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One vision for Danish drama

Danish drama has succeeded because it sticks to the writer's vision, according to cast and creatives in Sydney last night.

2013-10-29_2313Stars of The Killing and Borgen, Sofie Grabol and Sidse Babett Knudsen joined with Borgen creator Adam and Danish drama exec Piv Bernth at the Sydney Opera House last night for a Q & A on Danish drama.

Julia Zemiro hosted the sell-out evening attended by discerning fans of the Scandi-dramas that have aired in Australia on SBS.

There was much discussion about the strength of female characters, gender equity, moody cinematography, soundtracks, and more.

One question was about why these dramas had emerged from Denmark, and whether they were the product of a concerted policy by Danish Broadcaster DR.

“It’s one policy I think. The policy was to try and take the American way of working and transform it into a Scandinavian way of working. We worked from one vision where one person had a certain story they had to tell, and then they include the rest of the crew, the actors, directors,” said Bernth.

“It’s also timing with the right people at the right time with a lot of collaboration with the Danish National Film School.

“We work in a more democratic way than the Americans.

Bernth said the Director, Director of Photography, and lead actress were all considered pivotal to story development and all contributed to the process, but that the writer remained in control.

“But it’s one vision. It’s from the writer.”

Adam Price said, “Artistic freedom is really important and it’s something we’re getting when we work with DR. It’s been spectacular. I had worked with commercial channels but it works differently there. It’s something unique, that they actually let you be.

“The person who initiates the idea and goes to D.R. and pitches the idea and, if everything goes right, becomes the showrunner is able to take the idea the whole way. And it’s vitally important,” he said.

“You don’t have this system of executives constantly diluting the idea.”

Killing star Sofie Grabol also spoke about the US adaptation which was made while they were in production on their second season. She was so busy working she didn’t get to find out much about it, but had no problem with the Americans making one. She was later invited to travel to Canada for a cameo appearance which she did. But the role of a lawyer was so small and so clean-cut that she had to bite her lip when filming the scene. She joked that when US actor Mireille Enos approached her with longing, silent looks, Grabol said she just wanted to scream “Give me back my jumper!”

Price is now developing a show possibly for the BBC with the original novelist behind House of Cards, Michael Dobbs. He is also developing a second show for DR.

Bernth said DR has a new series beginning in January called The Legacy.

“It’s about 4 siblings dealing with The Legacy from their mother who was a famous artist in the 60s and 70s and how they deal with their life now.”

Borgen returns to SBS at 9:30pm Wednesday November 13 on SBS ONE.

4 Responses

  1. The Australian drama production community is more than keen to work at this level too. It’s time to look to the ABC for some answers as to why it’s not happening here.

  2. Lars von Trier made one of the most amazing Danish TV series of all time but it unfortunately only ever had two seasons, 13 episodes in total, and a myriad unresolved storylines because the promised third season never eventuated.

    “Dansk jävlar!!!”

  3. The is completely true, i remember watching a Big Ideas episode on ABC News 24, on that particular episode had one of the guys in charge of Game of Thrones and he said that in a normal drama on Network TV that network executives get in the way and tamper with the script, thus making thefinal show completely different from what thewriter envsioned. He continued on by saying that those kind of restrictions are not there on Cable channels. The problem here is we dont have enough talented writers and Network execs dont know what is good.

  4. What the Danes are doing is not new. The key is that they have skilled script executives at their public broadcasters who can recognise talent and a good idea and then let the writer get on with it with minimum intervention. This is a skill that has been sadly lacking in Australia where only occasionally will a drama approach the level of the Danes. It is wonderful that a country with a population that is a fraction of Australia’s has got it so right.

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