New Norwegian Films by Rushprint #2 by Rushprint

NEWNORWEGIANFILMS PUBLISHED BY

Oslo, August 31st Joachim Trier’s

Jens Lien’s Sons of Norway The Jo Nesbø effect reaches Cannes Norwegian shorts in Cannes

World premiere, Un Certain Regard: Wednesday 18th, 14:00h – Salle Debussy Market screening: Thursday 19th, 10:00h – Arcades 3

CMY

We congratulate

Joachim Trier & Motlys with "Oslo, August 31st" selected in Un Certain Regard 2011

www.storyline.no

- proud supplier of camera, lighting and post production for "Oslo, August 31st"

INSIDE 6

6 Oslo, open city

20 Authenticity and sexual frustration

Combining skateboard movies and Alain Res-

Are documentarists who switch to fiction

nais, Joachim Trier’s Oslo, August 31st has been

more concerned with authenticity? Director

selected for this year’s Un Certain Regard pro-

Jannicke Systad Jacobsen talks about Turn Me

gramme in Cannes.

On, Goddammit, her youth movie that won the

8 When punk meets hippie

Best Screenplay award at Tribeca.

some Man. His latest feature, Sons of Norway,

22 Fun and vulnerability in the movie business

is a feel-good drama about a hippie father and

After his horror movie Prowl Patrik Syversen

a punk rocker son, with Johnny Rotten of Sex

was anxious about being labelled, so he made

Pistols in a guest role.

two extremely different films about the movie

28 Bringing Nordic films out into the world

industry: Exteriors and Help, We're in the Mov-

– We wanted an international launching point for

ie Business.

Nordic films towards the rest of the world, New

In 2006 Jens Lien visited Cannes with The Bother-

10 Wearing jeans at Sundance – If casting looks for types, then what is my profession? Agnes Kittelsen plays the female lead in this year's Sundance winner Happy, Happy.

24 The short film Cold to compete in Cannes

Nordic Films director Gyda Myklebust says.

28 The Kon-Tiki cast is ready

The Norwegian short film Cold, directed by

Pål Sverre Valheim Hagen (Troubled Water, Max

Lisa Maria Gamlem, has been selected for the

Manus) will portray Thor Heyerdahl in the Kon-

First Henning Mankell and Stieg Larsson con-

main competition in Cannes. Various other

Tiki blockbuster.

quered the world. Now Jo Nesbø's crime nov-

Norwegian shorts will also be screened.

12 The Jo Nesbø effect els shall conquer movies, led by Headhunters.

14 Nordic Noir à la Nesbø

25 Zakariassen must die

30 Producer on the move: Maria Ekerhovd

– I like situations that are mixed, that do not

In 2006, Maria produced Bobbie Peers' short

Morten Tyldum’s Headhunters is the first adap-

convey just one emotion. Magne Pettersen

film Sniffer which won the Palme d'Or in

tation of a Jo Nesbø novel, a Nordic Noir with a

talks about his short film Zakariassen must die.

Cannes. In 2011 she is back at the Cannes fes-

Fargo atmosphere and thriller ambitions.

16 Norwegian movies break out

25 Pushwagner takes control Who controls the controller? Even Benestad

The producers of Babycall, King of Devil's Is-

is making a film about Pushwagner, the lit-

land, Limbo and Sons of Norway talk about

tle rich boy who first became at hippie, then a

the challenges of internationally co-financing

hobo, only to end up years later as an interna-

Norwegian film projects.

tionally celebrated painter.

19 Norwegian movie theatres fully digitalised

26 Foreign filmmakers shooting in Norway: Matthias Glasner:

On July 1st Norway becomes the first country in

– The film demanded a spectacular landscape,

the world to have digitalised all its movie thea-

producer Kristine Knudsen says about Mat-

tres. What is the reason for this offensive Norwe-

thias Glasner's Mercy, partly shot in Northern

gian cinema effort?

Norway.

For the latest news and information on Norwegian films:

www.norwegianfilms.no

tival, participating in the European Film Promotion’s networking platform producers on the move.

New Norwegian Films is published by RUSHPRINT Editor Kjetil Lismoen Contributing editor Oda Bhar Editorial contributors Jon Inge Faldalen, Oda Bhar, Morten A. Steingrimsen, Anders Fagerholt Thanks to Norwegian Film Institute for contributing essential information Translations Dag Sodtholt Cover Joachim Trier, director of Oslo, August 31st Design Cyan Grafisk Design Print Merkur Trykk Advertisement Annette Gustavsen, mail: annette@rushprint.no RUSHPRINT is the leading film magazine for the film and tv producing community in Norway and Scandinavia. www.rushprint.no/english

N EW NORW EGI A N FILMS

Oslo, open city

Combining skateboard movies and Alain Resnais, Joachim Trier’s Oslo, August 31st has been selected for this year’s Un Certain Regard programme at the Cannes film festival.

by Jon Inge Faldalen ”This I am going to remember,” one of the voice-

gust 31st takes its natural place in this year’s

those characters.” It also became a hit among

overs in the opening choir says. Five years after

Cannes programme.

filmmakers, especially in the US. There I re-

Reprise, Norway’s capital is again portrayed,

– I am a film buff, so it is such an honour. I am

ceived tons of offers – I think I read about 70

now through the character of Anders and his

so pleased that they have chosen to screen my

scripts, some that were wonderful, but I felt

24-hour walk through Oslo’s architecture of as-

film, Trier says.

the need to do something personal. I wanted

phalt and bricks, people and music. With Oslo, August 31st Joachim Trier deliv-

to keep developing my own personal aesthetReprise aga in and aga in

ic. Co-scriptwriter Eskil Vogt and I decided

ers a work that is mature and courageous in

After Reprise many have asked and longed for

on doing an American project together. It is

storytelling, style and tone, with a dynamic

a new Joachim Trier film.

a complex East Coast family drama called

direction, both ambitious and nuanced in its precision. Oslo, August 31st feels and thinks

His debut film hit home internationally, both with audiences and colleagues.

Louder ThanBombs, which I am hoping to shoot next year.

– psychologically, sociologically, philosophi-

– I had a strange experience with Reprise. I

cally and aesthetically. In Norwegian cinema,

thought I had made a culturally specific, lo-

Making movies

only Trier’s grandfather Erik Løchen’s Remon-

cal film about a place I know a lot about. But

Oslo, August 31st is a free adaptation of Drieu

strance (1972) and Bent Hamer’s Eggs (1995)

it surprised me when I would sit in Turkey

La Rochelle’s novel Le feu follet, which was

can in my opinion measure up to it. Oslo, Au-

or New York, and people would say: “I know

filmed by Louis Malle in 1963.

published by

– We decided to do it in March 2010, and now

– It is a comment on the difference between

in April 2011 I am finishing the mix. I have al-

the personal memory and the public memory

ways admired directors like Sidney Lumet or

of streets and buildings. I wanted to balance

Woody Allen, who makes a film every year. I

the iconic with realism. I wanted it to feel

guess I got restless waiting for the American

like a physical space, like the empty spaces in

financing and decided to make a film quickly. I

L’Eclisse by Antonioni. I am interested in how

had seen the Louis Malle film a few years ago,

space relates to our life.

and was struck by the story’s classical simplicity. La Rochelle’s book could be reinterpreted

Identity and memory are important themes to Trier.

in different milieus, and Oslo is an environ-

– After Reprise, I was invited to show my old

ment I know well. Anders is a middle-class

skateboard movies at a local cinema in Oslo.

Norwegian with a good upbringing and lots

I made them in my teens when I was a spon-

of choices, but he does not see a way forward.

sored skater. Seeing them again I was unex-

And through him we could explore other char-

pectedly moved at a fundamental, banal level.

acters as well.

It was like seeing real slices of the past. Some

The shoot turned out to be a clash between plan and chaos.

– I am interested in how space relates to our life.

friends from those movies aren’t alive today, some have become drug addicts, and others

– I wanted to have a clearly planned mise-en-

are very successful. Roland Barthes has said

scène, then letting it collide with the chaos of

about the still image that because it sustains

real life. I try to keep an open door on set, as

time, in it one can feel how things wither. I be-

Renoir said. You can have a plan, but there will

lieve this is also the case with the moving im-

be accidents. So let’s try to use them.

age; it exposes the melancholy of time.

The population of Oslo became extras during the shoot.

Materialising melancholia

– In Norway there is a law against filming

The film alternates between passages of qui-

people without their consent. You need a re-

etude and dialogue, at its most talkative not

lease form from them. So we started shooting

unlike Eric Rohmer. At one point, Anders has

on the streets with 15 runners behind the cam-

a conversation with a friend that lasts twenty

Joachim Trier biogr a phy

era, who ran around with release forms. Now

minutes.

Norwegian director Joachim Trier's (born 1974)

– I like experimenting with the structure of

first feature film came in 2006 with Reprise

how I tell a story. And when you portray how

which has received a number of international

Polyphonic and lucid

a day plays out, there will be both passages of

awards, including the Best Director Award,

Oslo, August 31st is a tightly focussed film ask-

silence and passages of talk.

Karlovy Vary 2006, Discovery Award, Toronto

we have a pile of a thousand forms.

ing some existential questions. – Even though Anders is an addict, it is not a

Trier thinks that some may object to the film’s dramaturgy.

2006, Variety 10 Directors to Watch, Sundance 2007, Amanda for Best film, Best Director and

movie about drug use. Movies often reduce in-

– Some people might react negatively, because

Best Screenplay, Haugesund, Norway 2007,

dividuals to their addiction. Anders has been

it is not dramaturgically “correct”. But hey, fuck

as well as prizes at festivals such as Istanbul,

given another chance, but how do you help

it. I am interested in taking some chances. I will

Rotterdam and Milano. Joachim started mak-

someone who is so intelligent and self-reliant,

not be a purist. I am curious to explore.

ing films in 1995, writing and directing several

yet so destructive? Lead actor Anders Danielsen Lie is not primarily an actor.

He wants to rebel against false dichotomies

prizewinning short films, while he was at-

that are maintained by academic film studies.

tending film school in Denmark and National

– I grew up with the false dichotomy of for-

Film & TV School, Beaconsfield, England.

– It was written for him. I know him person-

malism vs. realism in cinema. At the National

ally. I am privileged to work with him, since he

Film School in London Ken Loach was God. At

is not primarily an actor, but a practising medi-

the time, I rebelled against the social realist

Oslo, August 31st

cal doctor.

tradition, and instead saw Marienbad, Kubrick

One man, one city, 24 hours. A new film by

Oslo, August 31st is his second feature film.

