Life of a legend
Vigdís star Nína Dögg Filippusdóttir and producer Rakel Garðarsdóttir outline why they spent a decade trying to make this scripted biopic of Iceland’s first female president and reveal how they overcame the creative challenges posed by making the period drama.
Icelandic actor Nína Dögg Filippusdóttir had met the country’s former president, Vigdís Finnbogadóttir, on several occasions when she was performing in the theatre. Yet it was a career high when the politician came to visit the set of her latest television project – a biopic called Vigdís.
The four-part series stars Filippusdóttir as Finnbogadóttir, in a story that follows her journey from an ordinary girl who wanted the same opportunities as her brother to her studies in France and her own career running a theatre group before entering politics. In 1980, she became first woman in the world to be democratically elected head of state, and she remains the woman to have held that position for the longest, after serving four terms over 16 years.
It was while Filippusdóttir was in character for scenes set at a theatre that the real Finnbogadóttir appeared for a set visit, something the actor describes as an “amazing moment.”
“I’m playing her in her theatre times. I’m playing her in her clothes doing a scene in the theatre, and she comes to set to watch us,” Filippusdóttir tells DQ. “It took all my strength just to not burst into tears. I got goosebumps. I’m there in this theatre doing her text, saying things she did, and she’s there. It was the most amazing thing I’ve ever experienced. We had a beautiful afternoon with her. Everyone came to talk to her. Many people from the crew had never met her. Everyone was getting a selfie.”
That moment, and the launch of the series earlier this year, also marked the culmination of a decade of work from producer Rakel Garðarsdóttir and her production company Vesturport (Blackport) to bring Finnbogadóttir’s story to the screen.
“She’s a legend – one of the only legends Iceland has,” Garðarsdóttir says. “People adore her because she did well in her job and became an icon. But for me, she is just like everyone else. It’s such a human story. She had dreams and she followed her dreams.
“She went to school in France. Her marriage failed. She couldn’t have children so she changed adoption laws in Iceland so a single woman could adopt a baby. She survived cancer in the years no one survived cancer. That was so fascinating to me. It’s a story of hope. That’s what drove us to do it.”
The project was originally conceived as a feature film, but creators Garðarsdóttir and Ágústa M Ólafsdóttir didn’t want to turn out a traditional biopic that replayed events previously documented in factual programmes. In Iceland, “it’s also tricky to do period films,” the producer says. “We’re a small nation with a small market, and the budget is totally different from other budgets in the world.
“But at the same time, it’s also more fun because you have to think very creatively. You have to think of solutions, so the whole group came together and just put all their heart in it. It was one of the best productions to work on, also because they have so much respect for Vigdís. Everyone wanted to do so well. You really felt it and you can really see it on the screen.”
After years of development, a series written by Ólafsdóttir and Björg Magnúsdóttir moved forward when Elín Hall was identified as the perfect actor to play the young Vidgís on screen alongside Filippusdóttir as the older version of the character. RÚV airs the series in Iceland, while it will also roll out across the Nordics on DR (Denmark), NRK (Norway), YLE (Finland) and SVT (Sweden). Reinvent Studios is handing distribution.
“When you look at a photograph of young Vigdís and see a photograph of Elín, they look exactly the same,” says Garðarsdóttir. “Maybe it was written in the stars or something, that we were maybe waiting for her. I really believed it was meant to be.”
The drama highlights the moments that led Finnbogadóttir to become her country’s leader, culminating in her election in 1980. Garðarsdóttir wanted to change the perception that Finnbogadóttir was born “with a silver spoon” and that it was a “given” she would become president.
“We wanted to tell the story that if she could become a president, you can do whatever you want to do if you just believe in yourself,” the producer continues. “I know it’s a cliché, but that’s the story. And for us, it’s not only a story about Vigdís; it’s also about the woman who made this path for women in the world, for equality.
“In our lifetime, so much has changed, and we have to keep an eye on that so we don’t forget it, and keep on moving towards the good, because the world is falling asleep. There are so many people who have made this good path for us and we’re slowly maybe losing it because of a few people in the world. That’s very dangerous. That’s also what we wanted to try to do.”
The production team were in contact with the real Finnbogadóttir throughout the development process, and she became friend to the producers in the process. And while Filippusdóttir had been lined up for the lead role from the start, the actor had to call the politician before getting final approval.
