You Must Invite Me In” scene, Oskar is in the position of power because Eli has come to him. Further, Eli cannot come in unless he gives his explicit assent. Oskar engages in a cruel little power game typical of a twelve year old. More over, the person that he is cruel to is the only character in the film who has chosen to open up to him.

Also, his fascination with murder does little to encourage the audience to sympathize with him. Between his scrapbook and his knife fantasies, it is apparent that he would choose bullies’ deaths over asking his teacher, Mr. Avila, or his mother for help. Even so, the film and presumably the audience are sympathetic to Oskar. He is after all the story’s protagonist. The reasons for having sympathy for Oskar are no mystery

Which finally brings us to Eli. She is frozen forever at the age of twelve. She can’t even remember when her birthday is. Her survival depends upon hunting people and drinking their blood and then afterwards killing them. The film shows that even though she has been doing this for a long time, it still upsets her. She is the only character in the film who has her cirmcumstance thrust upon her. She is the only character who cannot choose another path (except for the path of suicide).

Let’s contrast Eli with the only other vampire that the film shows us: Virginia. When Virginia gets hungry she first goes looking for the blood of her dead friend, and then goes after the blood of one who is still alive. Eli on the other hand kept herself from nomming Oskar on the jungle gym even though at that point she was obviously very hungry. Oskar was barely an acquaintance – just someone who had shown her some unexpected kindness and generosity. Virginia later was revolted by her intention to nom her friend, and she chose to end her own life rather than find herself in that position again. However Eli did get herself into the same position again (in the basement) and was again able to keep herself from nomming Oskar, who now was her friend. Is it reasonable to expect Eli to make the same choice as Virginia? Can she be blamed for not making this choice – for choosing instead to live?

Eli has shown us that there are some things more important to her than her requirement for blood. She has retained more of her humanity through out her (apparently) long life as a vampire than Virginia retained in her first day as a vampire. How then should we not sympathize with little Eli? Despite the horror that is necessary for her survival, she is the only character in the film who is always shown to have the most humanity in her choices (within the bounds of her survival’s necessities). Of the characters we saw the film, which would you most like to entrust yourself to?

Once again, how then should we not sympathize with Eli?

 


* This is one scene where the Magnolia subtitles really altered the film for me. When I first watched the film, it was with the Magnolia subtitles. Lacke has the knife to Eli’s throat but he does not try to do anything with it. Instead he mutters something (but there are no subtitles to translate it) and he begins to uncover the window. I thought to myself, “Ah ha! He has seen what happened to Virginia and he knows that the light will kill Eli. He wants Eli to die in the same fashion that Virginia did. Lacke’s got a bit of smarts.” However when I finally got exposed to the theatrical subtitles (which do provide a translation for Lacke’s muttering) I realized that he wasn’t really having a good idea there. What he was really doing was chickening out. He was telling himself that he couldn’t bring himself to kill Eli because he couldn’t see what he was doing. The reality was that he couldn’t bring himself to kill Eli – period.

Magnolia Pictures Let The Right One In Press Kit

All of the following material is from the Magnolia Pictures press kit for Let The Right One In. The press kit is available in a zip file from Magnolia’s web site here.



Lina Leandersson in LET THE RIGHT ONE IN, a Magnet Releasing film.
Photo courtesy of Magnet Releasing.

Lina Leandersson in LET THE RIGHT ONE IN, a Magnet Releasing film.
Photo courtesy of Magnet Releasing.

Kåre Hedebrant in LET THE RIGHT ONE IN, a Magnet Releasing film.
Photo courtesy of Magnet Releasing.

Ika Nord in LET THE RIGHT ONE IN, a Magnet Releasing film.
Photo courtesy of Magnet Releasing.

Kåre Hedebrant in LET THE RIGHT ONE IN, a Magnet Releasing film.
Photo courtesy of Magnet Releasing.

Tomas Alfredson, director of LET THE RIGHT ONE IN, a Magnet Releasing film.
Photo courtesy of Magnet Releasing.

Theatrical poster for LET THE RIGHT ONE IN, a Magnet Releasing film.
Photo courtesy of Magnet Releasing.

Production Notes

MAGNET 6-SHOOTER #1
www.sixshooterfilmseries.com

EFTI & Magnolia Pictures
Present

A Magnet Release

LET THE RIGHT ONE IN

A film by Tomas Alfredson
114 min., 1.85:1, 35mm

Distributor Contact: Press Contact NY/Nat’l: Press Contact LA/Nat’l:
Jeff Reichert Jeff Hill / Jessica Uzzan Marina Bailey /
Matt Cowal
Arianne Ayers
International House of Publicity Nicole LaMonte-DeGolier
Marina Bailey Film Publicity
Magnolia Pictures
49 W. 27th St., 7th Floor
853 7th Ave,
Apt 3C
1615 North Laurel Avenue, #201
New York, NY 10001 New York, NY 10019 Los Angeles, CA 90046
(212) 924-6701 phone (212) 265-4373 phone (323) 650-3627 phone
(212) 924-6742 fax jeff@houseofpub.com marina@marinabailey.com
publicity@magpictures.com Jessica@houseofpub.com nicole@marinabailey.com

SYNOPSIS

A fragile, anxious boy, 12-year-old Oskar is regularly bullied by his stronger classmates but never strikes back. The lonely boy’s wish for a friend seems to come true when he meets Eli, also 12, who moves in next door to him with her father. A pale, serious young girl, she only comes out at night and doesn’t seem affected by the freezing temperatures.

Coinciding with Eli’s arrival is a series of inexplicable disappearances and murders. One man is found tied to a tree, another frozen in the lake, a woman bitten in the neck. Blood seems to be the common denominator — and for an introverted boy like Oskar, who is fascinated by gruesome stories, it doesn’t take long before he figures out that Eli is a vampire. But by now a subtle romance has blossomed between Oskar and Eli, and she gives him the strength to fight back against his aggressors. Oskar becomes increasingly aware of the tragic, inhuman dimension of Eli’s plight, but cannot bring himself to forsake her. Frozen forever in a twelve-year-old’s body, with all the burgeoning feelings and confused emotions of a young adolescent, Eli knows that she can only continue to live if she keeps on moving. But when Oskar faces his darkest hour, Eli returns to defend him the only way she can …

Swedish filmmaker Tomas Alfredson weaves friendship, rejection and loyalty into a disturbing and darkly atmospheric, yet poetic and unexpectedly tender tableau of adolescence. The feature is based on the best-selling novel by John Ajvide Lindqvist.


LETTER FROM THE DIRECTOR

1982. A country that keeps going despite everything. Despite the February cold which has made the landscape come to a halt, frozen the water in the lakes and made the branches on the trees as tense as violin strings. The birds have flown to somewhere less desolate and the bears are sunk in deep sleep. Cities keep going in spite of it all.

The shimmering green of the street lights keeping the darkness at bay over salted and gritted streets. The oil from a distant land burning in the boiler rooms of the concrete blocks.

The people who live there. Preserving the hope of the exact opposite of all this. Coming home, taking off their damp winter boots, acrylic jumpers crackling over their heads, snagging nylon tights, burled wall to- wall carpet, all that humming electricity.

The hardworking mothers in the suburbs, the faithful fathers scraping the frost off their SAAB’s, the children who regardless of the darkness get up at seven and head off to school where they all dutifully finish their plates of liver.

Everyone reads one of two news papers in the morning, one of two at night, watches one of two news shows in which politicians go on about that submarine which ran aground off the coast. Two ways of thinking, red or blue. How do they stand it, those who live there in spite of it all? The people who don’t turn to each other for warmth, who hold their tongues and turn their backs for fear of cracking into pieces like statues, for fear of killing each other?