By choosing untrained actors of various de-

and Bresson. Slowly, I found that the realis-

Joachim Trier and the team behind the highly

grees, Trier is close to Robert Bresson, who

tic tradition also could approach “reality” in

acclaimed Reprise – inspired by the cult novel

also was an influence aesthetically.

a more philosophical way, not only through

Le feu follet. Oslo, August 31st is a portrait of

kitchen sink realism.

contemporary Oslo. A visually striking and

– I am inspired by the Bressonian idea of lucidity. Reprise was more polyphonic, both with

Melancholy seems to be an important prism

characters and time layers. Here I go deeper

to Trier. In the film’s opening choir we find an

into the levels of emotions of one character,

argument for melancholy being much more

as we are more claustrophobically trapped in

than the notion of nostalgia.

quietly shattering drama about a man in deep existential crisis. Director: Joachim Trier

his perceptions. Unlike Reprise, the story had

– Nostalgia can be romantic, uncritical of

a time frame of 24 hours, so this time I would

anything from the past. Melancholia on the

Sigve Endresen,

not allow myself to jump around in time as

other hand is the life-long process of knowing

Production company: Motlys AS

much.

that everything withers and that everything

Tel: +47 22 80 83 70

will be forgotten.

Mail: motlys@motlys.com

Producers: Hans-Jørgen Osnes, Yngve Sæther,

Identity and memory

www.motlys.com

The film opens with images of half-empty Oslo

International sales: Match Factory

streets and memories conveyed by voice-overs.

N EW NORW EGI A N FILMS

In 2006 director Jens Lien visited Cannes with The Bothersome Man, a stylised critique of our age’s well-ordered consumer culture. His latest feature, Sons of Norway, is a feel-good drama about a hippie father and a punk rocker son, with Johnny Rotten of Sex Pistols in a guest role.

When punk meets hippie by Oda Bhar The basis for Sons of Norway is a novel by

Banana Christmas

Nikolaj Frobenius, drawn from his growing

They decided to focus on the father-son rela-

up in a satellite town outside Oslo. We meet a

tionship. The story is told through Nikolaj, but

family in the transition between two periods

his father Magnus, played by Sven Nordin, be-

of the 1970s: the age of the hippies and punk

comes almost even more prominent.

rock, personified by father and son. Director

– The father is the most powerful character,

Jens Lien tells us that he and Frobenius had

the most contradictory, active and original.

long wanted to work together.

Nikolaj is still being formed – the quiet type

– I liked the book and was especially fascinat-

who observes things.

ed by the father portrait, but we were not sure

The time frame was limited to one year, so

whether the story was suitable for film. We

a lot of the story had to be excised and many

– You have to be pretty hardcore to drop

worked a long time on the synopsis, built it up

new scenes created. The most difficult chal-

Christmas, but Magnus always has to challenge

and rearranged stuff. The book follows Niko

lenge was to decide on a starting point.

traditions, so he wants to celebrate it different-

from the age of 7, but the most dramatic things

– In the process from novel to screenplay

ly. Everything is to be about bananas. He wants

happen when he is 13. We had to compress the

we looked for a key to enter the film. It took

to decorate the Christmas tree with bananas,

story and find its essence.

us almost a year to find it. Everything fell into

eat turkey with bananas, give banana presents.

place when we started with a scene in which

This banana Christmas became an entry point

the family celebrate Christmas in a rather spe-

into the film that we could build on.

cial way.

– The role of a grown-up can be boring. It seems more fun to be the child.

In our part of the world, Christmas becomes

Punk rocker and underdog

a fine setting to portray values. Ingmar Berg-

To be a child of a hippie family seems to be fun

man does something similar in Fanny & Alex-

and safe, but then the mother dies in an acci-

ander, with its Christmas rituals of a middle

dent, the father suffers a breakdown and the

class family.

children have to fend for themselves. When Magnus eventually emerges from his depression his son has become a punk rocker. The father discovers the energy of this music and wants to join in, borrowing records and hanging out with the kids, and ends up behind the drum kit of their band during a concert. This is not unproblematic to Nikolaj. Magnus is a loving and engaged father, but the dynamics between father and son are at times claustrophobic. I squirm in my seat when Magnus is pretend-fighting with his son’s love interest during a picnic. Nikolaj is just watching quietly. – What would you have done if your father had done that? They do nothing wrong but overdo it. It is typical of Magnus to go a bit too far. It is hard to know whether he is aware of this himself, and not knowing is creepy.

published by

Jens Lien biogr a phy In 1990 Jens Lien went to London to play rock ‘n’ roll. 3 years later he returned as a filmmaker educated at the London International Film School. Among his numerous short films are Shut the Door (2000) and Natural Glasses (2001), both invited for the Official Competiton in Cannes. His award winning feature debut Jonny Vang from 2003 premiered in Panorama in Berlin. He continued with the award-winning The Bothersome Man, with world premiere in the Critics’ Week in Cannes 2006. Sons of Norway (2011) An energetic film about revolt, punk rock, suburban hell and the eternal struggle between hippies and punks. Not least, it's a touching story of an unusual father-son relationship, and about the strength of the bonds we sometimes do our best to destroy. Director: Jens Lien Producers: Christian Fredrik Martin & Asle Vatn Production company: Friland AS Tel: +47 22 17 47 00 Mail: friland@friland.biz www.friland.biz International sales: Films Distribution

Music is important to the film, with featur-

so on. What is special about Sons of Norway is

ing both Norwegian and foreign punk. It gives

that it is about the transition from the age of

Magnus his strength back and helps Nikolaj

the hippies to the disillusioned 1980s, and the

establish his own identity. At one point, Sex

conflict is seen through a family universe with

Pistols vocalist Johnny Rotten turns up as a

two parallel protagonists. Magnus and Nikolaj

discussion partner. Director Jens Lien likes to

are two generations of rebels against the es-

use music in the filmmaking process.

tablishment – the portrait never becomes

– I do not think there should be music dur-

gloomy but is full of humour and vitality.

ing every scene in a film, but what to do when

– The worry one has about this kind of com-

we had as much good music as here? The punk

ing-of-age movie is that it is going to be about

music was a basic element from the word go,

a poor boy who lives in a large, big satellite

and punk gives energy, it had to be powerful.

town. That version has been seen before in

in order to become something of their own. To

Scandinavian cinema and we did not want

me it is an interesting and frustrating dilemma

that.

that as a father you are on your way to become

Rebellion aga inst rebels As Magnus embraces punk rock we see the di-

extinct. Your sons will supplant you, become

lemma of the children of former radicals: How

Boring to be a grown-up?

taller, stronger, more powerful, smarter and

to rebel against those who once were rebels

Both screenwriter Frobenius and the director

faster, while you are going to shrink away

themselves? In one scene the children form

himself are fathers, something that increased

and disappear. I can understand that Magnus

a protest, marching down to the living room

their interest in exploring Magnus’s side of the

wants to continue playing as long as possible.

with placards and slogans, but the grown-ups

story.

For if he does not play he will be an old man.

just applaud them! The absurdity becomes

– I became fascinated by the father and felt a

clear when Magnus the father is joining the

bond with him, perhaps because I have children

children’s cries of Down with the patriarchy!

of the same age. I am interested in what being

– The film targets an adult audience, but test

a father is about. The role of a grown-up can be

screenings for youths have also worked well.

boring – it seems more fun to be the child.

There was spontaneous applause during the

– Perhaps one will be paralysed by such a powerful character? Nikolaj is a punk rocker but also very young, a searching 13-year-old punk rocker. Other films have explored similar aspects of the 70s and 80s, like the Swedish Together or

Jens Lien hopes that Sons of Norway may appeal to several generations.

The portrait of the father is taken from a

scene when Magnus came to the youth’s de-

part of the 1970s whose zeitgeist we have

fence in the headmaster’s office. It was obvi-

embraced. Today the child is the ideal, the

ous that the story engaged people. If we suc-

grown-ups are supposed to play.

ceed this could be a movie that our generation

the English-language films This is England,

– But perhaps children do not need a play-

Trainspotting, The Squid and the Whale and

mate? Perhaps they need a figure to fight with

brings their children along to see. A family film for teenage children.

– If casting looks for types, then what is my profession? Agnes Kittelsen plays the lead in this year's Sundance winner Happy, Happy.

Wearing jeans at Sundance By Oda Bhar When the drama comedy Happy, Happy saw its Norwegian theatrical release, reactions were friendly but not gushing. Only after director Anne Sewitsky won the World Cinema Grand Jury Award in Sundance, the enthusiasm for her film has increased. Was international success necessary to become a prophet in your own country? Rushprint has talked to lead actress Agnes Kittelsen about the difference between Norway and abroad, glamour and work. To find one’s audience Happy, Happy is about two couples who live in the countryside, each with a little son. Kaja and Eirik are teenage sweethearts and have lived in this place a long time, when Elisabeth and Sigve, an urban couple, move into the next-door house. Both couples have problems, and soon infidelity rears its head. The action takes place in a snowbound Norwegian landscape, not unlike the surroundings of the Sundance festival in the US. – Sundance was a surprising experience, Agnes Kittelsen says. I thought we would arrive as underdogs with a small film and an oddball poster for it. Who would get what this was about? After the screenings, however, the questions from the audience surprised me. It seemed that people took the film more seriously than in Norway. Many of them said it was wonderful to see a film about adult relationships. Some of the reviews in Norwegian papers were about how «embarrassing» it was. They wrote: We felt like flies on the wall, it became too private, we were squirming in our seats from embarrassment. Nobody in Sundance mentioned such things. Could it be about presentation – that Happy, Happy was marketed in Norway as a comedy, while Sundance met it with no expectations? Might the film have missed the audience most suitable for it? Did some expect a sex comedy

N EW NORW EGI A N FILMS

published by

– At Sundance, people took Happy, Happy more seriously than in Norway.

oured by that, she is seen through male eyes. At various points she enters the movie as a female element and fills the function as love interest. After that role Kittelsen became aware of the risk of being typecast. Accepting the role as Kaja in Happy, Happy was also about proving that she could do something else. – Sometimes the casting people’s thinking provokes me. «We are looking for a type.» OK, but what about my profession? My job is after all to transform myself. For a while after Max Manus, I was constantly associated with TikDirector Anne Sewitsky, screenwriter Ragnhild Tronvoll, actress Agnes Kittelsen at Sundance 2011. Photo: Stine Oppegaard/Norwegian Film Institute.

ken. During interviews everyone wanted to photograph me with a 1940s hairdo and a cigarette, in half-profile. This remark makes me think of the sight

and got surprised, while people who liked se-

is far away from mine, but I still have a lot of

of the award winning Happy, Happy girls in

rious drama were unable to find the film?

her in me. The insecurity – how you come to

Sundance, dressed in jeans and T-shirts on

– I have no idea. But in Sundance the feedback

notice that you are talking too much during a

stage. That picture were jokingly commented

was virtually identical after every screening.

dinner party, and then you start to talk even

upon on Twitter as proof of Norwegian girls’

People said the film was powerful and many

more, to fill the room. In the end you have

lack of glamour.

were moved. I felt that they read the film dif-

talked yourself into a corner.

– I experience the fixation on looks as a very

ferently. It achieved a much deeper resonance.

