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‘YOU ARE ABOUT TO ENTER INTO A SAGA...’ Ole Bornedal
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‘YOU ARE ABOUT TO ENTER INTO A SAGA...’ Ole Bornedal
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contemporary Denmark and the Danes. The tragic loss and ultimate humiliation became a turning point for the nation, moving from an outwardlooking perspective, defining itself as an influential nation in Europe, to one of looking inwards, defining itself and its qualities as a people - for better or worse - as one family. What is known today as the “Danish welfare model” - the nation taking care of all of its citizens - has its offspring from that new momentum and self-definition. Thus, as in many of life’s instances, the chaos, conflict and suffering of wartime generated a new creative soil to grow in.
1864 is the first Danish epic drama series of this size. Why? OB
Interview with
Ole Bornedal
Epic dramas are extremely rare in Scandinavia where the high production costs make it very difficult to explore historical themes. Even though recent Scandinavian TV series have marketed themselves successfully on the international scene as some of the most interesting and probing psychological dramas, budgets are still very limited. In fact, it is only with the aid of government funding that this production was made possible – a funding process I found very challenging. Why tell a story about the war of 1864?
OB
As individuals we are all built on the history of our nations - our genes inherited from our parents and their parents before them - the ones who cultivated the soil and fought not just the daily battles of survival, but the real wars as well. We tend to forget in the global consumer society that the issues at hand are always the next issues and not the ones we left behind. We live for the future and not the past - even if the past is the absolute definition of what we are and why. There is no such thing as a ‘Scandinavian war film’ for quite obvious reasons. Historically, the big wars meant either neutrality for our country or, at most, stories of small resistance groups fighting Nazis. What does 1864 mean for the Danes of today?
OB
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1864 was the last “great war”, a punishing conflict that relegated Denmark to the tiny nation it is today. A nation that over the centuries developed from being the ultimate power in northern Europe, to end up being humiliated and more or less disgraced in the eyes of European politics. In a meaningless war built on a thin layer of euphoric nationalism, its outcome, more or less, defines
What is your relationship to the story? OB
What is your story? OB
1864 has many characters and consists of many tales. But foremost we follow two brothers, Laust and Peter, and their relationship with Inge, a quite extraordinary woman for the times - a modern woman, intelligent and beautiful and fighting for her rights. A relationship rooted in childhood, as they grow up together, it gets both stronger and problematic as both Laust and Peter fall in love with her. The brothers are simple peasants, and quite unlike the spoiled and tormented Baron’s son, Didrich, who is also in love with Inge. During this time the national liberals in Copenhagen, led by Hall, Lundbye and especially Monrad, are talking about expanding the nation, creating one large Kingdom and annexing the county of Slesvig to make this happen. This, despite all treaties stating it would be against international law and result in provoking the German state to no end. But Denmark is euphoric, self-confident and strong, a nation freshened by new winds, new ideas and a new constitution. However, across the border, there is Prussia and Bismarck. It’s a classic story about power and the abuse of power and of people getting separated.
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The battle at Dybbøl Mill has always held my interest. I am knowledgeable as to the historical relationships behind the battle and the personalities that were an influential part of it. But if it is romance, war or drama, if it’s poetic, factual, intimate, expressive or brutal, I’ll leave that up to the film gods. The closest one can come to an answer is this: that 1864 encompassed it all. I have seldom had a story in my hands that was so open for the telling of such deep, universal stories. And the more I investigated it, the more attracted I was, as it was so generous. Throughout many years I have thought of these pictures: A thundering heaven with fear-stricken Danish soldiers underneath it, and then the Prussians attack and within a few hellish hours father and son are extinguished in a savage storm of violence that was to be forever engrained in the Danish national consciousness. And strangely enough, ultimately forgotten. I always thought that there must be one big story in this for all of us. A history of people caught in a mad and fatal reality, and this story I am very happy to be able to tell. Does 1864 depict the actual history of the war?
OB
As with all historical film or TV productions, artistic liberties need to be taken within the historical context. Some characters we make too much of, others, much too little. These choices are made to enable the proper function of a dramatic correctness within our story as opposed to a historical correctness. For example, Heiberg is overdone as a dramatic figure, but the point is that as a cultural figure she most likely, via detours, played a large and inspirational role in the war, just as Grundtvig did. It is historically correct that the cultural elite supported this war, and that is what we have described. But how we do it has been influenced by our artistic freedom.
contemporary Denmark and the Danes. The tragic loss and ultimate humiliation became a turning point for the nation, moving from an outwardlooking perspective, defining itself as an influential nation in Europe, to one of looking inwards, defining itself and its qualities as a people - for better or worse - as one family. What is known today as the “Danish welfare model” - the nation taking care of all of its citizens - has its offspring from that new momentum and self-definition. Thus, as in many of life’s instances, the chaos, conflict and suffering of wartime generated a new creative soil to grow in.
