We have the story told by gangsters and we were thinking how would we make it. "It’s about a truck chief and drug trafficking. The style proved practical for a crime documentary based on a Helsinki court case he was working on, he told the session.
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He also pointed out that America wants to take its own TV series to Scandinavia to shoot, with an American script, but shot in Scandinavia and then taken back to the US.įinnish producer Hannu-Pekka Vitikainen who will next produce the crime series from The Hummingbird Trilogy books, reminded of the origins of the other origins of Nordic Noir – film noir itself from the 1930s with its high contrast black and whites and shadows and films such as The Lady Of Shanghai.
"I’m struggling because I am trying to make new drama and leave the crime genre." He said: "I think we are too into the crime genre because it is easy to sell. The session took a look and also touched on how it’s changing things for women – in fiction and real life.Īlso, how it’s changed things for the storytellers and film-makers in the Scandinavian countries that evolved the style.Īnders Tangen, Norwegian producer of series Lilyhammer and DAG is moving to America to make TV out there. So how has the Nordic Noir style changed the way storytelling and roles are presented on screen?Īnd why has it proved so popular with the rest of the world? When we realised we could do this, we started to make a lot – we developed a skill to do these crime stories."Īnd Ake explained: "They are character-driven but it is the reason in society that makes the crime happen that is the reason behinid telling the story, but of course you have to end it with finding the one behind the crime." It wasn’t a plan to show them internationally, it just happened. Then the series started being shown outside Germany. "These books were popular and especially in Germany and a TV series was made as a co-productions with Germany in Swedish but dubbed into German. "So it’s US genre fiction in a Scandinavian environment. "They were not interested in crime, but society and they had been reading American crime writer Ed McBain’s books set in a fictional New York called Isola. They decided they wanted to write about society and because people need a story, they decided to do that through crime stories and wrote 10 books. It was rooted in the 60s with the books of Maj Sjöwall and partner Per Wahlöö who created the Martin Beck crime books.
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THE rest of the world REALLY just loves Nordic Noir for its superficial differences - "language, bleak weather and beautifully-designed furniture", was the controversial view of one of the panellists in the discussion about the influential style’s appeal.ĭanish screenwriter Emil Nygaard Albertsen also felt that the supposedly character-driven dramas like The Bridge – and autistic policewoman Saga, one of many strong female characters they portrayed – were not all they seemed.īut the session had opened with film producer Ake Lundstrom – co-producer of Swedish crime series Arne Dahl and hit movie The Girl With The Dragon Tattoo – giving a quick history of where the screen genre of Nordic Noir had begun. Beatrix Wood (left) led the Nordic Noir panel discussion.
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