From behind the camera, Anne Sewitsky

negative part of my profession. Just because

Director Anne Sewitsky deliberately aimed

constantly asked for more energy. At times it

I am an actress, it is expected that I should

was hard to trust the director.

be good at dressing myself. I am constantly

to combine humour and gravity, not only in the film as a whole but in every scene.

– Be happy, be light, be even lighter! I wanted

asked: Where are you shopping? What are you

– Even though the film is small and tight –

to shout: Be happy yourself! Sometimes it felt

wearing? Sundance was a tiny place in the

two houses right beside each other at location

like I used really large gestures, and I thought

middle of nowhere without a pavement and

– the story takes a bird’s eye-view on human

to myself: Good heavens, this will be visible

with large banks of snow. So I dressed accord-

beings, Agnes Kittelsen says. It is about how

from outer space!

ing to the conditions. If a man was on stage in

comical we become in our lives. You have to laugh even though it is serious.

She demonstrates this by making a grimace that starts both of us laughing.

Sundance wearing jeans and a shirt, do you think anyone would have mentioned it?

– Looking back, I realise she was right. I had K a ja str a ight out of Ibsen

to be up there, on that level.

It is something Ibsen-like about Happy, Happy, not least in Kaja, the protagonist. Illusions about

Girlfriend roles and glamour

Happy Happy (2010)

one’s life, marriage as a cage, the happy femi-

Agnes Kittelsen finished her studies at the Na-

The film is about Kaja, an eternal optimist in

ninity, the lark bird. No one takes her seriously,

tional Academy of Dramatic Art in 2003, and

spite of living with a man who would rather

and Kaja defines herself through other’s eyes.

have since worked in films, TV and theatre.

go hunting with the boys, and who refuses to

Female roles have a tendency to fill a certain

have sex with her because she “isn’t particu-

function of the plot, she says.

larly attractive” anymore. But when “the per-

– It is enough that her husband says she is fat and takes the tray of cakes away from her. She

– I have often played the girlfriend of a man,

fect couple” move in next door, Kaja struggles

or up against a man. In The Honey Trap, a

to keep her emotions in check. Happy Happy

Kaja was a demanding role to play, with her

crime drama series on NRK, it was almost un-

won the World Cinema Grand Jury Dramatic

gushing happiness – which in fact may be

important who my character was as a human

Award at the 2011 Sundance Film Festival.

more vitality than happiness.

being. The whole point was how she is han-

becomes what he sees her as. It is sad and dangerous but not unusual.

– It felt important that the happiness, if we

dling losing her child.

Director: Anne Sewitsky Producer: Synnøve Hørsdal

can use such a light word, appeared real. Kaja

Her feature film debut came with the action

is exaggerated but it was important to play her

drama Max Manus (2008), where she plays the

Production company: Maipo AS

with believability rather than carciature.

girlfriend of the protagonist (played by Ak-

Tel: +47 67 52 51 90

sel Hennie), a resistance fighter during World

Mail: maipo@maipo.no

War II. The filmmakers made Tikken Manus a

www.maipo.no

glamorous and rather cold character.

International sales: TrustNordisk

To Kittelsen, this character was both strange and familiar. – Kaja is excessively open. I am totally different. I am reserved, while she is giving and giv-

– In Max Manus the men were extremely cen-

ing, smiling and trying. So Kaja’s personality

tral. The image of Tikken was probably col-

N EW NORW EGI A N FILMS

First it was Henning Mankell and Stieg Larsson who conquered the world. Now it is Jo Nesbø’s crime novels that shall conquer movies, led by Headhunters.

The Jo Nesbø effect

Aksel Hennie in Headhunters, the first Nesbø adaptation.

BY MORTEN STEINGRIMSEN The interest in Jo Nesbø’s novels abroad has been great, and increasing, in the last few

To producer Asle Vatn of Friland, too, this cinematic quality was apparent.

– This is probably due to their having powerful, surprising plots and a clear point-of-

years. Hollywood, too, has for several years

– It is an eventful novel where the reader nev-

view. And they channel something genuinely

shown a keen interest in adapting the Harry

er really knows which direction the story will

Nordic, with a strong undercurrent of a so-

Hole novels.

take. One of the qualities is its quietly satiric

cial democratic, clammy sort of discomfort.

Working Title currently works on filming

tone, which tells us something about where

I always get a feeling of Edvard Munch when

The Snowman. But first out is Headhunters.

we are heading in Scandinavia – or perhaps

reading Nesbø’s books, something that trig-

Marianne Gray is a producer at Yellow Bird,

more uncomfortably, about where we already

gers emotions far beyond plot. It makes them

who was behind the Millennium films. She

are?

impossible to put down. You need to finish to

has produced Headhunters together with the Norwegian production company Friland.

Vatn also thinks that the protagonist is unique.

be able to sleep well that night. Even before it was finished, the film was sold

She emphasises that Nesbø already was an

– Roger Brown is a marvellous character for

to North America and Canada. After the sales

international name before the Millennium

a film. He embarks upon a journey that is ex-

agent, Trust Nordisk, screened the promo

films.

treme physically as well as mentally. He is not

trailer for Headhunters to a group of selected

– I got to know Jo because we had an option

a classic hero that we are used to in the mov-

buyers, the atmosphere in Berlin was sup-

on the Harry Hole series – but Jo was not ready

ies, and this makes me think we have some-

posed to have been electric. The sales also in-

for a Norwegian TV series while in the middle

thing unique here.

dicate that there is a confidence in the markets

of writing the series. Then Headhunters came

that Norwegian cinema can deliver quality of

along, and Jo trusted us to make the movie.

Genuinely Nordic

He is writing suspenseful novels with unex-

Jo Nesbø’s stories have proved to have a pow-

– Many of the most important territories have

pected twists, and both Harry Hole and Roger

erful appeal internationally. Nesbø has sold

bought it already, but there is still more to be

Brown are interesting characters. Headhunters

between five and six million books around the

had, Vatn says. – The most important to us is

is a highly cinematic novel.

world – and one million in the UK only.

to stand out among all the good Scandinavian

a high international standard.

published by

Andrine Pollen

I do not think the books in themselves are

Jo Nesbø biogr aphy

Adviser, Norwegian Literature Abroad,

so similar. Lisbet Salander has more in com-

With his eight internationally acclaimed crime

Fiction and Non-Fiction (Norla)

mon with the marvellous Pippi Longstock-

novels featuring Detective Harry Hole, Norwe-

ing than with Harry Hole, even though Harry

gian author Jo Nesbø has won the hearts of

The books about Harry Hole are fascinating.

critics, booksellers and readers alike. Trans-

This is a police inspector who is not perfect

lated into more than forty languages, awarded

and who has challenges both at work and

a great number of awards and boasting re-

at home – but lands on his feet in book after

Gunna r Rehlin

cord-breaking sales, Nesbø has been lavishly

book. Gradually we get to know Harry Hole

Film journalist, Variety and Screen

praised by international critics for broadening

and the characters around him – so we get a

the scope of the contemporary crime novel. He

kind of series literature where there is devel-

is also the main vocalist and songwriter for the

opment and forward motion. Nesbø writes

of them, including Headhunters. They are

Norwegian rock band Di Derre.

suspense literature, and the combination of

well written, extremely suspenseful and fas-

Hole also has survived many obstacles.

Nesbø’s books are very good. I have read all

Harry the crime detective and Harry the pri-

cinating. With all his problems, Harry Hole

Stieg Larsson biogr a phy

vate person, whom one gradually grows fond

is an interesting hero figure. Nesbø’s books

Stieg Larsson (1954-2004) was a Swedish writ-

of and cares about, could make this arresting

are better than most of the other Scandina-

er and journalist. Prior to his sudden death

stuff also at the movies. These are books that

vian offerings in the same genre – he is in

from a heart attack he finished a trilogy of

you can lose yourself in, and they are sus-

the same class as Stieg Larsson, Mankell,

detective novels called The Millennium series

penseful and well written.

Sjöwall/Wahlöö and a few others. So it will

that were published posthumously: The Girl

Whether Headhunters can become a suc-

with the Dragon Tattoo, The Girl Who Played

cess is wholly dependent on how good the

nium has made the world interested in Swed-

with Fire and The Girl Who Kicked the Hornets’

director is – and what kind of product he

ish crime movies is obvious. It is difficult to

Nest. Altogether, his trilogy has sold more

creates. The Millennium trilogy has become

say how Headhunters will do commercially.

than 20 million copies in 41 countries. Before

an enormous success against the backdrop

It depends on how it’s done, whether it suc-

his career as a writer, Stieg Larsson was most-

of the entire phenomenon of Stieg Larsson.

ceeds in keeping the suspense from the book

ly known for his struggle against racism and

This is probably quite unique. Much of the

and, not least, whether it can keep all the

right-wing extremism.

point of all this comparison of Jo Nesbø with

twists and surprises that Nesbø has sprin-

Stieg Larsson is to find a hook or a label for

kled his book with. A film that is touted as

best-selling crime fiction. Except for their

being “in the wake of Stieg Larsson” simply

being crime literature from Scandinavia,

has to be good.

be interesting to see the films. That Millen-

movies, so that Headhunters can become a

pean film can make it in Europe and the US.

Headhunters will work excellently abroad. It is

talked-about film. It seems people understand

Whether Headhunters will appeal to interna-

a suspenseful and somewhat different thriller,

that we have made something that goes a bit

tional audiences to the same degree as the Mil-

and of course we have an advantage due to the

further, and is a bit more spectacular, than

lennium films remains to be seen, and perhaps

enormous interest just now for Scandinavian

your average Scandinavian film.

it is not a fair expectation, both producers

movies. Several international distributors

maintain. A new Millennium ?

– It will be difficult to match the success that

who have already bought Headhunters also had acquired the Millennium films.

The Millennium trilogy exceeded all expecta-

the Millennium trilogy has achieved – that is

Scandinavian thrillers will live long on the

tions and conventions about how well Euro-

more like a phenomenon, Gray thinks. – I think

Millennium effect, which of course has blazed a trail for us all, Vatn says. – But Jo Nesbø is probably more important to Headhunters than Stieg Larsson was to the Millennium films. His trajectory was established long before the Millennium books came on the market. The Millennium films were a unique phenomenon, and it seems meaningless to try to match Headhunters against that. We have other unique qualities, though. Without Morten Tyldum as director we would not have had the marvellously spectacular material we have. He has been 100% dedicated and also boundlessly loyal to Jo Nesbø’s core values. The result of this is that we have something that stands out.

The Girl with the Dragon Tattoo (2009). Photo: Knut Koivisto/Nordisk Film

N EW NORW EGI A N FILMS

Nordic Noir à la Nesbø Morten Tyldum was trusted to make the first ever adaptation of a Jo Nesbø novel. According to the director, Headhunters is a Nordic Noir with a Fargo atmosphere and thriller ambitions.

