Tag Archives: Case

On the Case: Baldvin Z on his new Icelandic drama

Icelandic director Baldvin Z tells Michael Pickard how he used music to piece together new crime drama Case and reveals how the script tempted him to venture into TV.

When it comes to making television drama, music is usually one of the final elements brought to the process, deep into post-production.

But for new Icelandic crime drama Case, it was used to set the atmosphere for the series and help the cast understand the characters they were playing.

The idea came from the show’s director Baldvin Z (aka Baldvin Zophoníasson), who had previously used the technique on the set of his film Life in a Fishbowl.

Baldvin Z on set shooting Case
Baldvin Z on set shooting Case

“We started working with the music way before shooting,” he tells DQ. “I presented the idea and how I wanted to approach the project, and I started to make some music that I used to get people on board with the atmosphere and to show them the kind of TV show we were going to make. It helps a lot.

“In the shooting and rehearsals, sometimes I would put the music on to help the actors imagine where they were and what would be playing on the show at that moment. I use music a lot. I’m hands-on all the way. After we have shot something, I’m there all the way to the end. But I allow everybody to bring their heart into it. I want everybody to participate and put everything into it.”

A spin-off from legal series Réttur (The Court), Case opens with the apparent suicide of a promising young ballerina, and follows the battle between her biological parents and her foster parents to uncover the truth behind her death – with everything seen through the eyes of the lawyers involved.

The nine-part drama, produced by Sagafilm and helmed entirely by Z, is due to premiere in mid-October on Iceland’s Channel 2.

With his background in feature films, the director had never considered a television crime drama – until he read Case’s script. “This is something I couldn’t imagine myself doing two years ago,” he says. “I don’t really watch much crime drama. I’d always told myself I wouldn’t do a TV series like this, and now I’ve directed Case.

“I received scripts for three episodes about two years ago. I read them and I was really drawn to the show. It’s about teenagers and a situation that’s going on in Iceland’s underworld. I also saw it as a crime story but with a big drama in it. That was something that appealed to me – it was more about the drama than the crime. It’s not a typical crime drama – it’s not a ‘whodunnit.’ It’s about the ‘why,’ so it has a lot of unusual twists and it takes you to different places compared with other crime shows.

Case focuses on the death of a ballerina, following the fallout through the eyes of lawyers
Case focuses on the death of a ballerina, following the fallout through the eyes of lawyers

The slow-paced nature of the series has led to comparisons to fellow Scandinavian series Forbrydelsen (The Killing), and Z says Case sits comfortably alongside other Nordic noir shows.

“It’s much more about the characters than the actual events,” he explains. “It starts with this girl who is found hanged but the case is much bigger than that, and that’s what’s interesting. You get to follow these characters and when we reveal the ‘monster’ in the middle of the series, it takes you on a new adventure that is really exciting. I’m looking forward to seeing reactions to that.”

On set, Z says he’s keen to work with the actors as much as possible to make the story as realistic as he can: “I really work a lot with the actors and try to take them to the next level, and I want them to take me to the next level with them. I wanted to have believable characters and make it as realistic as possible. I didn’t want to drive a scene to the edge because it had to be really exciting – I’m always trying to find the truth in everything. And if I succeed in that, the rest comes with it. It’s exciting because the suspense comes naturally. You don’t want to force it into the scenes.

“It’s been really interesting to go into this drama. I have approached it like I do for everything – it’s a drama with storytelling and characters. I’m not making a crime series, I’m making a drama with crime in it and that takes it to another level.”

Z notes that the time and space Scandinavian dramas allow for character development contrasts with faster-paced series, particularly those produced in the US. “The difference compared with US shows is you have this opportunity to realise that all the characters are made of flesh and bone and you breathe with them. You see them making decisions. You see something more than in American shows, where everything’s so pacy and everyone’s so witty and clever.

The nine-part drama begins this month
The nine-part drama begins this month

“The characters in Case are broken. They always make the wrong decision – they’re so imperfect and that is what makes it interesting. The cops are not cool, they are just people. They’re getting into situations they’ve never been in before and they don’t know what to do. Iceland doesn’t have the biggest underworld scene so I have to make it realistic for Icelandic people, and I think it will be interesting for foreigners to see it.”

Z says the first season’s conclusion leaves room for a second run and that he is now keen to work more in television. He has also directed three episodes of Trapped, another Icelandic drama from director Baltasar Kormákur and produced by RVK Studios and Dynamic Television. The Weinstein Company has picked up US rights to the show, which will air domestically on RUV and centres on a troubled cop investigating a murder when his small town is hit by a blizzard.

The BBC, ZDF and France Televisions have also picked up the series.

“It’s a very young industry in Iceland, we’re in the teenage phase,” says Z. “For the first time we’re really emerging onto the scene and we have quality stuff – equal to other content being produced in Scandinavia and Europe.

“We’ve been bringing a lot of foreign projects to Iceland and we’ve been learning from them. Our directors are getting better and better and there are so many young people doing incredible things. There’s something about our landscapes, animals and behaviour that appeals to foreigners but we are increasingly telling our own stories.

“I hope we will not quit doing our Icelandic content but we have to blend in with the universal and contemporary programming. We’re going to get bigger and bigger over the next few years. We have a lot to stay.”

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The Saga continues: DQ talks to Sagafilm Nordic CEO Kjartan Thor Thordarson

Kjartan Thor Thordarson, CEO of Sagafilm Nordic, tells Michael Pickard how the decision to expand Sagafilm’s business is helping Icelandic drama make its mark on the television industry.

