A story that has been stretched across time, the adaptation stays true to its roots.
Who would like to do the honors and give a brief synopsis?
GUSTAV LINDH: It was originally made as a feature that premiered at Cannes in 2000, I think.
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No pressure at all.
[Laughs]
LINDH: Why did I say that?
FRIDA GUSTAVSSON: And how that resonates through the lies.
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Here, you get to see the real-world consequences, especially in our children.
I want to do this.
I know this is a project thats for me.
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Im Marianne, and thats it.
But yeah, it was a really big undertaking.
I do mountaineering, and I’ve likened this to the biggest mountain Ive ever climbed.
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Its, to quote Marianne, Its been quite a ride.
Hes a very actor-focused director.
The whole show is more character-driven rather than plot-driven.
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LINDH: Collaborating with Tomas has definitely been the highlight of my career.
I mean, hes extraordinary.
LINDH: For sure.
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I mean, every day started with us gathering in the morning.
We had table reads, but we also spoke to each other months before we started filming.
And then every morning, just us, the actors, and Tomas would have a sit-down.
We all came in early before getting into costume and makeup.
Wed sit down with him, go through the day, and block the scenes.
We just talked it through so we were all on the same page.
He was always asking us, What shot would you like to start with?
This is what I have in mind.
What would you prefer in terms of your emotional state in that particular scene?
So hes always actors-first, and thats so strange because hes visually so strong, as well.
He gives us the space to really prepare.
The biggest takeaway for me is that hes such a true artist.
He refuses to let go of anything that doesnt keep to the standard of the show.
It was wonderful to see him fight to achieve the level he wanted in every single shot.
And I think that resonates.
Its mind-blowing how gorgeous it is.
I thought that was unparalleled.
And its always an original way that he brings a scene to life.
He always finds something peculiar or special to make even the most mundane look interesting.
It was such a nice greeting every morning to hear that, Hi, my friend.
So, yeah, were friends.
We can work together.
Its such a simple thing, but that sets the tone in a really important way.
WITTGENSTEIN: We had a table read.
After every episode, we looked at each other and thought, I cant believe it.
It felt very real and clear that it was going to be us, and it felt very natural.
And also, this is a great opportunity to mention Kicki Ilander, the costume designer.
She really created these iconic-looking characters.
I had this sort of red suit that I wore.
GUSTAVSSON: The burgundy suit.
Every time you put that on, I was like, Yes, there it is.
LINDH: And you had the striped pajamas and all that.
They looked very iconic, the characters, and the silhouettes of the characters are instantly recognizable.
GUSTAVSSON: I have a really fun story.
We sat there for, like, hours talking about it.
We were like, That was such a universe telling us we are right where were supposed to be.
We got some kind of little blessing from somewhere.
It was meant to be!
I want to jump into production now with that.
Having said that, I would not have been able to do this without this woman.
I mean, shes a great friend of mine, and we really went deep on this one.
For me, towards the end of the shoot, we go into very, very heavy territory.
There were a lot of heavy subjects that we were dealing with.
Marianne takes quite a big emotional and physical hit from all of the negative things that have happened.
I was so thankful to have you.
You’re quite exposed, especially for me, Im quite exposed.
Also physically, Marianne goes through a lot of things.
I felt so held that I could really stretch everything that I had and put that into this character.
We had such an incredible crew, too.
To feel that sanctity, if I can use that word, on set was really powerful.
What a beautiful quality to have there.
WITTGENSTEIN: I absolutely agree with everything you said.
The one thing I’ll add is probably the girl who plays our daughter,Poppy Klintenberg Hardy.
That was our connecting anchor.
I feel the same; like you said, we were always there for each other.
Nobody had any diva moments.
GUSTAVSSON: Only you.
[Laughs]
WITTGENSTEIN: Only me, of course.
But that’s okay.
I’m allowed to have those.
No, it was a very, very comfortable and safe environment to work in.
I was so impressed by the young actor who played your daughter.
LINDH: Tomas is great at directing kids, as well.
She knows almost whats happening.
In this business, I find that nobody tells themselves good job nearly enough.
GUSTAVSSON: [Laughs] Were Swedish; were not very good at doing something like that.
LINDH: This is Bergmans most autobiographical script.
GUSTAVSSON: You did!
I will confirm that, as well.
LINDH: And the dance sequence, as well.
I was nervous as hell for that one.
To me, all these connections were as they would be in real life.
Thats something Im really proud of.
It feels very organic.
Lena is a good friend of mine.
We celebrated with a glass of champagne.
I think I did my own Marianne.
And also Roxstar Entertainment, our event producing partner and Photagonist Canada for the photo and video services.