Morten Tyldum biogr a phy Morten Tyldum (b. 1967) has won a number of awards for his commercials. He has also made several short films. His first feature film was the award-winning Buddy (2003). Morten Tyldum was educated at the School of Visual Arts, New York. After graduating, he worked for several years at the public broadcaster NRK with the youth show U, for which he made several documentaries. Headhunters (2011) In Headhunters, we meet Roger, a charming scoundrel and an accomplished headhunter who apparently has it all. He’s married to Diana, an unbelievably beautiful gallery owner,

by Oda Bhar

he owns a far too sumptuous villa and, to keep

Director Morten Tyldum arrived at this year’s

There is a great interest in so-called Scan-

his head above water financially, he must steal

Berlin festival to show five minutes of his

dicrime or Nordic Noir in the wake of Stieg

a little too much art. At an opening, his wife

new film. He and the rest of the team planned

Larsson’s Millennium trilogy with the hero-

introduces him to a Dutchman, Clas Greve, the

to have a dinner and a party afterwards. It

ine Lisbet Salander. Characteristic features

perfect candidate for any top job: a former mer-

turned out to be not that simple.

are anti-heroes, powerful settings and a

cenary with a background as a chief executive

darkness that goes deeper than your usual

in the electronics business, with significant

– The Berlinale was extreme. Many came just to

cops-and-robbers movie. Morten Tyldum’s

sex appeal as well. Everybody wants some-

watch Melancholia by Lars von Trier, which was

models are character-oriented thrillers like

thing. Nobody gets it for free. Not without

screened in the same theatre just before us, but

Heat and black humour like the Coen broth-

stepping over corpses. The headhunt begins.

then everything just took off. Now Headhunt-

ers’ Fargo.

ers will be screened in theatres in 15 cities in the US, and many other places in the world.

– Headhunters has elements from both the

Director: Morten Tyldum

action thriller and psychological drama.

Producers: Asle Vatn & Marianne Gray

The protagonist is an anti-hero with hang-

Production companies: Friland AS & YellowBird

ups, and the setting is supposed to be a bit

Tel: +47 22 17 47 00

– They have made so many quality movies,

larger than life. It is not every day you see a

Mail: friland@friland.biz

both entertainment films and more artistic

man covered in excrement escape on a trac-

www.friland.biz

stuff like Eternal Sunshine of a Spotless Mind,

tor with a dog impaled on its fork.

International sales: TrustNordisk

He has written a contract with the US company Anonymous Content.

Babel, Being John Malkovich, and Winter’s Bone, an Oscar candidate this year.

Director Morten Tyldum with actors Aksel Hennie and Nikolaj Coster-Waldau.

published by

Looking for a story? We know the storytellers. Aschehoug Agency represents the works of Jostein Gaarder, Per Petterson, Tom Egeland, Anne B. Ragde, Ketil Bjørnstad and many, many more Norwegian fiction writers. Send an e-mail to epost@aschehougagency.no to set up a meeting or ask for our catalogue. www.aschehougagency.no

– We tried to capture this feeling Jo Nesbø generates that anything can happen.

– I told them what I wanted to focus on, and

– When it is an important part of the plot that

how I wished to nuance the characters. They

the protagonist has complexes, you have to

went for it.

pit him against someone who makes him feel

He wasn’t satisfied with just creating sus-

even smaller. We chose an antagonist who was

pense but a character that the audience cared

threatening in every way: taller, handsomer,

about. The protagonist Roger Brown is an ex-

smart and very masculine. Clas Greve beats

cellent headhunter but the film focusses on

him as a man, pure and simple.

his side job as an art thief and his relationship A Jo Nesbø adaptation

to Diana, his wife.

In his books Jo Nesbø uses the term alpha male. The villain is obviously like that, and

Headhunters is based on a novel by Jo Nesbø, a

– An important reason for me to make the

Roger Brown would like to be one – the head-

writer who currently tops the official best sell-

film was the character trajectory. We meet a

hunter company he works for is even named

er list in the UK. Only one before has a trans-

person who both physically and mentally is

Alpha. What is an alpha male?

lated author done the same – Stieg Larsson.

extremely different in the start and the end

– An alpha male does not need to be brutal

– We tried to capture this feeling Jo Nesbøs

of the film. Roger Brown changes from being

and merciless. He could be the traditional al-

generate that anything can happen. The plot is

insecure and distrustful to finding out that he

pha provider male. In the book it is so impor-

twisted many times.

is worth loving.

tant to Roger Brown to be «king of the hill» as

The author has previously refused to allow any adaptations, but soon the novel The Snow-

The lead is played by Aksel Hennie, who according to Tyldum was an obvious choice.

a headhunter, that this becomes more evident than his love for his wife. We chose to make

man is also to be adapted. This will happen

– Aksel can play both strong and vulner-

in the UK, where Nesbø has set down strict

able, and is also an action actor, something we

All good thrillers have a protagonist who is

conditions, for example the right to cancel the

needed for such a physically demanding role.

extremely involved in the things that hap-

project in mid-stream if he is not satisfied. He

To fall off tractors, fight, fall and run is more

pens, Tyldum thinks. Most events should be

had no such demands for Headhunters.

difficult than people believe.

a result of his own bad choices, which spring

– To him, I guess this is a test run for how well

him more human.

from the weaknesses he has.

suited his universe will be to cinema, and how

Alfa male with feelings

he will experience the process. Headhunters is

The protagonist Roger Brown has problems.

Headhunters it is simple: Roger Brown’s bad

his only book that is not about Harry Hole.

Not only is he short of stature, with a wife who

qualities are connected to Diana. He is jealous

is pretty and tall like a model, but he encoun-

and insecure and has to deal with it. That jour-

Thriller romance

ters a villain who is as good-looking, played

ney is very exciting and makes him a stronger

Morten Tyldum contacted the producers him-

by the Danish Hollywood actor Nikolaj Coster-

person. But to get there must be a journey

self about directing the film.

Waldau.

through hell.

– What does he love and is afraid to lose? In

N EW NORW EGI A N FILMS

Norwegian movies break out Babycall, King of Devil’s Island, Limbo and Sons of Norway are spearheading an important international positioning for Norwegian cinema. Producers Karin Julsrud, Turid Øversveen, Gudny Hummelvoll and Christian Fredrik Martin talk about the challenges of the international financing of film projects.

BY morten steingrimsen

Bryan Brown and Lena Endre in Maria Sødahl’s Limbo (2010)

Limbo: Producer Gudny Hummelvoll – The fact that it is a film about a Norwegian

First we were advised not to apply because it

in a country with hardly any infrastructure for

expatriate environment on Trinidad made

seemed impossible, but with a well-written

film production.

Limbo an international project right from the

screenplay, a strong creative team and two ac-

outset, producer Gudny Hummelvoll of SF

tors with some reputation abroad (Lena Endre

Norway says. It automatically became more

from Sweden and Bryan Brown from Austral-

“international” in characters, environment,

ia), we got the approval from Eurimages. They

language and locations. We knew we had to

thought that this project would travel.

find money abroad to complete the financing.

Nearly every location in Limbo is abroad. – We had one shooting day in Oslo, the rest on

Hummelvoll thinks there are additional chal-

Trinidad. Film production is one of the most

lenges when looking for financing abroad,

important areas for de-

especially with a first-time feature filmmaker

veloping new business in

(Maria Sødahl).

Trinidad and Tobago, and

– Eurimages does not usually finance first-

they have just implement-

time filmmakers. Usually it is a must to bring

ed a “spend rebate” sys-

in one of the big countries, Germany, France

tem, which made up part

or Italy, as co-producers. We already had Den-

of the financing of the

mark and Sweden on board, so we had nothing

film. But it has to be added

to give in exchange to another country, in the

that it cost us a great deal

form of creative functions, to attract money.

extra to shoot so far away,

Limbo

Genre: Drama Director: Maria Sødahl International sales: AB Svensk Filmindustri Directly from a Norwegian 1970s reality: Sonia arrives with her two children on Trinidad to join her husband Jo, who is working as an oil engineer. She is introduced to a homeless class of men who have the whole world as their workplace – and their wives, who follow them wherever their contracts take them. On the surface these women live in luxury, with servants and large houses. The days are uneventful and blend together into an everlasting holiday, where the women nurse their superficial relationships over poolside cocktails – the perfect climate for self-delusion. The film is supported by the film institutes of Sweden and Denmark, the Nordic Film and TV Fund, and Eurimages. Co-producers in Sweden and Denmark, respectively, are BOB film and Nimbus Film. SF Norway is the Norwegian producer.

published by

King of Devil's Island was dependent upon Norway joining the European Convention on Cinematographic Co-Production. – King of Devil's Island is the first Norwegian film that is using this convention, and it was a rather fraught process to get the convention on board in time for our required agreements. So we could benefit from it; something I believe many others will too after this. Nordic financing usually works fine without great economic implications. Things are totally different when Stellan Skarsgård and Benjamin Helstad in Marius Holst’s King of Devil’s Island (2010)

King of Devil's Island: Producer Karin Julsrud

were thinking internationally right from the start since it was difficult to find the required financing in Norway alone. It also had a great impact that Stellan Skarsgård plays the Princi-

the central parts, Karin Julsrud of the Fea-

pal of the island, of course. Marius Holst made a promo film in the hope of attracting money for King of Devil's Island. Julsrud says that this was pivotal.

– Good intentions that end up as systemic

– The promo drew a lot of attention during

evil is a universal problem. Placing people in

Cannes two years ago, when a Polish and a

institutions, in this case young boys, is also

French co-producer agreed to join. Other finan-

universal. Not to mention the urge to escape,

ciers got an opportunity to see what we were

represented by the protagonist, 17-year-old Er-

doing. We also had an efficient screenplay, of

ling. Other than that, it is an epic movie with a

course, and could promote Marius as director

clear, suspense-driven story. We got an inter-

with a special promo about his previous work.

Babycall: Producer Turid Øversveen

Company 4 ½ says. And having cast Noomi Rapace in the leading part has opened doors.

Noomi Rapace in Pål Sletaune’s Babycall (2011)

have taken place anywhere in the

Øversveen thinks that Noomi Rapace will be

world, exactly like

important for the end result and the marketing.

vious

work.

The film received support from the Nordic Film and TV fund, Eurimages, the film institutes of Sweden, Poland and France, as well as co-producers in these countries. It has also obtained a so-called MG (minimum guarantee) from an international sales agent based in Paris. Its Norwegian producer is the Feature Film Company 4 ½.

Short summary: An over-protective mother moves to a secret address with her eight-year-old son after a difficult divorce. To better watch over him she buys a babycall, which seems to be activated from other apartments in the building. One day she overhears what she thinks is the murder of a child.

producer Turid Øversveen of the Feature Film

Pål Sletaune's pre-

Short summary: Based on a true story: Norwegian winter, early 20th century. On the island of Bastoy, located in the Oslo Fjord, there live a group of delinquent young boys aged 11 to 18. One day a new boy, 17-year-old Erling , arrives with his own agenda: how to escape from the island. How far is he willing to go in order to get his freedom?