When I read John Ajvide Lindqvist’s novel Let The Right One In last summer I knew that I absolutely had to share this story on film. It’s a feeling you only get with one script or novel in a hundred. Most of the time there are parts of the material that grab me, a feeling here, a detail there, and urge to get my greedy hands on it and start rewriting. This time it was different. This is a story which is both grand literature and a fantastic drama. Despite the depressing background of a leaden grey Sweden, the harsh social conditions, the bullying and the bloody violence, I see it as a romantic love story with a hopeful and happy ending. I see the same dynamics between the dark background and the light foreground as in the stories of Charles Dickens, or the classical writers of horror, for that matter.

This is an entertaining film rich in social pathos and an in-depth knowledge of mankind, capable of attracting a mass audience without being flat or calculating. I also believe that its unequivocal Swedishness lends it great opportunities for international success.

Tomas Alfredson | Director


LETTER FROM THE AUTHOR

My script is about being lifted out of the darkness by love. About going under and suddenly being rescued by a helping hand. A totally unexpected helping hand. It’s about a boy, Oskar. Intimidation and living in a dysfunctional home has made his life hell. He’s 12 and he wants revenge.

Above all it’s a love story. Of how Eli’s love releases Oskar, how she makes him look upon himself in a different light. Not as the scared one, not as the victim. How she gives him courage to stand up for himself. But Eli is a vampire. A real one, one that lives on blood. The title touches on what I think is the most interesting moral aspect on vampires. They have to be invited to get to you …

My stories are not excesses in blood and gore. It’s naturally there, but above all I try to describe how people react when faced with the Unknown. Our reality is sheer and fragile. We live our lives seeking happiness. And at the same time … a vague sensation of that all can be taken away from us, at any moment. A very thin veil divides us from the fall, the monster, the deafening darkness. Or love. The Unknown. What happens when it enters our lives? What do we do?

Let the right one in, is a very romantic story featuring strong violence, supernatural elements and a happy ending, played out in the Stockholm suburb of Blackeberg in 1982.

To put it simple:
“Can I come in?”
“Please let me in.”
“Come in.”

John Ajvide | Author and Screenwriter


A BEST-SELLING NOVEL

Let The Right One In was first published in Sweden in 2004. The book, with its unusual mix of romance, horror and suburbia was very well received and shortly ended up on the bestseller-list. The author, John Ajvide Lindqvist is a former stand-up comedian, magician and writer of TV scripts.

So far Let Right One In has been sold to 12 countries:

COUNTRY PUBLISHER RELEASE
Norway Damm & Son 2005
Holland Signature 2006
Denmark Forum 2007
Australia Text publishing 2007
New Zeeland Text publishing 2007
Italy Marsilio 2007
Poland Jacek Santorski 2007
Finland Gummerus 2007
Spain Escapa/Calpe 2007
Germany Lübbe 2007
Great Britain Quercus 2007
USA (as Let Me In) St Martins Press 2007

LETTER FROM THE PRODUCERS

When we read this novel we were totally captivated by it. It was quickly made apparent that we weren’t the first to have envisioned the film while reading the book though. The publisher sounded a bit fed up by the time we got through to him. We sent the book to director Tomas Alfredson, who immediately was interested, and we then contacted the author, John Ajvide Lindqvist, directly.

So far there had been over twenty requests from Sweden, Denmark, Germany and the US for the right to turn John Ajvide Lindqvist story into a film. Somewhere along the line however, we found that we shared a common vision, making this one of the most exciting Swedish film project in years. This is a deeply gripping love story between an insecure and victimized 12-year old boy and mysterious girl far from the ordinary. Oskar and Eli journey into unknown territory when they fall in love.

While she is everything he’s not- strong and assertive, he is something she can never be- human, normal. They’re both forced to fight for their love and to make crucial choices regarding their future. Oskar’s acts of defiance and Eli’s need for blood ultimately leads to a conflict where they’re forced to defend their lives and their will to stay together.

It’s a story about emancipation. Of how love and trust builds the foundation for personal growth and liberation. It moves along archetypical lines and contains all the classic and mythical ingredients of separation, descent, initiation and return, set in three acts. It’s a highly romantic story albeit combined with elements of finely tuned horror. The result is a unique and highly commercial product with the power to attract audiences from different age and target groups.

With Tomas Alfredson as the director, we began shooting in February 2007. So far John Ajvides’s book is being released by major publishing houses in no less than 12 territories, including Germany, Great Britain and the U.S. For us that’s a clear signal of the power in this finely crafted story. We have had well-founded economic basis for the project, with the terms clearly set out for all parties involved.

We have had the highest demands in terms of artistic quality and great faith in the commercial strength of this project. We are convinced that with our help Tomas and John Ajvide Lindqvist, have created an unforgettable film which will attract large local and international audiences at the cinema, on DVD and on television.

Carl Molinder and John Nordling | Producers, EFTI


ABOUT THE CAST

Kåre Hedebrant — OSKAR
Kåre is twelve years old (born June 1995) and lives with his mother, father, nineteen-year-old sister and a cat in the outskirts of Stockholm. He attends the oldest specialized elementary school in Sweden (Adolf Fredrik´s School of Music) with singing as main subject. At school he is a member of the representative boys choir which will go on tour in central Europe during summer this year. Before playing the leading part of Oskar in LET THE RIGHT ONE IN, Kåre played the title role in a theatrical production of one of Astrid Lindgren´s children’s books. He likes to spend his spare time with his friends, reading comics or playing the piano and guitar. LET THE RIGHT ONE IN is Kåre’s first appearance in a feature film.

Lina Leandersson — ELI
Lina goes to school in Falun, Sweden. She will turn 13 in September. Lina lives with mother Pernilla, stepfather Johan and two sisters. She loves to dance and spend time with her friends. She feels that the most exciting thing to happen in her life so far was to work on LET THE RIGHT ONE IN. This is Lina’s first appearance in a feature film.


ABOUT THE FILMMAKERS

TOMAS ALFREDSON – Director
Tomas Alfredson started his movie career by working as an assistant at Svensk Filmindustri. He spent a couple of years directing music videos and another couple of years starting up Swedish television channel TV4. At TV4 Tomas was part of building the entertainment department and initiated several long term successes such as “Fort Boyard”.

After his time at TV4 Tomas spent the next few years at SVT, the Swedish public broadcaster, with popular television series such as “Ikas TV-kalas” and entertainment show “7 till 9″ together with legendary television producer Bo Rehnberg. In the early nineties Tomas directed his first television series for SVT´s drama department, “Bert”, a hugely successful family entertainment series. When the popular character was taken to the big screen in 1995 in Bert – den siste oskulden (Bert — The Last Virgin), Tomas was nominated to a Guldbagge Award for best director (the official Swedish film award, awarded annually since 1964 by the Swedish Film Institute).

By the end of the nineties Tomas became part of Killinggänget (a Swedish comedy group consisting of Sweden’s most prominent comedians) when he worked on their production Fyra små filmer (Four Little Films), four one-hour long, free standing films. The media satire Gunnar Rehlin – en liten film om att göra någon mycket illa, the romantic comedy Ben och Gunnar, the film about the world’s worst documentary filmmaker På sista versen and finally the mocumenatry Torsk på Tallinn that has become a television classic, winning both Swedish and international awards.

The collaboration with Killinggänget continued with the stage production “Glenn Killing på Grand – lite sång, lite dans, lite naket” and the next year the humorous web site “Spermaharen”. In 2004 Tomas directed Four Shades of Brown which was Killinggänget’s first feature film. The film was won four Guldbagge awards and Tomas was awarded best director. In the fall of 2009 Tomas will make his debut as a director at the Royal Dramatic Theatre in Stockholm together with Killinggänget.

Tomas Alfredson has also had a long collaboration with author Klas Östergren which started with the critically acclaimed series “Offer och gärningsmän”, and a few years later “Soldater i månsken”. Most recently they created the 2006 Christmas calendar television show “En decemberdröm” for SVT. During 2007 Tomas directed Hur tänker hon? featuring comedian Johan Rheborg and sold out at Lisebergsteatern, Rival , China teatern and Circus.

