Jonas Gardell and Simon Kaijsers new miniseries premieres January 1 – a day in the tv context, become the closest synonym with ”Ivanhoe”. But where the movie about the noble knight, allows a somewhat absent-mindedly watching makes ”The days that the flowers are blooming” is the exact opposite.
the narrative structure, and moves alternately between the late 70's, early 90's and the present day. In addition, the woven flashbacks from another timeline into the story. During the series ' three episodes, viewers follow the teenagers, Erik, Michael and Benny, which at the end of the 70's growing up in a kedjehusområde outside Stockholm. Some events have an immediate impact for the guys and their families, other lie dormant and flare up decades later.
this time we have jumped too high and might lands we with a belly flop.
– It is really a jättesvår history, " says Jonas Gardell, who wrote the script.
– Just to get together the script was a challenge. I thought, ”How in the world am I doing this?” And in klipprummet was the feeling of a beginning: ”this time we have jumped too high and might lands we with a belly flop”.
believe that it was a challenge to weave together the series ' many different themes.
– the Document contains several overall themes, but the most dominant is loss, and how we as people handle it. All of the families affected by the suffering of various size and kind, " says Simon Kaijser.
We like dramas, which sees every human being.
"The days are as the flowers bloom” is the duo's third production – after ”The half hidden” (2009) and ”never Wipe tears without gloves” (2012). Kaijser argue that their cooperation has been refined through the years.
Read the DN interview with Jonas Gardell from August 2018
" I think we are now even more secure with this associative berättarformen, that we have a greater confidence in it. Then I found it, in fact, already from the start that we spoke the same language. We have a similar sentiment, this heightened sense of emotion. We like the dramas that see every person, " explains Simon Kaijser.
points out that the cooperation has functioned well right from the start.
– in the Face of ”The half hidden” came Simon's home to me and instead to sniff at each other we started to work at once. We understood each other, simply. I don't let anyone think about my script but the one I let in, I trust fully. Then, I'm extremely unpretentious. And with Simon, I decided immediately.Jonas Gardell is up to date with a new tv series after the acclaimed the works. Photo: Elin Åberg
my colleague has also affected what kinds of scripts for years he decided to write.
– Since my scripts are composed of many interconnected parts, it is important that the director may, with all of them. It is not possible to say: ”these scenes were not so good, we have to throw them away”, then everything falls. Simon is, however, extremely skilled in the recordings that I dare to write a hard script, which I trust he will get it together, " he says and continues:
– And each time, I have written more and more difficult. And this time I wrote such an incredibly multi-faceted story. But then, it also becomes a greater challenge to weld the components into a whole.
Both what has happened previously and what's happening in the present moment, exists in parallel.
– During the post-processing, we made some crucial changes. One of the families ' story was depicted in an unnatural order, so we put it in klipprummet. Then we changed also which of the characters acting narration. The paragraphs were the most important to get the story to flow.
– A sense of concurrency. For example, in the final scene when everything is tied together, then it feels like everything happens at the same time. Both it has happened before and it happens in the present moment, exists in parallel. For me it is a perfect matter of course that life is so, "says Jonas Gardell and continues:
" actually I feel genuinely proud and stuck over the original release version. Without compromising a millimeter on the level of difficulty, we have managed to create a sophisticated drama that at the same time sucks in the viewer. And the final scene is the most beautiful thing I've ever written. It is a solemn scene is accompanied by a Hebrew sorgebön. Where I am also a little proud, that I at the age of 55 dare to write so epic. I think I have the right to do it at this point.
even if the three criteria he decided that all his creation should include: courage, ambition and ”a huge risk that it goes awry”.
" I need to take advantage of the time I have left. If I get 25 years to the is I 80. It is a miracle if I'm still writing and creating. There are many who still do it, but is there anything my stories has taught me it is that I never take it for granted.
Read more: Tv review: Gardellserien ”The days are as the flowers bloom” is a cry for help.