Babycall

an international project right from the start,

versal and could

King of Devil's Island

Genre: Drama Director: Marius Holst International sales: Les Films du Losange

Genre: Thriller Director: Pål Sletaune International sales: The Match Factory

– It was natural to think about Babycall as

– The story is uni-

and cultural area.

large amount of the financing of the film. We

course, that Stellan Skarsgård plays one of

Devil's Island.

European operators far beyond our geographic

national distributor who contributed a quite

– It had a great impact internationally, of

ture Film Company 4 ½ says about King of

you get involved with

– She will open doors for us because “every-

Babycall is financed by the film institutes of Norway and Sweden, the Nordic Film and TV Fund, Eurimages, the German fund Hessen Invest Film, the German distributor NFP, the international sales agent Match Factory, the Nordic distributor SF Norge, the Norwegian TV channel NRK, and 4 1/2. The film has a German and Swedish co-producer (Pandora Film in Germany and BOB Film in Sweden). The Norwegian producer is the Feature Film Company 4 ½.

All

one” knows who she is. On the other hand it's

of his films, right

not always easy to follow up a success. She has

from

Mail

an extraordinary presence, is highly profes-

(1997), have been

sional and a hard worker. She loved the screen-

– Babycall is one of the first Norwegian films

sold to between 20 and 40 countries. What

play for Babycall from day one, and as producer,

financed through the European Convention

made it possible to finance this film with many

I thought the combination of Pål's distinctive-

on Cinematographic Co-Production. I believe

international partners was an exciting and

ness as a filmmaker and Noomi's “star quality”

we have all learned a great deal in the pro-

original screenplay, a director with a track re-

was perfect. We're going to exploit that.

cess, because we have had to discuss how this

Junk

cord, and, not least, a leading part played by

A lot is happening on the co-production front

new thing is functioning. I am very satisfied

an actress who recently enjoyed a marvellous

in the Norwegian film industry these days,

with the dialogue with the Norwegian Film

breakthrough with the Millennium movies.

Øversveen says.

Institute.

N EW NORW EGI A N FILMS

Sons of Norway: Producer Christian Fredrik Martin

The possibility of such an angle with Sons of Norway was there from the start, primarily due to director Jens Lien's former success both in short and feature films. – His second feature The Bothersome Man has been seen in theatrical release by as many in France as in Norway. Screenwriter Nikolaj Frobenius's books are published in numerous

– Sons of Norway is primarily a story about

countries, and I had already established the

growing up in a satellite town outside Oslo

necessary network to aim outside the Scandi-

during the late 1970s, producer Christian

navian sphere. It really took off when we got

Fredrik Martin of Friland AS says. This is a

the rights to Sex Pistol's legendary music. This

universal story of generational conflict. Sons

was the extra value needed to make market

of Norway is a wry look at a head-on collision

operators outside Scandinavia join in.

between hippies and punk rockers, in the confines of one apartment. This is its univer-

Martin thinks that the film can do well at festivals around the world.

sal aspect – an international angle that will

The film is not made to suit a particular festi-

enable the project to receive a good response

val. It is more a question of which festival will

outside Norway.

suit the film.

Sons of Norway

Genre: Drama Director: Jens Lien (see interview on pages 8-9) International sales: Films Distribution Sons of Norway is financed with the help of Canal+ of France, Canal+ of Scandinavia, the TV channels NRK and DR, Sandrew Metronome, Film i väst, the film institutes of Norway, Sweden and Denmark, Nordic Film & TV Fund, CNC Eurimages, as well as Backup Film and Films Distribution in Paris.

Co-productions supported by the Norwegian Film Institute, Norwegian majority: premiere May 2011–May 2012 Title

Director

Norwegian

co -producing

Co -producer

producer

country

(company)

sales agent

Stipulated release

Babycall*

Pål Sletaune

4 ½ Fiction AS

Sweden, Germany

Bob Film, Sweden Pandora Filmproduktion, Germany

The Match Factory

October 7, 2011

Headhunters

Morten Tyldum

Friland AS

Sweden Denmark

Yellow Bird, Sweden (producer on equal terms, not co-prod) Nordisk Film, Denmark (co-prod)

TrustNordisk

August 26, 2011

Kon-Tiki*

Joakim Roenning/ Espen Sandberg

Nordisk Film Production (Norway)

Denmark Sweden Germany UK

Nordisk Film Production, Denmark Filmlance, Sweden Recorded Picture Company, UK

HanWay Films

2012

Sons of Norway*

Jens Lien

Friland AS

Sweden, Denmark, France

Götafilm, Sweden Nimbus Film, Denmark Les Films d’Antoine, France

Films Distribution

September 2011

*Co-production status under the terms of the European Convention on Cinematographic Co-Production

Co-productions supported by the Norwegian Film Institute, Norwegian minority: premiere May 2011–May 2012 Title Prosjekt Chopin

Director Martin Leslie Clapp, Adam Wyrwas

Norwegian

co -producing

Co -producer

producer

country

(company)

(contact)

Stipulated release

Storm Studios

UK, Poland

BreakThruFilms, UK/Poland

Hugh Welchman

Winter 2012

Garbage Prince*

Raimo O. Niemi

Flimmer Film

Finland

Periferia Productions

Outi Rousu

July 29, 2011

Waves from home

Peter Dalle

Maipo

Sweden

Flanden Film

Patrick Ryborn

November 25, 2011

Somewhere else

Kjell-Åke Andersson

Pomor film AS

Sweden

Davaj film

Anna Björk

September 2011

Mercy

Mathas Glasner

Neofilm AS

Germany

Knudsen & Streuber

Kristine Knudsen

January 2012

Gumby

Patrik Eklund

4 ½ Fiction AS

Sweden

Bob film

Jan Blomgren Anna Croneman

January 13, 2012

Stella Days

Thaddeus O’Sullivan

Paradox Prod. AS

Ireland

Newgrange

Jackie Larkin

September 16, 2011

Two lives*

Georg Maas

Helgeland film AS

Germany

Zinnoberfilm

Dieter Zeppefield

April 1, 2012

Call Girl

Mikael Marcimain

Friland AS

Sweden

Garage Film Int AB

Mimmi Spång

March 2, 2012

*Co-production status under the terms of the European Convention on Cinematographic Co-production

published by

Norwegian movie theatres fully digitalised On July 1st Norway becomes the first country in the world to have digitalised all its movie theatres. What is the reason for this offensive Norwegian cinema effort? BY ANDERS FAGERHOLT The costs of the digitalisation have been divid-

talised. But why was it that important to be so

with its spirit of solidarity, where all cinemas

ed among three operators: Film & Kino, which

early with this development?

are included.

is the industry organisation for the cinema

– We had two options. Either we could be ear-

and video industry, the distributors and the

ly or we could be late, and then we would have

movie theatres.

ended up at the back of the queue. Being early

– We are on budget as regards the vpf (Virtual

generates some nice attention around the pro-

Print Fee) revenue from the distributors. The

– There are many reasons for our success, Jør-

Stensland says that the feedback so far is positive.

ject. In addition we could not have achieved

number of “prints” in distributions have dou-

– One reason is that we are a small country.

the contributions we have got from the studios

bled. The smaller cinemas are able to get much

400 movie theatres are not much on an inter-

if we had been late. The cinemas of the large

more material, and this has had a positive in-

national scale, so the scope is manageable.

cities would have been unable to wait with the

fluence on attendance figures. So far we have

Another reason is that we enjoy a tradition of

digitalisation, and then it would have been

had about 100,000 digital movie screenings in

national co-operation. A third reason is good

more difficult to achieve our current model –

Norway and problems have been few.

gen Stensland of Film & Kino says.

timing. The financial crisis caused us to get a lot of attention from the American studios. They were interested in contributing a lot economically, so we were able to strike good deals. In addition we set out at the same time as the Phase 2 projectors came. This type includes an option to upgrade 2K projectors to 4K. The Digital Cinema Alliance was established in 2005. The first trial project started in 2006 with 22-23 digital theatres. From 2008, 36 new theatres were added. In addition some of the big cinemas invested in digital equipment, so that it was 70 to 80 digital theatres in the country before the main launch. This launch has been going on from the summer of 2010 and ends in the summer of 2011. Most of the old equipment has also been replaced. A new arrangement has also been made that can give financial support for up to 42 new theatres. Today, about 30 new movie theatres are being planned. – We have succeeded in making this launch quite quickly despite problems in the delivery of equipment. The world saw an enormous increase in demand for projectors in the wake of Avatar. Last summer the waiting time for delivery was one year. We managed to clinch a deal, however, for a faster delivery. – The heaviest part of the work was the negotiation of deals with distributors. We have made about 400 legal deals during this process. It has also been a big job to plan public tenders in connection with equipment and so on. The two last movie theatres will start their digitalisation on June 27th. From July 1st the movie theatres of Norway will be fully digi-

N EW NORW EGI A N FILMS

Authenticity and sexual frustration

Are documentarists who switch to fiction more concerned with authenticity? Director Jannicke Systad Jacobsen’s Turn Me On, Goddammit recently won the award for Best Screenplay at Tribeca. The youth picture was well received by critics, and the Tribeca Jury commented: "This jury was unanimous. Hands down, this is the best screenplay." BY ANDERS FAGERHOLT Turn Me On, Goddammit is a humorous por-

big things often are at stake, but it does not

from the capital going up there to play the ru-

trait of 15-year-old Alma’s sexual awaken-

need to be that way. I recognise myself much

ral young.

ing in Skoddeheimen, a small community in

better in low-key issues.

Western Norway. It is based on one of the three

– They have it in them already and recognised themselves easily in the story. I attended a lo-

parts of Olaug Nilssen’s critically acclaimed

VILLAGE YOUTH

cal revue that one of the actors played in. Af-

novel of the same name.

Skoddeheimen is an extremely small commu-

terwards, when I was about to leave, she said:

– When the writing process started all three

nity. Not more than a local shop, a youth club,

”So now I will remain here in Skoddeheimen,

stories were in. But it was always Alma’s story

long roads and vast quantities of sheep. The

while you go to Oslo!” It felt kind of tough that

that grabbed the most attention, regardless

young protagonists point their fingers at the

we were actually travelling around, shopping

of how little of it was actually present in the

county name sign and yearn to go away as far

for people who embodied this feeling. After

screenplay. Even though I deliberately made

as possible.

all, they are stuck there. But now they are all

another character the protagonist, it was the

– It was important that it should not be a par-

horny 15-year-old everyone got interested in,

ody of such a community, but something one

screenwriter and director Jannicke Systad

could take seriously.

Jacobsen says.