Less known facts about Tomas are his cooking talents and that he was an awkward sing-along host together with Jonas Gardell at Vasateatern.

In 2001 Tomas Alfredson was awarded the price of the Swedish Film Critic Association and the scholarship of the Elisabet Sörenson memorial foundation.

TOMAS ALFREDSON’S FILMOGRAPHY:

2005 JULKALENDERN (Advent Calendar) (TV) SVT

2004 FYRA NYANSER AV BRUNT (Four Shades of Brown) (feature film) SFI, SVT Drama, NordiskFilm/TV Fund

AWARDED WITH:

BEST DIRECTOR, Swedish Film Institute’s Guldbagge Awards 2004

BEST FILM, Swedish Film Critics Association Award 2004

BEST FOREIGN FILM 2004 Copenhagen Night Film Festival 2004

2003 KONTORSTID (Office Hours) (feature film) SFI, SVT, SF, Film i Väst

2000 SOLDATER I MÅNSKEN (Soldiers by Moonlight) (TV) SVT Drama

AWARDED WITH:

BEST DIRECTOR, Rembrandt Award — Amsterdam 2000

BEST DIRECTOR, Golden Rockie Award — Banff Canada 2000

1999 TORSK PÅ TALLINN (Screwed in Tallinn) (TV) SVT Drama

AWARDED WITH:

GOLDEN GATE AWARD — San Francisco 2000

1999 BEN OCH GUNNAR (Ben and Gunnar) (TV) SVT Drama

1999 GUNNAR RHELIN — EN LITEN FILM OM ATT GÖRA NÅGON ILLA
(Gunnar Rehlin — A Short Film About Hurting Somebody) (TV) SVT Drama

1999 EN LITEN FILM OM DÖDEN (A Short Film About Death) (TV) SVT Drama Stockholm

1999 OFFER OCH GÄRNINGSMÄN (Victim and Perpetrator) (TV) SVT Drama

1995 BERT — DEN SISTE OSKULDEN (Bert: The Last Virgin) (TV) SVT Drama


ABOUT THE FILMMAKERS (continued)

JOHN AJVIDE LINDQVIST — Writer
John Linqvist is a Swedish author, born 1968, grew up in Blackeberg, a suburb to Stockholm. He wanted to become something awful and fantastic. First he became a conjurer and came in second in the Nordic card trick championship. Then he was a stand-up comedian for twelve years. John Ajvide Lindqvist has written great parts of the TV series Reuter & Skoog as well as stage plays and TV drama. Let The Right One In is his first novel. It was selected as Best Novel in Translation 2005 in Norway and shortlisted for the Prize in Literature of the Swedish Radio. Let The Right One In also received the Selma Lagerlöf-prize for Literature 2008. His second novel, [sic] is currently being translated.

CARL MOLINDER — Producer, EFTI
Swedish producer, Stockholm. After Studies in business and a trainee program at Apple Mr. Molinder went on to work with Sales and Marketing. In 1994, together with producer colleague John Nordling, Mr. Molinder formed EFTI where he has been working as CEO and Producer since. EFTI has established a strong name with cutting edge TV productions such as “Knesset”, “Ulveson&Herngren” and “Late Night with Luuk,” which year after year were voted best TV show in Sweden. Mr. Molinder is responsible for producing over 400 commercials which has won EFTI numerous awards all over the world. In 2008 EFTI releases the first feature from the producer team. LET THE RIGHT ONE IN, directed by Tomas Alfredson, has won several awards including the top prize at the 2008 Tribeca Film Festival. Currently Molinder and Nordling have paired up with Spitfire Pictures to produce the U.S remake of the film.

JOHN NORDLING — Producer, EFTI
Swedish producer, born 1961, grew up in Stockholm. Mr. Nordling has a background as a pop-promo director and TV-producer. In 1994 he teamed up with producer colleague Carl Molinder to form EFTI, a high profile Swedish production-company. The team brought several classic TV-shows on air. Both Knesset and Late Night with Luuk became legendary shows and propelled the host Kristian Luuk to stardom. In 2005 the team produced its first drama series. Ulveson & Herngren was broadcasted by SVT and received unanimous praise for its intricate layers of comedy. LET THE RIGHT ONE IN is based on a Swedish bestseller and is Mr Nordling’s first attempt at feature films. The film, which is directed by Tomas Alfredson, has won a number of awards including the top prize at the Tribeca Film Festival and is sold to over 30 territories. Currently Mr. Nordling and Mr. Molinder are working on the U.S. remake of the film, which is to be co-produced with Spitfire Pictures in Los Angeles.

HOYTE VAN HOYTEMA — Cinematographer
Hoyte is a Dutch cinematographer who studied cinematography at the Polish National Filmschool in Lodz. Hoyte is now living in Sweden. Hoyte has shot several features, documentaries and successful TV series. His collaboration with Director Mikael Marcimain has won him critical acclaim and a nice collection of national and international prizes. In 2008 Hoyte got the Nordic Vision Award for cinematography in the film LET THE RIGHT ONE IN directed by Tomas Alfredsson handed out at the Gothenburg film festival. The film continues winning prizes all over the world, including the prize for best cinematography at the Montreal Fant-asia [sic] festival and the main prize at the Tribeca Film Festival in New York. Hoyte continues shooting features and occasionally commercials.


EFTI | THE PRODUCTION COMPANY

EFTI is a Stockholm-based production company with a history in TV, commercials and drama. The company was founded in 1994 by Carl Molinder and John Nordling.

LET THE RIGHT ONE IN is our first feature project. Several other features are in development due to be released 2009 and onwards. The aim is to establish EFTI a major provider of quality drama on the Nordic as well as the international scene. Over the years EFTI has attracted a great deal of gifted talent and have an unique network of contacts within a wide range of sectors in Sweden and abroad.

EFTIs catalogue include 15 major television series and over 400 commercials. We have made our mark with entertainment programs such as “Knesset,” “Pentagon,” “Eurovision Song Contest 2000,” “Grammy Awards,” “Superklasse” and “Varldens Humorkvall” (Unicef Comedy Night).

The talk show “Sen kväll med Luuk” (Late Night with Luuk), currently taking a long break, has been our greatest success in terms of audience figures, with 17 seasons under its belt and numerous awards.

“Ulveson & Herngren” (SVT Drama) was the first example of EFTIs new focus on drama. The show is a mockumentary-style look at the production of a comedy show starring Felix Herngren and Johan Ulveson, two of Sweden’s major comedians.

Director’s Commentary Track – Swedish DVD

The Swedish DVD release of Låt Den Rätte Komma In included a commentary audio track (in Swedish) with Tomas Alfredson and John Ajvide Lindqvist commenting on various things throughout the film. Sebastian Fabian was kind enough to create an English translation of the commentary track and make it avaialable as an srt file (an srt file is a subtitle file that is compatible with many CD playing programs, such as vlc). The srt file may be found here.

Below is a transcript created from Sebastian’s srt file. Eventually I plan to annotate it to indicate the scenes which the comments are referring to.

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

Sound Design In Let The Right One In

As I was watching Let The Right One In one day, I noticed a few things in the sound design of the film that I liked very much. I went back through and listened to the film – instead of watching it – and I found that as much thought seemed to go into the sound design as went into the dialogue or the cinematography.

Tomas Alfredson, the director, wants us to feel very close to Oskar. The film is a story told through Oskar’s eyes, and Tomas wants us to see what Oskar sees, feel what Oskar feels, and also to hear what Oskar hears. He and Per Sundström, the supervising sound editor, have crafted a soundscape for this film that grabs the viewer’s attention when it needs to, but otherwise provides a solid backdrop of verisimilitude to the images on the screen.

I put together some clips of the relevant portions of the film in order to illustrate the things that I want to talk about. I suggest that headphones be used to listen to the clips, as some of the audio features that I am describing are a bit subtle. Each clip also provides a small view of the accompanying video in order to give context what you are hearing. Also please note that if your web browser has JavaScript disabled, you will may have to click on the “Back” button after you play each clip to come back to the article.

