Sofie had the same issues and then we went, ‘Okay, let’s do a silent type, let’s do an awkward type.’ That suited me fine, as I didn’t have to focus on her private life. There were US shows where the heroine was talking about her private life, her kids and her family. “I like the genre and I lean very strongly toward the silent types. “ It’s probably fair to say Lund is 50 per cent Sveistrup, 50 per cent Gråbøl. “She had never done anything like this before”, says Sveistrup, “but because she’s such a good actress, I didn’t see any problem with it. Known at that time for her comedy roles, Gråbøl was a tough sell to the broadcaster. “It was a bit like Cold Feet.”) and wanted the actress to play Sarah Lund, crime investigator extraordinaire, from the get-go. Sveistrup first worked with Sofie Gråbøl on comedy-drama Nikolaj And Julie (“It was quite good,” he says. I like the whole idea of sending Sofie Gråbøl into dark basements.” But the banal thing is that I just like thrillers. I had this thought we could maybe tell a more realistic story about a murder than we had seen before. Everything was built up around the image of domino pieces falling: when one piece falls, everybody falls. I wanted it to be one killing uniting some characters living in a city. I didn’t want it to be just a police HQ story. So I wanted to do something more epic, something more novel-like. I felt it was unrealistic and I felt it was a recipe actually. At the same time, the heroine had her private life.
#Hasi female version serial
Many of them were shows depicting a detective who had 45 minutes to solve a murder mystery and there was a serial killer and the next episode was exactly the same.
“I felt a bit bored with the usual shows. The first season dealt with the murder of 19 year-old Nanna Birk Larsen, the second explored the killing of lawyer Anne Dragsholm and the third followed the kidnapping of nine year-old Emilie Zeuthen.
#Hasi female version tv
Set in Copenhagen, The Killing debuted on Danish TV on JanuBBC4 didn’t run it until 2011 - and was initially built on the premise of following a crime investigation over 20 days in 20 episodes (seasons two and three tightened the focus to ten days/ten episodes). If you haven't watched any of the three seasons of The Killing, major plot spoilers are contained within this feature. We get a chance to look into the abyss and then move back to the sofa and say, ‘Ooh, I’m happy that’s not me.” “Maybe we feel attracted to it because as we live our normal lives and these stories take us to the edge. “We are all suckers for a good crime story,” he says. Here Sveistrup talks us through the ten key ingredients that made the show successful. Now it’s a bit of a relief.” Having finished in Denmark in November and on Saturday night on BBC4, the finale of season three retires one of TV’s greatest detectives, Sofie Gråbøl’s Sarah Lund, and, especially in season one, one of TV’s greatest crime thrillers, a gripping mixture of mystery, miserablism, family, politics and knitwear.
#Hasi female version full
Lund and Meyer, we’ll miss you more than you’ll ever know. Already looking forward to Series 2 later this year.ģ1 March: Lund makes the cover of G2! Full article available here.“I’m not missing Sarah Lund yet,” says The Killing’s creator and show-runner Søren Sveistrup. At some point, I’ll be watching the whole 20 episodes again in the knowledge of who committed the murder – which I’m sure will be an equally rewarding viewing experience. I might add that my guess at the murderer was completely wrong (and many others on Twitter had smugly got it right). But if you would like to know whodunnit and to read some cogent analysis of the last two epiosodes, the place to go is Vicky Frost’s excellent blog at The Guardian.
Peabody Investigates, no spoilers are given here. And last night, it delivered a nail-biting and utterly gripping denouement that was Shakespearian in its tragedy and pathos. We ended, with perfect circularity, in the woods where we started Nanna’s story – one last, lovely touch. In Sarah Lund, it gave us a gritty, obsessive and sometimes flawed investigator, who won our hearts with her single-minded determination and her jumpers. The Killing maintained its suspense and quality in a quite remarkable fashion over each of its 20 episodes. Twenty hours of superb crime drama, which had 500,000 of us gripped for two hours every single week, aired its last two episodes last night. Mrs Peabody’s review of the first two episodes is available here.
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