1864 is the first Danish epic drama series of this size. Why? OB
Interview with
Ole Bornedal
Epic dramas are extremely rare in Scandinavia where the high production costs make it very difficult to explore historical themes. Even though recent Scandinavian TV series have marketed themselves successfully on the international scene as some of the most interesting and probing psychological dramas, budgets are still very limited. In fact, it is only with the aid of government funding that this production was made possible – a funding process I found very challenging. Why tell a story about the war of 1864?
OB
As individuals we are all built on the history of our nations - our genes inherited from our parents and their parents before them - the ones who cultivated the soil and fought not just the daily battles of survival, but the real wars as well. We tend to forget in the global consumer society that the issues at hand are always the next issues and not the ones we left behind. We live for the future and not the past - even if the past is the absolute definition of what we are and why. There is no such thing as a ‘Scandinavian war film’ for quite obvious reasons. Historically, the big wars meant either neutrality for our country or, at most, stories of small resistance groups fighting Nazis. What does 1864 mean for the Danes of today?
OB
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1864 was the last “great war”, a punishing conflict that relegated Denmark to the tiny nation it is today. A nation that over the centuries developed from being the ultimate power in northern Europe, to end up being humiliated and more or less disgraced in the eyes of European politics. In a meaningless war built on a thin layer of euphoric nationalism, its outcome, more or less, defines
What is your relationship to the story? OB
What is your story? OB
1864 has many characters and consists of many tales. But foremost we follow two brothers, Laust and Peter, and their relationship with Inge, a quite extraordinary woman for the times - a modern woman, intelligent and beautiful and fighting for her rights. A relationship rooted in childhood, as they grow up together, it gets both stronger and problematic as both Laust and Peter fall in love with her. The brothers are simple peasants, and quite unlike the spoiled and tormented Baron’s son, Didrich, who is also in love with Inge. During this time the national liberals in Copenhagen, led by Hall, Lundbye and especially Monrad, are talking about expanding the nation, creating one large Kingdom and annexing the county of Slesvig to make this happen. This, despite all treaties stating it would be against international law and result in provoking the German state to no end. But Denmark is euphoric, self-confident and strong, a nation freshened by new winds, new ideas and a new constitution. However, across the border, there is Prussia and Bismarck. It’s a classic story about power and the abuse of power and of people getting separated.
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The battle at Dybbøl Mill has always held my interest. I am knowledgeable as to the historical relationships behind the battle and the personalities that were an influential part of it. But if it is romance, war or drama, if it’s poetic, factual, intimate, expressive or brutal, I’ll leave that up to the film gods. The closest one can come to an answer is this: that 1864 encompassed it all. I have seldom had a story in my hands that was so open for the telling of such deep, universal stories. And the more I investigated it, the more attracted I was, as it was so generous. Throughout many years I have thought of these pictures: A thundering heaven with fear-stricken Danish soldiers underneath it, and then the Prussians attack and within a few hellish hours father and son are extinguished in a savage storm of violence that was to be forever engrained in the Danish national consciousness. And strangely enough, ultimately forgotten. I always thought that there must be one big story in this for all of us. A history of people caught in a mad and fatal reality, and this story I am very happy to be able to tell. Does 1864 depict the actual history of the war?
OB
As with all historical film or TV productions, artistic liberties need to be taken within the historical context. Some characters we make too much of, others, much too little. These choices are made to enable the proper function of a dramatic correctness within our story as opposed to a historical correctness. For example, Heiberg is overdone as a dramatic figure, but the point is that as a cultural figure she most likely, via detours, played a large and inspirational role in the war, just as Grundtvig did. It is historically correct that the cultural elite supported this war, and that is what we have described. But how we do it has been influenced by our artistic freedom.
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Synopsis
Denmark is enthused following the victories over the Prussians in the war 184851, and is now scheming to annex Schleswig into the Danish Kingdom. Inflamed with nationalism the leader of the Danish parliament Monrad neglects all European treaties and throws the country into war with Prussia.