Early on in the film, Oskar is in school, and he irks the bullies by speaking out in class. At about 00:08 into the following clip, just after Oskar speaks for the first time, you can hear someone click their tongue in disapproval, and then a sigh of exasperation. As the sigh is tapering off, you can see Conny, who is sitting directly in front of Oskar, tilting his head up a little bit, as though he is rolling his eyes. Then he turns around to give Oskar the look that we will later find out is a promise of torment. Tomas has us hear these things because Oskar too has heard them. At this point Oskar becomes less self-assured, and he just seeks a way to escape the attention he has brought upon himself. Then, as the clip finishes, the audio of the policeman speaking fades from the foreground and we can hear Martin, tapping his finger on his desk as he glares at Oskar. The film does this because Oskar’s attention has left what the policeman is saying and is focused on the unwanted attention that he is now receiving from Martin.

In the scene where Oskar is stabbing the tree, taking his imagined revenge upon Conny, it is the audio that gives Oskar and us our first hint that his new neighbor is stranger than he could imagine. In the following clip, at first the only sounds you can hear are those of Oskar himself: his voice, his feet in the snow, the knife on the tree. There is no wind, no traffic noise, nothing else. Then at about 00:13 into the clip you can hear a door open. Oskar is too wrapped up in his fantasy to notice it immediately, and we the audience are perhaps too wrapped up in the images we see to notice what we heard. Soon however, Oskar either senses someone behind him – or perhaps the sound of the door has finally seeped into his consciousness. When he turns, we can now see Eli perched atop the jungle gym. Apparently it was she who came out the door that we heard, and in the 10 seconds until Oskar turns around, she has crossed the snow and gotten on top of the jungle gym without making a single sound.

Then, at the end of Oskar’s first encounter with Eli, Eli turns and walks out of the frame. This time we hear her feet in the snow. Eli apparently walks back to the door, which we hear again, opens it, and goes inside. This door sounds identical to the door that we heard in the previous clip, which confirms for us that it was Eli’s door that we heard. Also, we can tell by the sound of the door that Oskar waits until Eli has gone inside before he has the courage to utter his come back, “Are you so sure that I want to be your friend?” (“Tror du jag vill bli vän med dig, då?“)

It was in the scene where Oskar gets whipped by the bullies that I first noticed how many interesting things were going on in the audio. As Martin takes the switch the from a sobbing Andreas, you can hear Martins feet in the snow. You can hear Martin breathing. You can hear Andreas sobbing. Oskar is standing there with his eyes closed, and these are the things he hears. Then you can hear the switch whistling through the air and as it hits, all of the sounds stop. They are replaced by a high pitched tone, like tinnitus. Tomas and Per have made our ears ring with the blow, just as Oskar’s ears must have been ringing.

After the bullies run off, the scene cuts to Oskar eating dinner with his mother. However, while we are still seeing Oskar standing alone in the snow, we hear him telling his mother that he got the cut on his face when he tripped on a rock. (This is called an “L cut” in the film industry, where the audio of a subsequent scene starts before the actual cut to that scene). We know that this a lie that Oskar is telling his mother, and by having us hear him say it while he is still in the school yard, the film implies that he is beginning to plan his lie then, before he even gets home.

In the scene where Oskar finally stands up to Conny and he hits him in the ear with the pole, I found that the audio changed my perception of what Oskar was feeling. After the blow, Conny falls to the ice screaming. Oskar stands over Conny and and it is not a straightforward task to interpret the expression on his face. It could be exaltation, or a sort of feral joy of the kill. It could be an adrenalin rush. It could be a bloodlust to match Eli’s – that he is wanting to strike again. As we are shown the shot of Oskar’s face, the screams start to fade into the background and Johan Söderqvist’s wonderful piece Oscar Strikes Back swells to the front of the audio. Then, at a pause in the music, in front of everything else, we hear Oskar give a little exhalation. It is a sort of sigh of release. This gave me the clue that what Oskar is really feeling here is freedom – freedom from the shame and fear and anger that the bullying had been breeding in him. The burden of fear that has characterized his existence has with that one blow been lifted from him. That one little sound in the audio opened the way for me to understand Oskar in this scene. This feeling of release floods through him, detaching him from his surroundings, and the sound design reflects this.

I was impressed with the sounds that accompanied Eli’s egg. The egg itself was 100% computer generated. Even so, the sounds as Oskar touches it with his finger and it falls to pieces work very well. First Oskar touches the top of it with finger – not just touches it but actually presses on it with his finger. There is a clicking sound that starts the process of the egg coming apart. Instead of this click coming when Oskar’s finger first touches the top of the egg, you see Oskar’s finger bend as it apparently applies pressure. Then comes the click. Then as the computer-generated pieces fall, the sounds of tinkling metal come in, quickly crescendo, and then tail off at a rate that is perfectly timed with what we are shown on the screen. Also, I thought the pitch of the sounds matched perfectly with what you would expect to hear from pieces of metal of that size. It was not only the sounds of the pieces bouncing off of each that sounded good, but the sounds of them landing on the box and the table matched perfectly with your eyes would tell you to expect.

The scene where Eli enters Oskar’s apartment uninvited is probably one of those most renowned scenes in the film. Lina’s performance is riveting, and the experience of watching something completely new and original being added to the vampire mythos is very engrossing – so much so that its is easy to overlook how much the sounds add to this scene. The thing that first drew my attention to the sound in this scene was the little popping, splashing sound that accompanies the first little spurt of blood from Eli’s ear. It sounds exactly right, and it is perfectly timed. Visually, nothing much happens for the first half of the clip, but you can hear Eli’s labored breathing and those sounds. Also you can hear a pounding sound that resembles a heartbeat. The sounds build the suspense, and they are so unearthly that you can’t wait to see what will happen. Then when Eli starts to bleed, the momentum of the scene picks and it is easy to get swept past the little popping sound because it does fit so well with the visuals.

You can easily imagine Oskar standing there with his “So what’s the big deal?” attitude. Then as he notices the intense look on Eli’s face, he starts hearing these things: the heavy breathing, the strange sounds. Then perhaps he starts hearing his own heart pounding in his ears as he realizes this situation is on the verge spinning out of control, going far beyond anything that he had ever imagined experiencing. In his growing alarm, his eyes jump wildly around picking up the details, the blood from her scalp, then from her ear, then from her eyes. As the camera flits around and shows us the details that Oskar’s eyes see, it is the sounds that tie the details together to give us a full picture of what is happening to Eli.

Feel free to turn your volume way up for this clip. I cut it right before Oskar shouts, “Nej!”, so that it contains no loud sounds. After you have listened to it, turn your sound off completely and watch the clip again with no sound. This illustrates dramatically just how much the audio carries the action of this scene – despite the compelling imagery.

In the pool scene, Tomas takes the technique of guiding our imaginations with the sound design a step further. Here, we hear sounds that Tomas has not already associated images with. Further, these sounds are kind of distorted. Oskar is underwater, and to put us underwater with him the sounds we hear are muffled and kind of “muddied up”. As the clip starts Oskar is being held under by Jimmy, who plans to also cut his face or poke out his eye when (or if) he comes back up. We are waiting for something – anything – to happen to save Oskar. Then we here the muffled crash, and the muffled shouting starts. Or is it screaming? Howling? From what we can hear under the surface we really can’t tell, but we know that something is going on around the pool. The dramatic but unidentifiable sounds build the suspense as we wait to see something happen. Finally we see someone’s feet pass through the water in front of the camera. It is accompanied by the first clear sounds – those of the feet being passed through the water, and then down the side of the pool. In contrast to the earlier sounds, the splashing of the feet can be heard with crystal clarity. This causes our ears to tell us that we are indeed under the water with Oskar. While our attention has been centered on the feet, once they leave the water we realize that the muffled howling is still going on. Something is still happening. Then the head splashes into the water, and it comes as a complete surprise. We could hear nothing of how it came to part company with the rest of Jimmy, but we can hear the splash it makes perfectly. Then there comes a muffled crunching sound and a subdued but clear splash as the severed arm drifts through the frame from top to bottom. We never really know exactly what happened above the surface (although I have my own theory), but then, neither does Oskar. His eyes stay closed the whole time.