A wide casting net was thrown throughout the

soon finished at Secondary School and want to go out in the world. She thinks, however, that the restless youth experience in the film is not something unique

– Perhaps the reason is that it is a very unusu-

region to find the five youths in the main roles.

al story. That story also drew the most atten-

– For Alma we looked for someone with great

- I grew up at Høvik, 10 kilometers from Oslo,

tion when the novel was published. It is simply

sensitivity but who would not turn into a vic-

but we did many of the same things. We hung

a bit unusual to talk about female sexuality.

tim. We wanted to avoid a ”Oh, poor me” per-

out at the gas station or behind the post office,

The fact that it exists is not shocking, but it is

son, so we looked for many nuances. It was

and actually were waiting around until we be-

obviously taboo.

also important that she was a normal girl, who

came old enough to go away. I think this is a

Turn Me On, Goddammit is Systad Jacobsen’s

neither appeared as an outcast nor the most

general feeling shared by all youths.

first feature film. She has previously directed

popular girl. She had to be someone the audi-

several documentaries.

ence could both sympathise with and over-

– The book has very vibrant, funny and easily recognisable characterisations. I also like that

whelm them a little – heartfelt and tough, yet vulnerable.

it was not too dramatic. These are everyday

Systad Jacobsen thought it important to do

problems that grow to become quite large in

the casting in the area where the story takes

one individual’s life. In the moves, extremely

place. They wanted real rural kids, not youths

to rural areas.

– It is simply a bit unusual to talk about a young girl’s sexuality.

published by

DOCUMENTARY AND FICTION

proach to try to achieve it. This influenced how

Systad Jacobsen has previously worked exten-

we worked with everything, from casting to lo-

sively with documentaries, but what does she

cation. All the initial research is sort of a docu-

take with her into the world of fiction?

mentary start to it all. The film is also shot in a

– I think one is concerned with authenticity

quite documentary way. We employ a highly

in a totally different way, and has another ap-

classical filmic language – we felt it was suitable for this story to achieve a feel of realism. Often in youth movies, the filmmakers seem

Jannicke Systad Jacobsen biography

Jannicke Systad Jacobsen (b. 1975) studied film directing with focus on documentaries at FAMU - The National Film School of the Czech Republic and London International Film School. She also studied Dramaturgy/Drama and Social Anthropology at the University of Oslo. She has directed several documentaries with a great sense of humour. Turn me on, Goddammit is her first entry into fiction.

to think: ”To talk to young people we have to make everything really cool!” This means lots of camera movement, steadicam and fast cutting. I feel that they do not always take the story seriously, that they just slap some visuals on it that are supposed to make things more fancy. She tells us that she was shooting her documentary Scenes from a Friendship while she

Turn me on, Goddammit (2011)

A humorous, bittersweet and tender tale of teen angst and horniness set among the mountains and fjords of Norway. Alma, a small-town teenage girl, is horny and on the look-out for love. She becomes an outcast after claiming to have had an encounter with the private parts of Arthur, the school´s heartthrob. Her world is turned upside down. She desperately wants to get out of town and on with her life. Director: Jannicke Systad Jacobsen Producers: Brede Hovland & Sigve Endresen Production company: Motlys AS Tel: +47 22 80 83 70 Mail: motlys@motlys.com www.motlys.com

wrote Turn Me On, Goddammit, and that the two films have influenced each other. Scenes from a Friendship portrays the friendship

that one has to get quickly to the point. What

between Erlend and Alexander in a series

was great about the Scenes from a Friendship

of situations. They have been friends since

project, was this real-life example of how

childhood. Now in their thirties, they are still

people talk, how there is subtext to dialogue

friends but live very different lives.

and how one interprets it while watching. An-

– What was cool about Scenes from a Friend-

other thing I learned was that so much does

ship was to observe how people talk – the nat-

not need to happen all the time, as long as one

ural flow of dialogue. I tried to take that with

gets the feeling that a lot is happening.

me in the screenplay for Turn Me On, Goddam-

Turn Me On, Goddammit premieres during

mit. Silences may arise, one comes back from

the Tribeca Film Festival in April 2011. It is the

those, and so on. This is, after all, how we talk

first Norwegian film to compete in the main

together. When writing it is very easy to think

programme at that festival.

Support and invest in film productions within central Norway. www.midtnorskfilm.no

N EW NORW EGI A N FILMS

Fun and vulnerability in the movie business how far one is willing to go to be seen. You define yourself through other people’s opinion of yourself, and in the process it is easy to forget who you are. Because of that, the border between fiction and reality is an important element in Exteriors. The filmic language is focussing on characters and human relationships through improvisation and an almost documentary camera work. – In addition to Cassavetes, I have also found inspiration in Steven Soderbergh’s ways of expression in films like Bubble and The Girlfriend Experience. And also John Boorman’s rhythm in Point Blank. The French nouvelle vague is Help, We’re in the Movie Business. Photo: ©Richard Eriksen/Tappeluft Pictures

When Patrik Syversen made the horror movie Prowl he was anxious about being labelled. So he made two extremely different films about the movie industry: Exteriors and Help, We’re in the Movie Business.

another inspiration, but I was highly determined to put the references to one side when we shot the film. Syversen really has a somewhat ambivalent attitude to Hollywood. – L.A. is great if you are having a good time but it can also be the world’s most lonely place. And this dynamic is especially fascinating. It is comparable to the masochism of the acting profession. It is a paradox that the people who

By Morten Steingrimsen

are the most vulnerable and have the greatest yearning for acceptance are the same who

Last

year

Patrik

comer Gitte Witt. Since the film was extremely

choose a job where the likelihood of being re-

Syversen finished

small (the crew consisted just of Marie Kris-

jected is the greatest.

Prowl,

first

tiansen, Syversen himself and Christian

When summer comes he is ready with Help,

film,

Schaanning doing the sound) the casting was

We’re in the Movie Business (provisional title

untraditional as well.

– final official title to be announced). Even

his

American

made with an international

crew.

– I met Gitte for the first time in L.A. while I

though the themes are somewhat similar to

He thought it was a

was casting Prowl. We happened to live in the

Exteriors (both films are about relationships

marvellous process

same hotel, and she shared a room with Allan,

and facades), the films could not have been

but soon realised that he became labelled as a

who was there in connection with shooting

more different.

horror filmmaker, and decided to make a film

True Blood. We had good chemistry and I saw a

– Where Exteriors has a cynical view on the

together with Marie Kristiansen.

lot in her. In many ways, the role is written for

world, Movie Business is its diametrical opposite

– My first film was Manhunt, and after that I

Gitte, based on her experiences with the mov-

– some kind of positive take on the same themes:

received many screenplays. All of them horror

ie industry and her insight. She is good at pro-

Acceptance, being seen, and, not least, love.

movies. Don’t misunderstand me, I still love

jecting naïvety, but is far from naïve, and the

Help, We’re in the Movie Business has more in

that genre, but any more personal projects

film needed that. Allan is playing Gitte’s best

common with Judd Apatow’s movies, Clerks

turned out to be difficult to realise because

friend and their chemistry was good as well,

and Spinal Tap (which received the apt Nor-

they belonged to a genre I hadn’t worked with-

and perfect for the film. The three other actors

wegian title Help, We Are in the Pop Industry,

in before. This turned into an urge to express

are British and American. Ruta Gedmintas and

hence the title for Syversen’s new film).

something personal in a very simple way, by

Joshua Bowman were both in Prowl, and the

my own steam. Low-budget indie movies was

roles were developed with them in mind.

– In Help, We’re in the Movie Business we have been concerned with letting the humor spring

the way to go. Exteriors (and Help, We’re in

The film is primarily about two girls who

from the characters’ interaction, rather than

the Movie Business) is definitively the closest I

want to be seen, accepted and loved by others,

situations we force upon them. Cassavetes,

have come to something I have really wanted

Syversen says.

Woody Allen and Superbad were some of the

to make over an extended period, and then it

– At its core it is a film about relationships,

references that Nini Robsahm (co-director)

but the backdrop of Hollywood and, especial-

and I mentioned in our application for funding

On the cast list we find Allan Hyde, known

ly, the acting profession push these themes to

from the Norwegian Film Institute, something

from the TV series True Blood, and the new-

their extremes: the urge to be discovered and

that indicates pretty well where this film is at.

was simpler to make it myself.

Rogaland, NORWAY

Diverse and spectacular h WE ASSIST in finding financing, locations, staff and co-producers

for feature film and tv-drama productions in the county of Rogaland.

Mail: oyvind@filmkraft.no Phone: +47 905 79 052 Facebook: Rogaland Film Commission Web: www.rogalandfilm.com

Anna Bjørk

Knut Skoglund

Location in «Rare Exports: A Christmas tale» North Norway - November Runar Waag

Regional funding Equity Spectacular locations Project management Infrastructure/Network Equipment Skilled film-workers

Photo: Mika Orasmaa

Where stories meet their landscape North Scandinavia

Davaj Film Luleå Sweden www.davajfilm.se

Having co-operation between film production companies across the borders in info@davajfilm.se Arctic North as one of our main objectives, we act as a professional link between Cell: +46 705 70 42 62 companies in Sweden, Norway, Finland and Russia, dealing with feature film projects and creative documentaries. We are focused in finding strong stories Pomor Film from the vast areas at the very top of the Scandinavian Peninsula, but also curiTromsø, Norway www.pomorfilm.no ous and dedicated towards new co-productions from other parts of the globe, knut.skoglund@gmail.com coming our way. Every project is a challenge and we seek solutions! Cell: +47 95 14 27 45 Are you searching for professional and enthusiastic partners in the Arctic regions runar.waag@gmail.com Cell: +47 99 44 19 71 of Sweden or Norway? Anytime!

N EW NORW EGI A N FILMS

The short film Cold to compete in Cannes The Norwegian short film Cold, directed by Lisa Maria Gamlem, has been selected for the main competition in Cannes. The story is about 13-year-old Jon who tries

is produced by Bendik Heggen Strønstad and

out alcoholic drinks during a school party. He

the Bergen-based Yesbox Production. The mu-

ends up being ejected for drunken and disor-

sic is by Nicholas Sillitoe.

derly behaviour, and has to be taken home by his father. We meet him the day after in con-

A total of nine films from nine countries have

versation with his friends, with underlying

been selected for this year’s short film pro-

themes like love, shame and belonging.

gramme in Cannes. The head of the jury is

– Sometimes we talk to each other without

Michel Gondry. Five years ago, Bobbie Peers

talking about what we really want to talk

won Norway’s first Palme d’Or in the same

about, Gamlem says.

competition with his short Sniffer.