At the same time the two peasant brothers Laust and Peter grow up and fall in love with the well-read and beautiful Inge. But when the war erupts Peter and Laust volunteer for the army. Meanwhile in 2014 the young maladjusted and depressed Claudia,
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who lost her brother in the war in Afghanistan, is forced to work as an aide for the old Baron near the place where Peter and Laust grew up. Claudia finds Inge’s diary and through the personal story of the eccentric Baron she becomes an eyewitness to history and the
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extraordinary love story of Peter, Laust and Inge and how the brothers along with thousands of Danish soldiers fight one of the bloodiest battles in Danish history. The slaughterhouse at Dybbøl that changed Denmark forever.
Synopsis
Denmark is enthused following the victories over the Prussians in the war 184851, and is now scheming to annex Schleswig into the Danish Kingdom. Inflamed with nationalism the leader of the Danish parliament Monrad neglects all European treaties and throws the country into war with Prussia.
At the same time the two peasant brothers Laust and Peter grow up and fall in love with the well-read and beautiful Inge. But when the war erupts Peter and Laust volunteer for the army. Meanwhile in 2014 the young maladjusted and depressed Claudia,
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who lost her brother in the war in Afghanistan, is forced to work as an aide for the old Baron near the place where Peter and Laust grew up. Claudia finds Inge’s diary and through the personal story of the eccentric Baron she becomes an eyewitness to history and the
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extraordinary love story of Peter, Laust and Inge and how the brothers along with thousands of Danish soldiers fight one of the bloodiest battles in Danish history. The slaughterhouse at Dybbøl that changed Denmark forever.
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I read the letters from the soldiers
at the front - exciting characters whom you immediately felt in the presence of and who brought forth the melancholy of your soul. Ole Bornedal
Ole Bornedal
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I read the letters from the soldiers
at the front - exciting characters whom you immediately felt in the presence of and who brought forth the melancholy of your soul. Ole Bornedal
Ole Bornedal
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‘1864 IS A MAGNIFICENT PIECE OF DANISH HISTORY, ART AND CRAFTSMANSHIP. PRODUCING THIS EPIC DRAMA HAS BEEN CHALLENGING AND MIND BLOWING, AND THANKS TO A LOT OF TALENTED PEOPLE WE ARE EXTREMELY PROUD TO PRESENT 1864 TO THE AUDIENCE AROUND THE WORLD.’ Jonas Allen & Peter Bose, Producers, Miso Film
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‘1864 IS A MAGNIFICENT PIECE OF DANISH HISTORY, ART AND CRAFTSMANSHIP. PRODUCING THIS EPIC DRAMA HAS BEEN CHALLENGING AND MIND BLOWING, AND THANKS TO A LOT OF TALENTED PEOPLE WE ARE EXTREMELY PROUD TO PRESENT 1864 TO THE AUDIENCE AROUND THE WORLD.’ Jonas Allen & Peter Bose, Producers, Miso Film
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As I delved deeper into all the abandoned memories scattered in the dust after the thundering cannons,
I found the entire seed for this series. Ole Bornedal
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As I delved deeper into all the abandoned memories scattered in the dust after the thundering cannons,
I found the entire seed for this series. Ole Bornedal
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Photo: Stephen Freiheit Photo: Elona Sjøgren Photo: Sasha Gusov Photo: Bax Lindhardt Photo: Daniel Kennedy
Photo: Anders Heinrichsen Photo: Robin Skjoldborg Photo: Stefan Kluter Photo: Isak Hoffmeyer Photo: Miklos Szabo
Photo: Miklos Szabo