Among people who have watched this film, even those who do not wind up being rabid fans of it will comment on how amazing and memorable the pool scene is. Due to the astute audio design, almost all of the action in this scene takes place in your ears and in your imagination and not on the screen.

The scenes where Eli attacks are when the sound design really comes to the fore. Although Oskar is only present in one of these scenes, the film’s use of sounds in the scenes that precede it lay the foundation for putting the audience in Oskar’s place when he does finally witness Eli in action. Tomas’ approach to the attack scenes its to not show the audience too much, letting us create our own images in our imagination. To guide our imagination along gruesome lines, Tomas and Per used an array of sounds that sound feral, animalistic, and borderline unnatural all at the same time. In an interview with the Swedish magazine Filter, Per mentions that Eli’s feeding sounds are a mixture of sounds (all processed and altered) from a frog, a deer, a camel, and a dog (or at least that’s what I can glean from the Google translation of the article). I’m not sure I can pick out which sound comes from which animal, but Per also mentions that some of the sounds were made by Elif Ceylan, slurping up a melon. This sound I can definitely recognize.

I have put together a montage of clips of Eli’s attacks. The sounds in this montage are a bit louder than in the previous clips, so if you have turned your volume way up, you may want to turn it back down for this. First we are shown the attack on Jocke, and we can see – at a distance – exactly what sort of things accompany these sounds. Then for the attack on Virginia, Eli pounces on her and they both disappear from site behind the top of the steps. After the shot changes and we are shown Lacke coming up the steps, there is a pan that only slowly brings Eli and Virginia into the frame, but because of the sounds, we already know what we are going to see. Then when Eli noms Lacke, we see her land on his back, but then we are shown nothing else of the attack. However, Tomas has already taught us what sort of images accompany the by-now-familiar sounds of Eli nomming. Between those sounds and the identifiable sounds of Lacke flailing against the bathtub, we can draw a pretty clear picture in our imaginations of exactly what is going on out of sight in the bathroom. We can hear what Oskar is hearing, and we can see what Oskar is seeing even though the film doesn’t show it to us.

Another place where Tomas used an L cut was near the end of the scenes out on the ice. While it doesn’t pertain at all to telling the story from Oskar’s point of view, it was still an interesting use of audio in the film. A chain saw is used to cut Jocke’s corpse from the ice. However, in the shot of the chainsaw actually cutting the ice (from a viewpoint within the ice), I think that an average viewer may not immediately recognize what they are seeing. I think that for this reason Tomas used an L cut to bridge from the previous shot to the shot of the chainsaw.

In the previous shot, we see Mr. Avila with the two young girls who have found something. He looks over, recognizes what he sees, and begins to hustle the girls in the opposite direction. As he is doing so, we hear the delicate closing strains of Oscar Strikes Back, and then out of nowhere the sound of a chainsaw starting up comes in. It seems so out of place that immediately gets your attention, and also you can immediately recognize what is making that sound. Nothing else sounds like that. It causes the audience to wonder what anybody could possibly be doing with a chainsaw at such a time and place. Then the shot switches to the chainsaw cutting the ice. Having already heard and recognized the sound, the audience is now anticipating seeing a chainsaw. Although the image may not be readily recognizable as a chainsaw cutting ice, Tomas has already tipped us off about what we will be seeing. In doing so, he managed to avoid having to explain any further the subsequent shot of the crane carrying the block of ice with Jocke’s body in it. With the L cut and that seven second long shot of the chainsaw in the ice, Tomas has told the entire story of the discovery of Jocke’s body. I thought this was a very clever and efficient method of storytelling using sound.

Finally, I wanted to make a comment about the basement scene. I think that viewers who don’t speak Swedish have likely missed out on a brilliant choice made by Tomas. In this scene, the song that plays on the tape player is called Försonade, which it was written and performed by Agnetha Fältskog (before she became a founding member of the pop group ABBA). I became curious about it and I sought out an English translation of the lyrics. I was struck by how perfectly the lyrics fit with what is going on in the basement scene – as well as with its aftermath. I put together a clip of the scene where the song is played and I added English subtitles for the lyrics. Once again, if you have turned your volume up to hear the subtleties of the previous clips, I suggest that you may want to turn it down for this clip.

No Redemption

I have been struck by how characters of Oskar and Eli changed, or more specifically didn’t change over the course of the film.

At the beginning we see each of them expressing a desire to change their life. Oskar wants to free himself from bullying by murdering his tormentors. He rehearses his knife attack on shadow victims and trees. Despite this fervent desire for most of the movie he is unable to muster the courage to resist the bullies. When the bullies whip him with a switch, we had just seen him walk past the window where the teacher sits inside. All he has to do is shout for help or even just cry out in pain and the teacher will hear him.

Then along comes Eli who encourages Oskar to resist, to defend himself. When we next see Oskar being confronted by the bullies, the planets have aligned in his favor. He has in his hands a weapon – the pole – and the bullies are threatening him with what amounts to a death by hypothermia. In this scene the pole is a surrogate for the knife, since it actually was the tool of a murderer. (In case you missed it, it was the same pole that Håkan used to push Jocke’s body under the ice). Also the bullies are hesitant to act as a pack against Oskar when the adults might see it. So Oskar is armed, presented with a mortal threat, and is faced with a single attacker. Whack! Conny gets it upside da head. As Eli later comments, “Hooray!” Oskar has now had his redemption. Oskar has now come of age.

However the film doesn’t give us such a trite answer. Later we see Lacke standing over a sleeping Eli with a knife to her throat. Oskar is holding an unsheathed knife and Lacke’s back is to him. Indeed, Lacke doesn’t even know that Oskar is there. Possibly Oskar did not see that Lacke held a knife, but he is still unable to bring himself do anything about it. He can only call out when Lacke starts to uncover the window, and when Lacke turns and tosses down his knife, Oskar can only start to back up. Once Eli awakens and is taking care of her own defense, Oskar averts his gaze and pointedly throws down the knife. His redemption has been an illusion. He has not come of age. Afterward he loses interest in his scrapbook of murders. By the time he gets to the pool scene he is not only passive towards the bullies, he is now compliant. He is still the same Oskar that we met at the beginning of the film, only now he has lost his fantasy of murderous redemption.

As we meet Eli in the beginning of the film, we find that she has an adult helper who goes out to kill for her. However he bungles the first task we see him attempt, so that Eli has to go out and hunt for herself. She preys upon Jocke and then sobs after she kills him. Apparently she has wanted to distance herself from the killing that makes her survival possible. As Oskar has wanted to release himself from his miserable life by becoming a killer, so Eli has wanted to release herself from her miserable life by forsaking killing.

However the film shows us that she cannot escape who she is. The next time we see her prey upon someone it is her helper, Håkan. He has failed her for the last time. She goes out of her way to find him at the hospital, and the unavoidable conclusion is that she went there specifically to end his life. When she kills Håkan, perhaps out of mercy, perhaps to protect herself from discovery, she does not seem to display any emotion at all. She recognizes the necessity of the killing, whatever her feelings in the matter.

And the time after that when we see her prey upon someone – Virginia – she seems unable to stop herself after to Oskar unknowingly triggers her blood lust. When Lacke kicks her off of Virginia’s back, instead of sobbing Eli seems dazed and unaware of exactly what has happened. Eli has not managed at all to distance herself from killing. Killing is both a necessity of her life and a necessity of her nature. When she is finally threatened by Lacke, she must not only kill but kill in front of Oskar. Now they both know that they have failed in the change they sought, the change that was each’s hope for an improved existence.