“Rakel called me and said, ‘You have to call Vigdís,’ and I was like, ‘Oh my God,’” Filippusdóttir remembers. “I had to call her home phone and she was just like, ‘Vigdís.’ I’m like, ‘Yeah, hi, it’s Nina Dögg,’ and she said, ‘I’ve been waiting for your call.’”
But that ominous start quickly gave way to a “beautiful” conversation that led to an invitation to share a cup of coffee at the former president’s house, “and we would just chat and chat and chat,” the actor says.
“She lost her brother when he was 20 and I lost my brother when he was 36, so we have a deep sorrow in our hearts that we could combine together,” Filippusdóttir continues. “Then, of course, there’s the view of the theatre. So we connected on many layers. She was really generous with her life, with her time, with everything. She lent us her clothes and told us endless stories. We have been in contact with her through all the 10 years.”
That Finnbogadóttir backed the project didn’t mean the writers shied away from showing difficult moments in her life. “She comes from the theatre so she understands drama,” says Filippusdóttir. “She understands it’s not a documentary. We added all her best friends into one person. We got permission to do things for the story.”
Filippusdóttir decided early on that she would not try to imitate her real-life counterpart on screen. “So I was just stealing elements from her. Of course, there are a lot of videos of her from the past,” she says. “The key was when I was looking through a lot of videos of her and meeting her, I found she has an inner curiosity and an inner naughty side. She’s really spontaneous. Then I talked to Elín and I said, ‘I think that’s a beautiful key for us.’ She has always had this little rebellious side.”
Garðarsdóttir places Finnbogadóttir among her heroes – a list that also includes David Attenborough and Jane Goodall, as they are all people who have proven how an individual can make a difference and lay a path for others to follow in their footsteps.
Behind the scenes, the producer tackled numerous roles, with a hand in casting and locations, among other duties. But with a relatively small budget compared to that enjoyed by period dramas produced in other countries, hiring key members of crew proved to be crucial. The series is directed by her husband and fellow Vesturport exec Björn Hlynur Haraldsson alongside Tinna Hrafnsdóttir, with cinematographer Eli Arenson, costume designer Dóra Hrund Gísladóttir and production designer Heimir Sverrisson.
“We were all willing to help when it was needed so we could cut out some salaries. I would love to have casting [directors]. It’s not that I want to do it; I do it with pleasure, but that’s how you can buy more expensive wigs,” Garðarsdóttir explains. “We had to put most of the money in costumes, wigs and the art department, of course, to make it happen. Then we tried to make sure most money goes where you can see it on the screen.
“But the key is that you put the money in the right spot and you have people who are the best and you can trust. That’s very important as a producer, that you trust the people you hire and you just leave them alone and they do what they do best.”
Locations were also important, with filming taking place across the Icelandic capital, Reykjavik. Even scenes set in France and Denmark were shot locally. But with a project like Vigdís, it seemed everyone was willing to open their doors or offer their services to support a project about the country’s great stateswoman.
“All the people we got, they wanted to be part of the series because of the legend Vigdís is,” the producer adds. “You want to tell your grandchildren, ‘Yes, I was part of this series. I made this series for you.’ It’s mostly thanks to Vigdís that we got all the crew. When we were calling around to get locations. Every time you say ‘Vigdís,’ we would get the house for free.”
What has surprised Garðarsdóttir and Filippusdóttir – who are sisters-in-law – is the impact the series had on audiences in Iceland when it debuted at the start of the year, with the show proving popular among families.
“What was really important for us was that families came together [to watch the series] on Sunday evenings,” says Filippusdóttir. “I have a son who’s 13 and he was just amazed by it. It was a big discussion about old times for the kids, so it has a very beautiful effect on all ages.”
“And while people were waiting for the next episode, they spent the week at the coffee machine in work talking about it. Her biopic went back on the bestselling list,” says Garðarsdóttir. “She was wearing a knitted dress when she got elected – it was the original in our series – and everyone started to knit her dress.”
Following its local launch, Vidgis also made its international debut when it was selected to be screened at the Berlinale Series Market in February. Garðarsdóttir believes this “human story” can travel beyond borders, and says the show illustrates how people have the power to change their own lives and wider society.
“It’s also about daring to take chances, following your heart and following your intuition,” Filippusdóttir adds. “She always does that. You are so thankful for her passion and daringness. It’s without boundaries.”
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tagged in: DR, Nína Dögg Filippusdóttir, NRK, Rakel Garðarsdóttir, Reinvent Studios, RUV, SVT, Vesturport, Vigdís, YLE