Director Lisa Maria Gamlem has also previously worked with stories where the unspoken is emphasised, for example in her short BenCold is a film that director Lisa Maria Gam-

ny’s Gym (screened in Berlin in 2007) and the

lem thought to be too distinctly Norwegian

Emmy-nominated TV series Ping Pong (2008).

to reach out internationally, but here she is

She has also directed several episodes of the

– in the main competition for short films in

TV series Hvaler on NRK. The screenplay for

Cannes. This is yet another example that a

Cold is written by Jørn Kurt Bergo, and won

strong local identity can be decisive for a film’s

the first prize in a screenplay competition at

impact abroad.

the Children’s Film Festival in 2009. The film

During the Cannes film festival a number of

Norwegian shorts in Cannes

Norwegian short films will be available digitally, in the market at the festival palace. The Norwegian Film Institute has made a selection of films that Toril Simonsen, who is responsible for short films at the institute, regards as rep-

The representatives of Norwegian cinema in Cannes form a mixture of established and new filmmakers.

resenting both new and established voices. A common factor is their international potential. Norwegian filmmaker Pjotr Sapegin is one of the world’s leading animation artists working in claymation and film puppetry. His latest film, The Last Norwegian Troll, was selected for the short film section of the 2011 Berlinale and will be screened in the Short Film Corner. Building on traditional Norwegian mythology, the story is about three young goats who decide to get rid of an old Troll who lives under a bridge. Simonsen also wants to draw attention to

Zakariassen Must Die.

Magne Pettersen’s Zachariassen Must Die, which premiered during the Tromsø Interna-

Matias&Mathias. An earlier work, That We

education. Lotherington’s film saw its inter-

tional Film Festival.

Can No Longer Do, was screened in Rotter-

national premiere in June at World Wide Short

dam last year.

Film Festival in Toronto, one of North Ameri-

– Pettersen has participated in Cannes before, and he is currently affiliated with Zentropa

Aleksandra Niemczyk directed Leave a

with a feature film project. One of his short

Message and Martin Lotherington is repre-

films has received international distribution.

sented by Parasitoid.

ca’s largest short film festivals. Films to be screened in the Short Film Corner: The Last Norwegian Troll – Pjotr Sapegin

Simonsen would also like to mention From This

Niemczyk participated in Locarno two

Day To Where, an 18-minute fiction film about

years ago with Hide and Seek. In my opinion,

From This Day to Where – Matias&Mathias

the rehabilitation of rape victims in Kongo.

she is a fine talent, especially interesting

(aka Matias Rygh and Mathias Eriksen).

– This is a sober and subtle work about a

because of her background in the pictorial

Zakariassen Must Die – Magne Pettersen

demanding subject, by two young men in

arts. She has a different way of storytelling

Leave a Message – Aleksandra Niemczyk

their early twenties who call themselves

than people with a traditional film school

Parasitoid – Martin Lotherington

published by

Zakariassen must die – I like situations that are mixed, that do not convey just one emotion. The moments when you just have to grin, while at the same time it is really terribly tragic, Magne Pettersen, the director of the short film Zakariassen must die, says. - You can be sure that your film does not end

feature of my short films. What attracts me the

up in a drawer when it is finished, you know

most are situations that are a bit dangerous

that it will find an audience. The network you

and illegal. At the same time I like situations

by Anders Fagerholt

get access to through Zentropa is also impor-

that are mixed, that do not convey just one

tant. For my current feature film project, it

emotion. The moments where you just have

Magne Pettersen is one of Norway’s promising

seems that I will work with people whom I

to grin, while at the same time it is really ter-

directorial talents. His short film Zakariassen

could only dream of a few months ago. Like

ribly tragic. This is how I think as a person as

must die will be screened during the Cannes mar-

Alex Rodríguez, the editor of Children of Men,

well – the moments when you feel the most en-

ket. It is a black comedy about a man hated by all,

and the Danish film composer Joachim Hol-

ergised are situations that are experienced as

who is unable to realise it before it is too late.

bek, who made the music for The Kingdom.

very mixed. It is not interesting to me to make

Pettersen is one of the directors in the Norwe-

You get some shortcuts as a Zentropa director.

a film that is just one thing, that is only sad,

gian Zentropa stable. He is currently working

His feature film debut is based on the novel

on the screenplay for his feature film debut. He

I Could Have Walked Home Blindly by Joachim

tells us that the Zentropa network has given

Førsund.

him greater opportunities as regards both film financing and, not least, distribution.

– It is a funeral film, so it is full of black hu-

for example. I Could Have Walked Home Blindly may start shooting as early as this autumn if everything goes according to plan.

mour and morbid as hell. This is a common

Pushwagner takes control Who controls the controller? The main theme of Pushwagner’s art has also become a theme in the film about him. by Oda Bhar The documentary filmmaker Even Benestad

gust B. Hansen wanted to use his art in the

has previously made All About My Father (2002)

portrait of the man.

and Natural Born Star (2007). The first of these

– We have generated some of his pictures

is an award-winning portrait of his own father,

in 3D to show his art without intellectualis-

a well-known Norwegian transvestite and psy-

ing it. Rather than having him talk about his

chologist. The fall of 2011 will see Benestad’s

art, we can see it.

new film, about yet another eccentric: Pushwagner, the international art phenomenon.

After a creative period during the 1960s Pushwagner slid into poverty and substance

him at the controls of a control room, in the

– To be asked to film Pushwagner was like

abuse. For many years he lived in Oslo as a

process of directing the director.

being asked to have a place in heaven. In the

homeless person, but managed to get up

– We got some extra money and knew im-

1990s I saw him dance at a hip venue in Oslo,

again and broke through internationally

mediately how to use it: to build the control

and later I discovered his pictures.

during the 2000s. In the film his life is still

room from the graphic novel Soft City! We en-

not rosy, however, because of a court case

visioned Pushwagner sitting there controlling

against a former friend.

the film.

Hariton Pushwagner (b. 1940) loves to dance. He is liable to suddenly performing a pirouette in the middle of an interview. His real name

– The most dramatic situation in the film

Control has always been the main focus of

is Terje Brofos, but upon becoming a hippie

comes when Pushwagner almost dies, be-

Pushwagner’s art. Who controls whom? Are

he took a new name. Hariton stands for Hare

cause of all the pressure. He is this mar-

there controllers everywhere?

Krishna, Pushwagner for the trolleys used

vellous artist showered with offers from

– Once he demanded to know what kind of

at supermarkets – a critique of the consumer

all over the world, but at the same time he

film we were making. I told him it was about

society. He is painting comic book-like pop

wants the rights back for his main works,

who controlled the controller. Then he took the

art pictures, with subjects about an alienated

which during a bad period he signed away

camera away from me and said: «Now I am the

work force, stylised family lives in apartment

to his former agent.

director for five minutes! OK, so the project is

blocks, or car queues in a landscape of sky-

Pushwagner is in a phase of his life when

scrapers. Even Benestad and co-director Au-

he tries to take control. A meta-scene shows

me and you, the subject against the filmmaker? Time will tell who has the upper hand.»

N EW NORW EGI A N FILMS

Foreign filmmakers shooting in Norway:

– The film demanded a spectacular landscape In Matthias Glasner’s Mercy the light and nature of Northern Norway play a central role, producer Kristine Knudsen says.

Mercy by Matthias Glasner

Mercy is a German-Norwegian feature film shot

Hammerfest is an internationalised city to

opment is reflected in the use of the Northern

in Scandinavia’s northernmost ”metropolis”,

which many foreigners have moved to work

Norwegian light, Knudsen says.

Hammerfest of Northern Norway, and in Ham-

in the natural gas industry. In the movie we

– We shot the film during the polar night,

burg, Germany. It is the German auteur Matthi-

meet Nils and Maria who, together with their

where we gradually, for every shooting day, got

as Glasner who has sunk his teeth into a Scandi-

13-year old son Markus, have emigrated from

closer to lighter days. As in the film, we went,

navian story by Danish screenwriter oracle Kim

Germany to Hammerfest in the hope of a bet-

practically speaking, from the dark to the light

Fupz Aakeson. Producer Kristine Knudsen is an-

ter life. Nils starts working at the gas installa-

during the shoot, which took place in January

other important resource for the film. She grew

tion at Melkøya, Maria at the local hospital.

and February. Shooting with a red camera, we

up in Hammerfest and is a producer at Knudsen

But one night a serious accident happens that

were impressed by how it reproduced the blue

& Streuber Medienmanufaktur in Berlin.

changes everything, in connection with the

light of Northern Norway and the pink light of

In the beginning Aakeson’s screenplay was

film’s big questions about guilt and mercy. In

the dawn. It was incredibly beautiful and suits

a Danish story, Knudsen says. But when Glas-

the central roles we meet a mixture of German

perfectly the film’s theme of empathy.

ner became attached to the project as director,

and Norwegian stars: Jürgen Vogel, who plays

things changed.

Nils, is familiar from several Glasner films. He

– I knew that Glasner was fascinated by

won the Silver Bear for The Free Will, as did

Northern Norway after having visited there

Birgit Minichmayr for her role in the German

Mercy is a German-Norwegian co-production

several times – the first time during the Trom-

film Everyone Else. The central Norwegian

with Neofilm/Aage Aaberge, Knudsen & Streu-

sø International Film Festival with his previ-

roles are taken by Ane Dahl Torp, Maria Bock

ber

ous feature film, The Free Will, and later as

and Iren Reppen.

Schwarzweiss Film/Matthias Glasner and An-

Medienmanufaktur/Kristine

Knudsen,

the leader of a course for young filmmakers. I

– Hammerfest is a dynamic place that many

dreas Born of Ophir film, in co-operation with

thought that the story suited his signature as

Germans have relocated to, because of the natu-

zdf and arte. The Norwegian distributor is

a director. So when he entered the project we

ral gas field, Knudsen continues. – Mercy is the

Nordisk Film. The film is supported by the

got the idea of moving the action to Northern

first ever feature film shot here, but the enthu-

Norwegian Film Institute, ffhsh Filmförder-

Norway, to be able to tell a richer and more

siasm and support from the locals were incredi-

ung Hamburg, Schleswig Holstein, mbb Me-

powerful story.

ble. They joined in as trainees, actors and extras.

dienboard Berlin-Brandenburg, bkm Bundes-

Mercy explores a grand theme where inner conflicts are reflected in a violent landscape,

We had to improvise and be open to changes,

beaufragte für Kultur & Medien, dff Deutsche

not least because of the volatile weather.

Film Förderfonds.