Now we get to the pool scene, where each seems to revel in their unchanged state. Oskar is more the target of bullies than ever. Eli has no Renfield to use to distance herself from her prey. In fact here at the poolside Eli is more of a killer than ever, even a wanton killer. She kills not because it is necessary to her survival. Arguably she doesn’t even need to kill any of the bullies in order to secure Oskar’s survival. She does not even feed on any of her victims. Instead she kills all three of the participating bullies, even going so far as to dismember one. So despite the desire for change that we saw in each character at the beginning of the film, here at the end we see that neither has changed. However, unlike at the beginning of the film neither is miserable. They are happy at the end of the film, and somehow Alfredson has seen to it that we the audience are happy as well.

Is this then the message (or at least a message) of the film? Their misery stems not from their circumstances but from their isolation, their loneliness? Now that they each have a companion, whatever that companion’s misery, happiness for each is still possible?

Interview with Per Ragnar

Per Ragnar is the actor who portrayed Håkan, Eli’s creepy and lost companion, in the film Let the Right One In. He has had a long career in television and film stretching back to his graduation from The Royal Dramatic Theatre School in 1965. In 1966 he became an assistant to Ingmar Bergman, and he had both his first film and television roles in 1968. He is also renowned for his one man show, Hitlers bordssamtal (Hitler’s table talks). In the interim, he has found the time to write almost two dozen books.

Per’s latest cinematic work was in the new Swedish horror film, Psalm 21. He was kind enough to agree to answer some of my questions when I contacted him through his agent, Birgitta Nielsen.

 

How did this part come to you?

Tomas Alfredsson called me. We had previously worked together on a movie for television called, “A little film about death”, where I played a twisted TV producer – together with the Ingmar Bergeman actor Erland Josephson.

Had you read the novel before filming? Have you read it since?

No, either before or after. I know from experience that the book and the screenplay are never the same. It is “dangerous” to commit to a book character as the movie script is different. I had heard that in the book my character is a teacher, an alcoholic and a pedophile. Thus, a completely different person than I portray in the movie …

If so, were there any scenes with Håkan from the novel that you wish you could have shot?

See answer to previous question.

What was the shooting schedule like for you? Did you have to go up to Luleå?

Ten days of shooting at night in Luleå with 35 degress, terriblly cold and tough.

In the novel Håkan’s motivations are made all too clear, but in the film Håkan is more of an enigma. What motivates your Håkan’s devotion to Eli?

I see Håkan, if I disregard the vampire theme, as an extremely lonely little man who is crying out for love and acknowledgement. By him “working” for the girl, providing her with the nutrition she requires, he may be part of a small sense of community and gets a little sense of family. When he can’t cope anymore, he gives his life for her … Christ more than the Devil, that is.

What was it like working for Tomas? Did he know exactly what he wanted his Håkan to be, or did he expect you to fill out the character?

Since he chose me, he knew what he could get out of me. He is an extraordinarily prepared director, knows exactly what he wants. He had also seen me in one of my major roles, over many years, portraying Adolf Hitler in a one and half-hour monologue at the theater, Hitler’s table talks, an authentic material.

What was it like working with Lina? Have you worked much with young actors?

Lina was a nice and easy absurdly funny little girl. Yes, I have played in many Astrid Lindgren plays with children.

In many of your scenes, you are basically acting by yourself; in the woods, on the metro, and disposing of Jocke’s body. Is it more difficult to act without another actor to play off of?

No, not if you trust the director and he knows what he wants. And Tomas Alfredsson knew what he wanted!

In the scene where Eli touches Håkan’s cheek, it seems as though a bargain is being struck. Håkan will get blood if Eli will stay away from Oskar. What interpretation were you portraying in that scene?

He “knows” that it’s time for Eli to take over in the eternal succession, the vampire girls living course is forever, not her “donors”.

In the scene where Håkan is caught, he seems immediately resigned to his fate. I have seen many fans claim that Håkan wanted to get caught. Was it a part of what you were portraying in that scene that Håkan was relieved to be getting caught?

Exactly, he cannot go on with this eternal killing in the cold and darkness to enable her to live.

In the shot where Håkan dumps Jocke’s body into the water, it looks as though you could easily have gone tumbling into the icy water after him. Was that shot as dangerous as it looks onscreen?

Yes, it was unpleasant to do, it was cold and slippery on the tree branch.

Can you tell me about Håkan’s hat? It is rather… unique.

Yes. I bought it in Moscow when I was there with the Royal Dramatic Theatre School and studied their stage school and theater for three weeks. We were Ingmar Bergman’s students and all artistic doors opened for us. I bought it in the square outside the Kremlin. This was 1964!

You have been working continuously as a film and TV actor for, well, quite a while. How has the success of Let The Right One In impacted your career?

I have worked in film, theater and television for 50 years. I’m glad to be part of a world success. I did a test shooting for Milleniumfilmen, but Skarsgård (of course) got the part. (Stellan Skarsgård is to play Martin Vanger in David Fincher’s remake of The Girl with the Dragon Tattoo-Ed.) Then I got another request from another American casting company, it was some forthcoming film with Sean Penn …

In a few days we premiere with the film Psalm 21 where I play yet another evil man. Preliminary reviews are talking about the best Swedish horror film ever made …

 

Thank you very much Per, for answering my questions and for providing fans of Let the Right One In with an insight into your character.

You may discuss this interview with other fans in here.

Interview with Johan Söderqvist

Johan Söderqvist is the composer who created the marvelous score for the film Let the Right One In. Starting in 1991, he began scoring films and he has worked on literally dozens of films since then (you can you see the complete and ever-growing list on his web site, www.johansoderqvist.com). I have always felt that Let the Right One In was the result of planets aligning; a beautiful screenplay, an incredible director, talented young actors, and an amazing cinematographer all came to together to create a film without equal. Another planet that in this alignment was the score. The story of the film was told in stark, unsentimental visuals, leaving it to the music to carry on the emotional dialogue with the audience. The score manages to move from the delicate hopefulness of first love, to brittle, chilly sounds matching the film’s setting in Swedish winter. From full blown romantic love to heartbreak and loss.

A CD of the soundtrack can be purchased from Moviescore Media, and it may be purchased for download from the iTunes Music Store.

Johan was very friendly and accommodating when I contacted him. He was kind enough to answer questions that I had about his experiences working on the score for this film.

Your web site mentions that you have performed playing both jazz and folk music. Are these your primary musical influences?

I would say that maybe the most important thing for me as a film composer is that I come from improvised music, because it gives me the ability to improvise to a picture to find the musical feeling in the scenes.

But having said that, I think I’m really into any “sincere” music, no matter in what style.

Which of your influences are most apparent in this soundtrack (LTROI)?

I don’t know really. It’s a mixture of my ambient worlds combined with melodic themes. When Tomas (Alfredson) wanted to show me in what direction he thought the music should go, he was very open. He could show me some “cold” music & sounds – and even some big band stuff from the 60′s – only to give the right emotional direction. I really enjoyed this open approach towards the music.

Can you suggest some other music for people who would like hear pieces that represent the influences in this soundtrack?

I don’t really remember – sorry.

What I do remember is that they put my “old” film music into the film as temp while editing, and as I said earlier I do remember the Gil Evans piece from the 60′s.

I notice from your CV that you have been involved in more than half a dozen projects since Let the Right One In. Also, you had already been a busy and successful artist for years. Has the international success of LTROI had an impact on your career?

Yes it definitely has. It’s very rare that a Scandinavian film gets such an impact as LTROI got. So I’ve had many offers to go to different countries outside of Scandinavia to work since. Unfortunately I’ve had to say no to many because I’ve already been booked on films. I also think that some of the attention that I’ve got the last couple of years come from the fact that Susanne Bier, with whom I’ve worked for nearly 20 years, has been really successful with her last 3 films (Brothers, After the Wedding, & Things We Lost in the Fire). And her new film In A Better World that I also scored, will premiere at Toronto film festival later this year!