Photo: courtesy of Lindberg Management
Photo: Robin Skjoldborg
Photo: courtesy of Annetta Elmo Management
Photo: Iza Jacobs
Cast
Jens Frederik Sætter-Lassen Plays Peter {ID:A, Borgen}
Jacob Oftebro Plays Laust {Kon-tiki, Max Manus}
Sidse Babett Knudsen Plays Johanne Louise Heiberg {Borgen, The One and Only}
Søren Malling Plays Johan {Borgen, A Royal Affair}
Pilou Asbæk Plays Didrich {Sex, Drugs & Taxation, R, Borgen}
Bent Mejding Plays Severin {A Royal Affair, The Killing}
Nicolas Bro Plays Monrad {Nymphomaniac, Reconstruction}
Rainer Bock Plays Bismarck {Inglorious Basterds, Unknown Identity}
James Fox Plays Lord Palmerston {Charlie & The Chocolate Factory}
Sarah Sofie Boussnina Plays Claudia {Bora Bora, Disgrace, Park Road}
Marie Tourell Søderberg Plays Inge {Sex, Drugs & Taxation, Itsi Bitzi}
Søren Pilmark Plays Lundbye {The Killing, King’s Game}
Lars Mikkelsen Plays Tøger {Headhunter, Kira’s Reason}
Barbara Flynn Plays Queen Victoria {Miss Potter, Hornblower}
Søren Sætter-Lassen Plays De Meza {Marie Krøyer, I am Dina}
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Photo: Stephen Freiheit Photo: Elona Sjøgren Photo: Sasha Gusov Photo: Bax Lindhardt Photo: Daniel Kennedy
Photo: Anders Heinrichsen Photo: Robin Skjoldborg Photo: Stefan Kluter Photo: Isak Hoffmeyer Photo: Miklos Szabo
Photo: Miklos Szabo
Photo: courtesy of Lindberg Management
Photo: Robin Skjoldborg
Photo: courtesy of Annetta Elmo Management
Photo: Iza Jacobs
Cast
Jens Frederik Sætter-Lassen Plays Peter {ID:A, Borgen}
Jacob Oftebro Plays Laust {Kon-tiki, Max Manus}
Sidse Babett Knudsen Plays Johanne Louise Heiberg {Borgen, The One and Only}
Søren Malling Plays Johan {Borgen, A Royal Affair}
Pilou Asbæk Plays Didrich {Sex, Drugs & Taxation, R, Borgen}
Bent Mejding Plays Severin {A Royal Affair, The Killing}
Nicolas Bro Plays Monrad {Nymphomaniac, Reconstruction}
Rainer Bock Plays Bismarck {Inglorious Basterds, Unknown Identity}
James Fox Plays Lord Palmerston {Charlie & The Chocolate Factory}
Sarah Sofie Boussnina Plays Claudia {Bora Bora, Disgrace, Park Road}
Marie Tourell Søderberg Plays Inge {Sex, Drugs & Taxation, Itsi Bitzi}
Søren Pilmark Plays Lundbye {The Killing, King’s Game}
Lars Mikkelsen Plays Tøger {Headhunter, Kira’s Reason}
Barbara Flynn Plays Queen Victoria {Miss Potter, Hornblower}
Søren Sætter-Lassen Plays De Meza {Marie Krøyer, I am Dina}
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Facts
People
Writer & Director Ole Bornedal (The Possession, I Am Dina, Nightwatch) Genre Love & War Epic Drama
Producers Jonas Allen & Peter Bose (Dicte, Those Who Kill, Veum)
Budget 23 million Euros
Co-Producers Nadia Kløvedal Reich & Piv Bernth (The Legacy, Borgen, The Killing) Ole Bornedal
Country / Language Denmark / Danish First Release Fall 2014
Director of Photography Dan Laustsen (The League of Extraordinary Gentlemen, Silent Hill, Solomon Kane)
Format Scope 1 : 2.35
Production Designer Niels Sejer (A Royal Affair, The Girl With The Dragon Tattoo, The Bridge)
Sound 5.1
Costume Designer Manon Rasmussen (The Hunt, Melancholia, In A Better World)
Duration TV Series: 8 x 58 Minutes Feature Film: 150 Minutes
Make-Up Designer Bjørg Serup (The Hunt, Submarino, Brotherhood)
Produced by Miso Film In Co-Production with Danmarks Radio 4Fiction FilmFyn Sirena Film
Casting Karin Jagd (All For Two, Just Another Love Story, The Substitute) Editors Anders Villadsen (The Possession, Deliver Us From Evil, Just Another Love Story) Benjamin Binderup (Dicte, Room 205, Those Who Kill) Jacob Thuesen (Little Soldier, Wallander - The Next Step, It’s All About Love)
Supported by TV2 Norway TV4 Sweden AB Svensk Filmindustri ARTE ZDF Enterprises Nordisk Film & TV Fond MEDIA Bitten & Mads Clausens Fond
Music Marco Beltrami (Carrie, World War Z, A Good Day To Die Hard) Still Photography Per Arnesen (Love Is All You Need, The Hunt, In A Better World)
Credits Not Contractual.