In an increasingly competitive market where coproductions are no longer an exception to the rule, one production company is hoping to reap the rewards of its European expansion.

Kjartan Thor Thordarson: Appetite for Scandinavian drama 'still growing'
Kjartan Thor Thordarson: Appetite for Scandinavian drama ‘still growing’

Iceland’s Sagafilm made the decision in February this year to open a new office in Sweden, to capitalise on the close links between Scandinavian broadcasters and with ambitions to impose itself further in Europe and beyond.

Announcing the move, Sagafilm Nordic CEO Kjartan Thor Thordarson said the decision to establish a new base in the centre of Stockholm was, in part, due to Icelandic broadcasters’ inability to meet the rising costs for series: “Our focus remains TV drama, but chances to grow domestically have been hampered by the national stations’ ability to pay the full production cost for local series. At the same time, there is a huge appetite from foreign broadcasters for original scripted drama and remake opportunities.

“Our goal is to up the game by accessing different markets from Stockholm where we will develop more ambitious projects with international partners and handle our remakes around the world.”

Now, just a few months on, Thordarson says Sagafilm’s new international strategy is already beginning to pay off, with the company’s flagship new drama Case (main image) being prepared to hit screens later this year.

He tells DQ: “It has changed everything. I’m closer to the Scandinavian buyers, which is very important if we’re to expand. I have seen quite a difference – a lot of people come to visit Stockholm to meet producers and channels, which you don’t see in Iceland. All the US channels seem to be looking at Scandinavia in a big way, and I profit from that. It makes sense being close to the market. It has done dramatic things for us.

“We hit it at the right time. The appetite for Scandinavian content is not losing ground – it’s still growing. What we’re seeing this year is there are so many more channels interested in buying this type of content and also getting in earlier, which is great for producers.”

Thordarson identifies a trend of European broadcasters moving away from the US content that has readily filled primetime slots in recent years and towards dramas from other countries that are proving to be ratings hits among domestic viewers. And it’s a trend of which many European territories are taking advantage.

Upcoming drama Case, which Kjartan says will 'change everything' for Sagafilm
Upcoming drama Case, which Kjartan says will ‘change everything’ for Sagafilm

“The US content seems to be giving way in Europe, so more slots are opening up for other things,” explains Thordarson. “When that happens, people look towards the successful markets, so both UK and Scandinavian content is benefiting, as are French shows. Italy has come in with Gomorrah and 1992. Germany is also getting more international recognition, so I think Europe is getting stronger.”

But it is in Scandinavia where Thordarson has seen first-hand the evolution of many networks’ attitudes towards homegrown drama, with an increasing number of nets throwing themselves into the arena.

“We have seen dramatic changes in Scandinavia,” he says. “All of a sudden in Sweden there are channels like Kanal 5, TV3 and HBO Nordic commissioning drama, which is new. Most of the people here in Sweden have previously said there were only two channels commissioning drama, and now there are five. The same thing is happening in other Scandinavian countries, including Iceland. We are seeing TV2 in Denmark adding more slots for local drama. The US content is giving way there, for example. I see this trend growing and the demand for unique content that’s not available everywhere is the reason for this. Channels are looking for more exclusive content.”

Sagafilm’s slate includes political drama The Minister for Iceland’s RUV, a fourth season of The Press (aka Pressa) for Channel 2 and an adaptation of a novel by author Stella Blómkvist.

But the series Thordarson says will be a game-changer for the firm is a new nine-part drama called Case, a thriller spin-off from its legal series Réttur (The Court).

Case opens with the apparent suicide of a promising young ballerina, and follows the battle between her biological parents and her foster parents to uncover the truth behind her death – all seen through the eyes of the lawyers involved. It is due to premiere in mid-October on Iceland’s Channel 2.

“The themes in the series are very much to do with what’s going on with social media – the problems of young people being too open online and the fact young girls are being manipulated to do things they’re not supposed to do. We expose a lot of dirt and filth along the way, not necessarily all connected to the death of this girl.

“We believe this series will change everything for us. If you take the UK, we saw BBC Four starting to air content they believed was for niche audiences, like Wallander, The Killing and our series The Night Shift. But it turned out a lot of British people want to watch international series not spoken in English. We’re like that everywhere, we just want good content – it doesn’t matter what language is spoken – and that benefits smaller markets. This year and next year you will see Icelandic, Finnish and Eastern European series doing very well internationally.”

Case follows the aftermath of a ballerina's suicide
Case follows the aftermath of a ballerina’s suicide

A consequence of, or perhaps the motivation for, greater coproduction is the increasing budgets television dramas now demand, and Thordarson says Sagafilm is already adapting its own financing model.

“We used to look at Iceland as our primary market, but now we look at Europe as our primary market,” he says. “We’re financing our series completely differently now. In the past we financed 90% in Iceland and perhaps brought one Scandinavian channel on board. Now we’re looking at projects where we’re financing half out of Iceland and the rest internationally. It’s a completely different way of approaching things.

“The projects have changed as well; they’ve become more international. We look for stories we know will work in more than one country. We are even looking to commission things that are set in Iceland, but are not commissioned for Icelandic channels. Maybe we will sell it to an Icelandic channel. So we’re definitely doing things differently and looking for things that are global and fit into this coproduction model with characters from more than one country.”

Sagafilm’s expansion into Sweden, coupled with the growing appetite for Icelandic drama – BBC Four previously acquired Trapped – means it is now well placed to make its case for being a major player in the international market.

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