Knudsen says. That was the idea right from

During the film the characters move from

the start – to use the local nature and settings.

guilt to compassion and mercy, and this devel-

published by

Western Norway Film Commission

Western Norway Film Commission offers free services to feature films, commercials and TV drama considering shooting in Western Norway. Projects : Fateful Love , Das Meer der Frauen, Das Ende der Eiszeit, Geography of the Hapless Heart, Ko, La Passione, Sommersturm, Gesang des Windes. Western Norway Film Commission Georgernes Verft 12 5011 Bergen, Norway Office: +47 55 56 09 05 Email : post@wnfc.no www.wnfc.no

Manager: Sigmund Elias Holm Email: sigmund@wnfc.no Cell: +47 971 49 153

Filmkr aft

Filmkraft Rogaland AS is a company that works for developing and financing film and TV productions in the county of Rogaland, the southwestern region of Norway Projects: Mongoland, Monsterthursday, The Man Who Loved Yngve, The Storm in my Heart, Rottenetter, Buzz Aldrin - hvor ble det av deg i alt mylderet?, Nokas, Turn Me On Goddammit, Age of Heroes, Ko, Hjelp vi er russ, Help, We’re in the Movie Business. Filmkraft has also been involved financially in I Travel Alone, Twigson 3, Umeå Forever, Totally True Love. 2011 (among other projects): Kompani Orheim, Allfader, Dynasti. Filmkraft Rogaland AS Rogaland Fylkeskommune Postboks 130 4001 Stavanger Visiting address: Arkitekt Eckhoffs Gate 1 / Peder Klowsgt. 37 www.filmkraft.no

Manager: Sjur Paulsen Email: paulsen@filmkraft.no Cell: + 47 412 47 676

FilmCamp

FilmCamp is a regional resource and infrastructure company that accommodate needs and demands in the market for feature film and TV productions in northern Norway. The award-winning film Rare Exports are among the many projects FilmCamp has been involved in the last few years. The Santa-horror-comedy had its world premiere during the Locarno film festival in 2010 and won the Variety Piazza Grande Award. The film is shot in its entirety in Målselv in Northern Norway, with FilmCamp being the first to finance the project. Other projects: The Pretending Lovers, Zakariassen Must Die, Skallamann, Rare Exports, Robert Mitchum Is Dead, Sjøsprøyt, The Snow Queen, North, Død Snø, Lille Frø, Parat Sommerhuset, Kautokeino-opprøret, Iskaldt, Far North, Vinterland, Bonded Parallels FilmCamp Postboks 144 9335 Øverbygd Visiting adress: Øverbygd, Målselv, Norway Tel: +47 77 83 35 00 www.filmcamp.no

Managing director: Kjetil Jensberg Email: kjetil@filmcamp.no

New opportunities for filmmakers from developing countries Production support Top Financing Deadline for applications 2011: August 15th www.sorfond.com

N EW NORW EGI A N FILMS

Bringing Nordic films out into the world – The main idea behind New Nordic Films is

presented. New Nordic Films also focuses on

forum, national funds, regional funds, pro-

to form an international launching point for

co-productions between the Nordic countries

ducers and producer assocations from various

Nordic films towards the rest of the world,

and other countries.

countries are invited. Additionally, twenty

Gyda Myklebust says. This year the focus in-

Forum was established in 2006, to help pro-

cludes co-productions between the Nordic

ducers who are looking to make co-produc-

– This is a meeting place for the financing of

countries, the Netherlands and the Baltic

tions with other countries find partners and

projects. This year we have a special focus on

countries.

work on the financing.

the challenges of financing. The topics include

Nordic Co-Production

– This year, the focus will be on co-productions with the Netherlands and the Baltic

by Anders Fagerholt & Morten Steingrimsen

projects will be pitched during the event.

alternative ways to finance projects and organising case studies.

countries. We will have a presentation of their

Myklebust also tells us that they plan semi-

national cinemas: what kind of financial sup-

nars on rights issues and digital distribution

port systems they have, how many films pro-

during New Nordic Films.

New Nordic Films is an annual market for Nor-

duced per year, and so on. We will also look

dic cinema that is organised during the Nor-

at two former focus countries, Germany and

New Nordic Films: 17-20 August 2011.

wegian International Film Festival in Haug-

Canada, and have a preliminary project on

www. filmfestivalen.no

esund. The event includes film screenings,

France, which is the focus next year.

Contact: Gyda@Kino.no

seminars, a Nordic co-production forum and presentations of works in progress.

– The co-operation with the Netherlands will be followed up later with a corresponding

– We show the films that we think have the

event in that country. We will pick 3-4 Dutch

greatest international potential. Another con-

projects of interest for co-production with

cern is to demonstrate the range of Nordic Cin-

the Nordic countries – and then 3-4 Nordic

ema, with room for both artistically ambitious

projects suitable for co-productions with the

works and more commercial genre movies,

Netherlands. These projects can be followed

Gyda Myklebust, responsible for New Nordic

up on during the event in the Netherlands.

Films, says.

Myklebust emphasises that they have seen

25 fresh Nordic films will be screened during

good results from the focus on Germany dur-

the market and 10-15 works in progress will be

ing the last few years. For the co-production

The Kon-Tiki cast is ready

Kon-Tiki voyage got so much international attention. A world tired of war yearned for something else to focus on – excitement on a positive note. We joke that the Kon-Tiki expedition was the world’s first reality show. Thor

Pål Sverre Valheim Hagen (Troubled Water,

seen by more than one million Norwegian

and his crew sent daily radio telegrams to the

Max Manus) will portray Thor Heyerdahl in

cinemagoers. The film has a budget of NOK 88

media, which was retold in newspapers and

the Kon-Tiki blockbuster.

million and is one of the most expensive Nor-

on radio as if it were a dramatic serial from the

wegian productions ever.

real world. All over the world, a rapt audience

The other Kon-Tiki actors are Anders Baasmo

Kon-Tiki will be an epic blockbuster, accord-

followed his stories of aggressive sharks and

Christiansen (North), Jakob Oftebro, Tobias

ing to the two directors. The story takes place

violent storms. This appeal was proven yet

Santelmann, Odd Magnus Williamson and

in 1946 and 47, a time that Sandberg calls ”the

again when Heyerdahl released his book on

Gustaf Skarsgård. It will be directed by the duo

lean post-war years”.

the expedition a few years later. It is estimated

Joachim Roenning and Espen Sandberg, who

– It was a time of rationing and a lack of eve-

were behind the box office hit Max Manus,

rything. This contributed to the fact that the

to have sold 50 million copies! It is the experienced British producer Jeremy Thomas (The Last Emperor, The Dreamers) who has been developing the Kon-Tiki project for many years. But it was not before watching Max Manus that Thomas saw the possibility of producing a blockbuster in Scandinavia. – With Max Manus we also had a good cooperation with Nordisk Film – whose ambition is to make pan-Scandinavian movies. To be able to launch a Norwegian-Danish-British co-production with this price tag is simply a masterpiece, Espen Sandberg says. The shooting will start on May 24th and will go

Left to right: Tobias Santelmann (behind), Gustaf Skarsgård, Pål Sverre Valheim Hagen, Odd-Magnus Williamson, Anders Baasmo Christiansen and Jakob Oftebro (front). Photo: ©Carl Christian Raabe

on until September.

www.steinariversen.no

17TH NEW NORDIC FILMS 17-20 AUGUST THE 39TH NORWEGIAN INTERNATIONAL FILM FESTIVAL 17-26 August 2011

A Nordic film market An international co-production and film financing forum A meeting place for film professionals WWW.FILMFESTIVALEN.NO

N EW NORW EGI A N FILMS

Maria Ekerhovd – producer on the move

Producers on the move Over three days, the selected producers will be put into the spotlight and brought together

In 2006 Maria produced Bobbie Peers’ short

with the international film industry and press.

film Sniffer which won the Palme d’Or in

They will be able to discuss ideas as well as the

Cannes. In 2011 she is back at the Cannes

planning and financing of international pro-

festival, having been selected by the the Nor-

jects, and explore the potential for possible co-

wegian Film Institute as one of the 25 out-

productions. The networking events offer an

standing film producers from 25 European

opportunity to forge contacts with colleagues

countries to participate in the European Film

from other European countries as well as to

Promotion’s networking platform produc-

meet representatives of film funds and learn

ers on the move.

more about the production conditions within Europe. From the past three editions 60% of the participants have worked with one anoth-

Maria Ekerhovd entered the film industry af-

illusionist that disappeared, slated for shoot-

er on concrete projects, some of the films have

ter graduating in Media Production from the

ing in 2012.

already been realised and others are still un-

Norwegian University of Science and Tech-

Recently, she established her own produc-

nology in 1999. She worked both as a 1st assis-

tion company Mer Film with offices in Ber-

der negotiation or at the planning stage.

tant director and production manager before

gen and Tromsø. Mer Film is supported by an

Contact: Maria Ekerhovd

moving on to become a producer. She has pro-

exclusive first-look agreement with Svensk

Mer Film AS

duced more than 10 short films, several music

Filmindustri, Scandinavia’s largest distribu-

Målselvgata 15

videos and two feature films, Pål Jackman’s

tor and has received slate funding from the

9007 Tromsø

The storm in my heart and Gunnar Vikene’s

Norwegian Film Institute. Maria is also work-

Tel. +47 95 188 118

Vegas with Cinenord. In 2006, Maria produced

ing on the development and financing for the

Email: maria@merfilm.no

Bobbie Peers’ short film Sniffer which won the

next feature by one of Norway’s most promis-

www.merfilm.no

Palme d’Or in Cannes that year, and she is now

ing directors, Ole Giæver (The mountain, 2011).

developing his feature debut Dirk Ohm - the

WESTERN NORWAY

Norway’s strongest film region and most attractive location 37 films from 10 countries shot in Western Norway since 2006 23 co-produced with the regional film fund From Star Wars to Harry Potter, Western Norway remains the most popular destination for international film makers coming to Scandinavia, and offers experienced and internationally oriented film crew and service providers. Free location services Your first point of contact

Funding for co-productions

sigmund@wnfc.no www.wnfc.no

lars@fuzz.no www.fuzz.no

SHAHeN JAMAl

AlI AHMed

SorAN IbrAHIM

“It’s stunning. It’s engaging.”

“... a movie for heart and brain.”

Culture News, P2, Norwegian Broadcasting Corporation

www.oblad.no

“The result is admirable.” TV2 Good Morning Norway

“Red Heart is a beautiful but realistic movie, depicting a landscape we all too rarely encounter at the movies.”

Spirit Magazine

Filmhuset presents a Norwegian/Iraq co-production directed by Halkawt Mustafa

Shahen Jamal | Soran Ibrahim | Ali Ahmedc | Suhaila Hassan | Ahmed Qaladzei producers Egil Ødegård | Anders Graham | Halkawt Mustafa wridirtectedten andby Halkawt Mustafa film sound production director of screenplay original co-worker Jabar J. Garib photography Kjell Vassdal music by Øistein Boassen editing by Inge-Lise Langfeldt | Arild Tryggestad design Merete Mongstad consultant Aamund Johannesen produced nordic production in association post leader Zana Tagiadeen production The Factory Post Production AS by Filmhuset Produksjoner AS with Hene Film distribution Europafilm AS www.rodthjerte.no

CANNES 2011

NORWEGIAN FILMS COMPETITION Cold (short) by Lisa Marie Gamlem UN CERTAIN REGARD Oslo, August 31st by Joachim Trier

Please visit us at the Scandinavian Terrace, 55 la Croisette

Oslo, August 31st by Joachim Trier