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Facts
People
Writer & Director Ole Bornedal (The Possession, I Am Dina, Nightwatch) Genre Love & War Epic Drama
Producers Jonas Allen & Peter Bose (Dicte, Those Who Kill, Veum)
Budget 23 million Euros
Co-Producers Nadia Kløvedal Reich & Piv Bernth (The Legacy, Borgen, The Killing) Ole Bornedal
Country / Language Denmark / Danish First Release Fall 2014
Director of Photography Dan Laustsen (The League of Extraordinary Gentlemen, Silent Hill, Solomon Kane)
Format Scope 1 : 2.35
Production Designer Niels Sejer (A Royal Affair, The Girl With The Dragon Tattoo, The Bridge)
Sound 5.1
Costume Designer Manon Rasmussen (The Hunt, Melancholia, In A Better World)
Duration TV Series: 8 x 58 Minutes Feature Film: 150 Minutes
Make-Up Designer Bjørg Serup (The Hunt, Submarino, Brotherhood)
Produced by Miso Film In Co-Production with Danmarks Radio 4Fiction FilmFyn Sirena Film
Casting Karin Jagd (All For Two, Just Another Love Story, The Substitute) Editors Anders Villadsen (The Possession, Deliver Us From Evil, Just Another Love Story) Benjamin Binderup (Dicte, Room 205, Those Who Kill) Jacob Thuesen (Little Soldier, Wallander - The Next Step, It’s All About Love)
Supported by TV2 Norway TV4 Sweden AB Svensk Filmindustri ARTE ZDF Enterprises Nordisk Film & TV Fond MEDIA Bitten & Mads Clausens Fond
Music Marco Beltrami (Carrie, World War Z, A Good Day To Die Hard) Still Photography Per Arnesen (Love Is All You Need, The Hunt, In A Better World)
Credits Not Contractual.
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I had to create a story. A factual fairy tale with strong people at its centre. Ole Bornedal
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I had to create a story. A factual fairy tale with strong people at its centre. Ole Bornedal
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‘WITH GREAT PASSION 1864 SUCCEEDS IN PORTRAYING A SMALL PART OF DANISH HISTORY WHICH HAD A HUGE IMPACT ON THE NATIONAL CHARACTER. THE STORY IS FAITHFUL TO ITS HISTORICAL ORIGINS WHILE AT THE SAME TIME MODERN IN ITS EXPRESSIONS AND WILL CAPTURE THE INTEREST OF THOSE WHO HAVE BEEN TOUCHED BY WAR AND LOVE.’ Nadia Kløvedal Reich, Head of Fiction, DR
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‘WITH GREAT PASSION 1864 SUCCEEDS IN PORTRAYING A SMALL PART OF DANISH HISTORY WHICH HAD A HUGE IMPACT ON THE NATIONAL CHARACTER. THE STORY IS FAITHFUL TO ITS HISTORICAL ORIGINS WHILE AT THE SAME TIME MODERN IN ITS EXPRESSIONS AND WILL CAPTURE THE INTEREST OF THOSE WHO HAVE BEEN TOUCHED BY WAR AND LOVE.’ Nadia Kløvedal Reich, Head of Fiction, DR
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Production Company
Miso Film was founded in 2004 by the producers Jonas Allen and Peter Bose, who started their collaboration on the Swedish thriller and crime series ‘Beck’ and ‘Wallander’. Miso Film initiated, developed and produced the awardwinning Norwegian crime series ‘Varg Veum’ (12x90 min), based on Gunnar Staalesen’s bestselling novels and more recently the acclaimed Danish crime series
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‘Those Who Kill’ (10x45 min) and ‘Dicte’ (10x45 min). Allen and Bose are currently executive producing the American remake of ‘Those Who Kill’ together with Imagine Television and FOX 21 for A&E Entertainment. On the big screen Miso Film has featured with the Danish thrillers ‘The Candidate’ and ‘Shadow of The Past’, and the animated feature ‘Jensen & Jensen’. Furthermore, Miso
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Film co-produced the Norwegian World War II resistance drama ‘Max Manus’, the biggest box-office success ever in Norway with 1.2 million admissions, as well as the English-language feature film ‘Ginger & Rosa’, directed by Sally Potter. Miso Film is currently producing the youth thriller ‘Danny’s Doomsday’, the TV-series follow-up ‘Dicte II’ and the Norwegian TV-series ‘Acquitted’.