So you have now worked on a new Susanne Bier film? Is this your only current project or do you often have more than one project at the same time?

I try to have one at a time, but sometimes they do overlap.

How long does it take you to complete a typical soundtrack? How long for this one?

That is different from film to film. I would say that the optimal time would be 10-12 weeks but sometimes you have to do it in 4 weeks (and one of the films that I’ve made was made in 18 days). LTROI was really perfect. It was made from Sept. to Nov. 2007, in about 12 weeks. It’s about having the time to really get into the film in order to be able to get the right musical world to that specific film.

Are there some new directions that you would like to try in the future?

I always strive to find new directions and new “musical worlds” with every new film. Sometimes you succeed really well in doing this and sometimes not as well. The last 2 films – Susanne Bier’s In A Better World and Maria Sødahl’s Limbo – I’ve worked a lot with rhythm. And that feels new and interesting to me!

How did you get this job (LTROI)? Had you worked with Tomas Alfredson or EFTI before?

No, I had not worked with either Tomas or EFTI, but I think they liked my work on other films that I’d made, especially After the Wedding.

Had you read the novel before you wrote this score? If not, have you read it since?

I read it as soon as I knew that I was writing the score. And I loved it!! It’s such a great book.

How did the story come to you? Were you given a script, or did Tomas show you clips of the scenes where he wanted music, or did you have access to a finished cut? From the impeccable timing of some of the tracks with what is going on onscreen, I would guess that you at least had clips to view while you worked.

I always work very close to the film, so yes I had a finished cut to work to (It was one of these great times when the film was ready when I started working, so that I had a long time with the actual “locked” cut). I then see the movie a couple of times and then I try to not see it for a while, but just write themes and make sounds from the feeling that I remember from the film. It’s often good to not start to early to write directly against the film, but to try to grasp the underlying feeling of the pictures. So we (Tomas & I) spent some time just talking about the feeling of the film and trying out some of the sounds and themes that I’d made. And then later as we felt that we’d found a direction where we should go sound-wise, I started to fit the themes to the film and to write more scene after scene. The hard thing in film music is to be able to create a specific musical world that is really integrated into that film’s universe. Therefore we also worked very close with the sound designer Per Sundström (who’s made a fantastic sound for the film) to really integrate music and sound into one thing.

How closely did you work with Tomas? Did you come up with the musical phrases and run them by him before fleshing them out? Or did you go to him with mostly finished tracks?

Tomas and I worked pretty close. He would come out to my studio in the countryside of Stockholm for music meetings, and we talked about the film and the cues. I prepared songs and sketches that I would play for him, and then we talked about if they were ok or if they needed some changes. He was really inspiring to work with!

Tomas has mentioned in interviews that he had specific works of music that he would listen to that inspired his work on this film. He wouldn’t divulge to the interviewers what those works were (and I can respect that), but I’m wondering: Did he share those works with you in order to describe what he was looking for?

I don’t remember any specific music, but I do remember that he would find really cool ways to describe a musical feeling. Like the absence of sound in falling snow or the warmth in a Gil Evans big band song …

The soundscape of this film seems to place a great importance on the silence between sounds. My impression is that somehow your score manages to leave room for those silences even while it is playing. Am I interpreting it correctly? Is that something that you intentionally tried to achieve?

I feel that to give space and silence within or after a piece of music is often a strong emotional statement. Sometimes the space is more strong than the music itself. :-)

How did you choose your palette of instruments (guitar and piano seem to figure prominently)? Did Tomas have a certain sound in mind that he wanted, or did you think they suited what you knew of the story?

For me, finding a films musical palette is one of the most important things in film music. Finding the film’s “sound”. I think that the most important sounds that I found for LTROI was the Bass waterphone. It has a very significant sound that’s both Icy and scary. I also made a lot of ambient sounds based on an electric guitar played with a bow, and loads of other sounds. Tomas wanted to get a balance between the “cold & scary” music and a more warm music. I think the piano and the guitar and the string orchestra add a lot of warmth to the score .

How did you come to choose the Bratislava Slovak National Symphony Orchestra to record this score? Had you worked with them before?

When I recorded LTROI I had just been in Bratislava once, recording a film by Tomas Vinterberg. But now (2010) I’ve made 8 films there! It’s a great place to record and a great orchestra.

Tomas has said, “…we, Johan Söderqvist and I, discussed that the music should emphasize the romantic parts of the film rather than the scary parts.” Did he express to you what emotions he wanted the music to portray for each scene? Or did he tell you, “Here is what is going on for the characters in this scene” and leave it you to decide on the emotional palette? Or did he just leave it all completely up to you?

We would talk about the scenes and the emotion of the scenes, and then I wrote songs for the different scenes that he often liked as they where, but sometimes wanted to change a bit.

How much did the visual imagery of the film impact your compositions? Were there any images in particular that affected you?

I think the pictures are fantastic in LTROI – it made it really easy to write music to the film. Hoyte [van Hoytema - the Director of Photography] & Tomas have made a stunning work! I have a separate strong visual memory for each of the songs in the film – but maybe the scene where Håkan drags the corpse in the snow, or maybe the scene when Eli climbs in to Oscar in his bedroom, or the picnic on the ice with the school class …

Based on the titles, the tracks on the CD seem divided between themes for situations and themes for characters. Which came first? Did you write themes for certain scenes and then the character themes evolved from them? Or was it the other way around?

That’s a tricky question that I really can’t answer … It kind of happens all at the same time once you’ve found the “musical world” of the film. So one thing leads to another …

There are at least two specific tracks that users at web site want me to ask about, and in fact I have some to add. Can you please comment on what your inspiration was and what emotions you were trying to convey in each piece?

“Oskar Strikes Back” – Tomas has said of this track “…it’s one of the few moments in the film where the music is really narrating the action rather than counteracting.” Was this a guiding principle for you – counteracting the action?

Again I have some problems to tell what I thought, because I really work hard NOT to think when I write music, just to do. I think that Tomas is right on the spot – the music in this scene is following the action in a way that most of the songs don’t do in the rest of the film.

“Eli’s Theme” – At least one user on my site has commented upon how most of the character themes start out with uncrowded arrangements, while Eli’s theme is fully fleshed out almost immediately at with a broad orchestral sound. Does this consciously represent a contrasting of the Eli character versus the other characters?

The theme comes in after Eli has killed Lacke, and at this point in the film it felt right to give it a warmer and bigger dress. The theme is also connected to the guitar theme “The Father”, that we’ve heard before in the film.

“The Father” – This track seems to convey a sense of sorrow or poignancy; the slow guitar duet with initially no backing accompaniment. Yet it is the character theme associated with Oskar’s father and it is used behind scenes that seem happy for Oskar. Am I correctly interpreting this track? Is this sort of emotional dissonance the ‘counteracting’ that Tomas had intended?

I think that the music often plays more on a deeper emotional level. I don’t think so much about characters but more about the pictures and the light and colours and so on. I also think the happiness in these scenes is “bittersweet”. He is a lonely boy …

“Oskar In Love” & “Then We Are Together” – I think of these pieces as sort of being Oskar’s theme. You are credited on the CD as being the pianist for these tracks. Did you choose the piano for these tracks because you identified with Oskar, or because you felt these were important enough that they required a familiar hand on a very familiar instrument?

I don’t remember specifically but what I do remember is the feeling I got when I played the piano and found the theme. It felt instantly right and Tomas loved it directly. It’s a very simple but pure theme. It’s also in one of my favourite scenes in the film, the scene where Oscar and Eli lay in the bed and he asks her if they can be a couple.

“Death of Håkan” – This track uses an altered form of the piano phrase from “Oskar In Love” and “Then We Are Together”. Were you specifically trying to draw a parallel between Håkan and Oskar? Did Tomas ask for such a parallel?