Production Company
Miso Film was founded in 2004 by the producers Jonas Allen and Peter Bose, who started their collaboration on the Swedish thriller and crime series ‘Beck’ and ‘Wallander’. Miso Film initiated, developed and produced the awardwinning Norwegian crime series ‘Varg Veum’ (12x90 min), based on Gunnar Staalesen’s bestselling novels and more recently the acclaimed Danish crime series
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‘Those Who Kill’ (10x45 min) and ‘Dicte’ (10x45 min). Allen and Bose are currently executive producing the American remake of ‘Those Who Kill’ together with Imagine Television and FOX 21 for A&E Entertainment. On the big screen Miso Film has featured with the Danish thrillers ‘The Candidate’ and ‘Shadow of The Past’, and the animated feature ‘Jensen & Jensen’. Furthermore, Miso
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Film co-produced the Norwegian World War II resistance drama ‘Max Manus’, the biggest box-office success ever in Norway with 1.2 million admissions, as well as the English-language feature film ‘Ginger & Rosa’, directed by Sally Potter. Miso Film is currently producing the youth thriller ‘Danny’s Doomsday’, the TV-series follow-up ‘Dicte II’ and the Norwegian TV-series ‘Acquitted’.
Ole Bornedal Biography
Ole Bornedal is internationally one of the most recognized Danish directors and was one of the founders of the “New Danish Wave”. Bornedal directed ‘Nattevagten’ in 1994, a psychological thriller, which was selected for the Cannes Film Festival, Toronto and Sundance. Bornedal also directed the American remake ‘Nightwatch’ starring Ewan McGregor, Josh Brolin, Nick Nolte
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and Patricia Arquette for Miramax/ Dimension for whom he also co-produced Guiellermo del Toro’s ‘Mimic’. In 2002 Bornedal directed the international epic drama ‘I am Dina’ (starring Chris Eccleston, Maria Bonnevie, Mads Mikkelsen and Gerard Depardieu) that won the Montreal Film Festival in 2003. Bornedal’s later films ‘Just Another Love Story’, ‘The Substitute’ and ‘Deliver Us
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From Evil’, have all won international prizes throughout the world and have won general recognition among critics, as being filmmaking trying to mix style with basic storytelling on a high artistic level as well as being entertaining. In 2012 Bornedal directed the American thriller ‘The Possession’ for Sam Raimi and Lionsgate, which became the no. 1 horrorfilm of the year.
Ole Bornedal Biography
Ole Bornedal is internationally one of the most recognized Danish directors and was one of the founders of the “New Danish Wave”. Bornedal directed ‘Nattevagten’ in 1994, a psychological thriller, which was selected for the Cannes Film Festival, Toronto and Sundance. Bornedal also directed the American remake ‘Nightwatch’ starring Ewan McGregor, Josh Brolin, Nick Nolte
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and Patricia Arquette for Miramax/ Dimension for whom he also co-produced Guiellermo del Toro’s ‘Mimic’. In 2002 Bornedal directed the international epic drama ‘I am Dina’ (starring Chris Eccleston, Maria Bonnevie, Mads Mikkelsen and Gerard Depardieu) that won the Montreal Film Festival in 2003. Bornedal’s later films ‘Just Another Love Story’, ‘The Substitute’ and ‘Deliver Us
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From Evil’, have all won international prizes throughout the world and have won general recognition among critics, as being filmmaking trying to mix style with basic storytelling on a high artistic level as well as being entertaining. In 2012 Bornedal directed the American thriller ‘The Possession’ for Sam Raimi and Lionsgate, which became the no. 1 horrorfilm of the year.
‘BBC LEADS THE WAY WITH INTERNATIONAL DRAMA AND I’M DELIGHTED WE’LL BE SHOWING DANISH DRAMA 1864 NEXT YEAR AS PART OF OUR SLATE OF AMBITIOUS NEW SERIES.’ Cassian Harrison, Channel Editor, BBC
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‘BBC LEADS THE WAY WITH INTERNATIONAL DRAMA AND I’M DELIGHTED WE’LL BE SHOWING DANISH DRAMA 1864 NEXT YEAR AS PART OF OUR SLATE OF AMBITIOUS NEW SERIES.’ Cassian Harrison, Channel Editor, BBC
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‘WE ARE LIVING FOR THE FUTURE, NOT THE PAST. EVEN IF THE PAST IS THE SHEER DEFINITION OF WHAT WE ARE AND WHY.’ Ole Bornedal
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‘WE ARE LIVING FOR THE FUTURE, NOT THE PAST. EVEN IF THE PAST IS THE SHEER DEFINITION OF WHAT WE ARE AND WHY.’ Ole Bornedal
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Sales
Artwork: Paul Wilson (yellow1.dk)
AB Svensk Filmindustri SE-169 86 Stockholm, Sweden Phone: +46 8 680 35 00 Fax: + 46 8 710 44 60 international@sf.se www.sfinternational.se
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