Once again – I don’t know. It’s all about intuition and emotion. :-) In some way it maybe binds the characters together Eli,Oscar and Håkan… Tomas liked it, but he didn’t ask for it.

Were there any scenes that you wrote something for that didn’t make it into the final cut of the film?

Not much, only a theme that originally was when Oscar comes to Eli’s apartment and she tells him that she’s a vampire.

Are there any scenes in the film that you would also like to have written something for?

No, I really think the music is in the right places now. It’s a well balanced soundtrack (ie sounds & music). Sometimes it’s really quiet (falling snow) and sometimes it’s loud and scary music +fx, so the sound in the film is really dynamic.

It seems like much has been made of your use of the bass waterphone in this soundtrack. It almost seems as though many people have found that to be the most interesting thing about it. Do you think too much has been made of that? Would this soundtrack have been possible without the waterphone?

Yes, definitely, I could have chosen other metallic or glassy sounds, to obtain the icy, cold feeling. Having said that, I think it was really fantastic to record and sample the Bass waterphone and also that Tomas liked it instantly.

In the musical world of LTROI there’s a balance and struggle between the warm, melodic & beautiful music and the icy, cold and scary (but still often kind of beautiful) music.

Thank you very much Johan, for putting up with my pestering and for providing fans of Let The Right One In with an insight into your marvelous score.

For those who wish to know more about Johan’s work and methods, there is an excellent interview with him at the Main Titles film music community web site. Also, you may discuss this score with other fans in here.

Q&A: Tomas Alfredson, Director of Let the Right One In, by Rob Vaux

Introduction and text by Rob Vaux. This interview was originally published on the now-defunct Flipside Movie Emporium in October, 2008. Rob has kindly granted me permission to publish it here.


Director Tomas Alfredson is little known outside of his native Sweden, where he has been directing movies and television programs for well over a decade. This year marks his foray into horror movies, with the quiet, chilling, and surprisingly sweet Let the Right One In. The film has earned plenty of notice in the U.S. and the inevitable Hollywood remake is scheduled for 2010 with Cloverfield director Matt Reeves at the helm. Prior to the North American release of Let the Right One In, Alfredson sat down with the press to talk about it.

Question: What governed the decision to set the film in the 1980s? Why not set it in the present?

Tomas Alfredson: Because it’s autobiographical… except for the vampire stuff, of course. John Ajvide Lindqvist, the author of the book and the screenplay, was twelve or thirteen back then and we wanted to preserve that.

Q: How closely did you work with Lindqvist on the adaptation?

TA: Well, it’s a fairly long book. It’s about 360 pages, and contains a lot of subplots. For example, Eli’s blood supplier, Håkan [Per Ragner] is an outspoken pedophile in the book, which I couldn’t handle properly on screen. It would be too large, too complicated to bring to this story. We had to pick one track to go with, and that was the love story.

Q: Did you stick to script with the shooting, or were the kids allowed to ad lib?

TA: We didn’t really have the space to do that. The shooting was so complicated and there were a number of special effects, though not all of them were obvious. So it was a very tight schedule and it didn’t allow for very much ad libbing.

But there was one sequence, involving some of the bullies, that involved something unplanned. One of the actors playing the tormentors had been bullied himself. There’s a scene in the film when they’re hitting Oskar over his legs. One of the boys starts crying in the midst of it. That was a surprise: it wasn’t planned that way. He got very emotional over the scene because of his own experiences. We kept it in because it was very strong and we felt it added a lot of nuance to the situation.

Q: What drew you to the project?

TA: I think it was the story of the bullied boy: the very unsentimental attack on this complicated young person. I had some times when I was a kid like that, being bullied. That was the thing that struck me the hardest.

The producer brought the script to me, and I normally don’t think you should do films of good books. You have so much more time and space to tell a story in a book than in a film. It’s seldom that you see a good book turning into a good movie. Somehow, this felt like one of those exceptions, and I fell in love with it.

Q: The look of the film is very striking. Did you have an aesthetic model for it?

TA: Winter hits very hard in Sweden, of course. It’s like you push a “pause” button on everything. Everything stops and all life becomes artificial. Artificially heated, artificially powered, and outside it’s all motionless. Also, after any heavy snowfall, there is a very special kind of silence. You can hear your own heartbeat, your own breathing, even your own eyelids moving. I wanted to capture that emotion.

As far as specific influences, I actually don’t think I had seen any vampire films at all before I made this. Maybe a few on television when I was a kid. Bela Lugosi and the like. But the photographer and I studied Renaissance painters very closely. When it comes to lighting, to colors, and to characters–that very strange sort of eye contact that Renaissance paintings have–those works were very helpful. There is one painter in particular named Hans Holbein, who did some really creepy work. Music too. I was listening to Mahler and similar dark, Romantic music to inspire me: to help find the lighter elements in this dark story.

Q: How did you find the two leads?

TA: It was very long process; it took us nearly a year. We don’t have professional child actors in Sweden, so we had to have open castings. That was very tough. I always thought of these two children as the same character: two sides of the same character. So it wasn’t just finding the right boy and the right girl, but matching them up to the same character, with her as the dark side and he as the light.

Q: What are the challenges of shooting in Sweden in the winter? There’s weather conditions, but in that part of the world, there’s also lighting conditions. What did you find the most difficult?

TA: It’s very touch to capture “cold” on film. If the temperatures go up even by one or two degrees, you won’t see it. So you must shoot in very extreme temperatures, which we had. It was about minus 30 degrees Celsius. I don’t know what that is in Fahrenheit [about 22 below 0], but it was very, very cold. The cameras were stopping all the time, and I got frostbite in two of my fingers. At the same time, it’s very beautiful and very crisp, and it has a strange kind of poetry to it. The light is so white, it’s like knives. And there wasn’t much daylight, which was helpful. We did this in the very north of Sweden to get the cold and the snow, and up there in January or February, you only get one or two hours a day of light. That let us get night shooting done almost anytime, which made scheduling much easier.

Q: The sound is very meticulous here, very technical. Did you pick that up naturally, or did you have to dub it in later?

TA: The sound process was very complicated because visually, it’s very important to have a dialogue with the audience. Most entertainment today is monologues coming out of the screen at you. A lot of films are overloaded with too much sound and effects and images. But if you leave out things or deliberately omit things visually, you always keep the audience interested. You make visual suggestions to the audience that help engage them. The same is true with sound. If you choose to have a lot of silence in your movie, it will really draw attention to the things you do hear. For instance, if you have a shot of a big city with a lot of cars and people, and all you hear on the soundtrack is a bird, your eyes will immediately start scanning the screen for the bird. It keeps you very active as an audience member.

We did end up dubbing Lina Leandersson, who plays Eli the vampire. She has a very high-pitched voice and I wanted her to be more… what’s the English word? Not female…

Q: Androgynous?

TA: Yes, androgynous. More boyish. So we had another girl with a lower pitch to her voice dubbing the dialogue.

Q: You did your own editing on this. When you’re planning the film, do you factor that into account as a way of minimizing time and expense?

TA: Oh yes. I started out as an editor when I was young, so I can do, say, three shots of a scene and know where the various lines of dialogue go in each shot. That’s helpful when you’re actually shooting because you know whether you got the shot you need or not. It cuts down on wasted time considerably.

Q: You just won the Woodstock award, and the Best Narrative Award at the Tribeca Film Festival.

TA: The American audiences I’ve shown this film too really seem to understand it, and that rarely happens with Swedish films over here. It’s very encouraging.

Q: What’s your take on the enduring popularity of vampire stories? Even after hundreds of years, people still find new things to say with them.

TA: These kind of tales, they come and they go. Every twenty years or so, a new cycle starts. I suppose they touch things in our personalities that have to do with the animal inside us. The instinctive side, the side that demands survival at all costs. We may be a little more aware of that in Sweden. Maybe we have suppressed the animal part of ourselves a little more than elsewhere; we don’t always notice that side of humanity as much.