“When you work with great producers like Patrick [Andersson] And Jacob [Abrahamsson]You can do anything, even in light of the current difficulties in making documentary films, ”the British director Lorna Taker tells us from her home in London.
Taker, a relatively new figure in the British film industry, distinguished with the documentary filmmaking because it just launched its latest feature Garbo: Where did you go? , Document on the life of the GRETA GARBO screen.
The film has been produced by mylla films based on Abrahamsson and Andersson headquarters in cooperation with Films Films. The project is the first international production of Mylla-sign of the company’s increasing ambitions and resources. Anderson and Ibrahim Amramson launched the company in 2022 and soon became one of the most humane figures in Scandinavian cinema. In a sign of its popularity, the president of the Goturg Film Festival, Pia Lundberg, even identified the duo during a back interview before a festival with us.
The obsessed with self -described film has known each other since the 1990s when they worked as a writer and programmers at the Stockholm Film Festival. Abrahamson background in distribution. He is the executive director and co -owner of the North and Balt Distribution Company in the event of a Baltic stop. It also runs the famous Arthouse Cinema in Stockholm. Andersson is an experienced product with credit on pictures like Lisa Langse’s trance And Aryster midsummer. We talked to the duo alongside this week in Göteborg.
“It’s a great cooperation,” Abrahamson says about Anderson.
Narrated by Numi Rabas, Garbo: Where did you go? This month was opened in Swedish cinemas and works as one of the few local produced features that will play a theatrical role this year in Sweden. Local industry, Anna Cronman, head of the Swedish Film Institute, said in an interview with him recently with Gothenburg PostHe is currently in a financial crisis. Cinema admission cases decreased significantly and production budgets were reduced. These issues have been multiplied by the wave of conservative cultural wars sweeping Swedish policy, which makes it more difficult than ever to produce business in the country, known as the development of respected directors such as Enjamar Bergman, Roy Anderson and Robin Ostrlwand.
Below, Andersson and Abrahamsson talk about some of these broader issues that hit Swedish cinema and how they managed to continue to transfer space for their work. They are also joined by Taker, who digs how a new image of Garbo’s life.
The deadline: Lorena, how did this project happen?
Lorena Taker: When you work with great producers like Patrik and Jakob, you can do anything, even in light of the current difficulties in making documentary films. We all know that documentaries no longer have budgets. This project came when Ibn Akhar Garbo continued. I was designed from the start that the only documentary films that I wanted to make were projects where we could explore the big life questions and stories that could inspire without being preached. But when I started reading Garbo’s personal messages, I realized that there is something special here, because I understood what she was going through. I was able to read between the lines of what you were saying and feeling. It came from poverty, and no one knows what is better than me – the things that drive you and the barriers you put to protect yourself. After that, the whole piece came together. We decided to make a movie about feeling. We wanted to make it clear to people what I felt when she was writing letters. We wanted to make it through a real cinematic experience.
Jacob Abrahamson: The movie started with Laurena and a bridge. We have come through my discourse discourse. We have heard that Lorna was making the movie. We distributed the last Lorena movie about Vivian Westwood, so we got this. But then, he asked a block if we knew someone on the ground in Sweden can help shoot. We did. We were. This is how the cooperation began.
The deadline: Jacob and Patrick, this is your first joint production. How did you find this process? Was it difficult to adapt to international cooperation?
Abrahamson: I knew the dam crew for a long time as a distributor. We have acquired many films from them, so this was very smooth. We dealt with work in Sweden and assaulted the rest. It was even a division.
Patrick Anderson: At the most general strategic level, at the present time in our production scene, it is always important to find partners sharing your visions. I have worked on a lot of various complex joint production. You should be in the same boat. This was a new cooperation for us, which is always interesting. The UK system is completely different from our Swedish system. I made midsummerWhich was a movie in which all Swedes worked collectively with a comprehensive American approach in the A24 ruled from the top. It was very interesting. I am thinking about this project, it was so, and everyone knew what they were doing, which is very important. We had a short time to achieve this.
The deadline: Lorena, why did you throw my sleep?
Taker: We have thrown Nomi because we wanted Garbo to be a contemporary person. We did not want to use the computer -created sounds. We wanted to be a person who could understand its struggles. A person also overcame a lot of difficulties to find its place. I knew a little about NOOMI and felt that she was a person who overcame a lot and because she is now a player in the Great Hollywood, as she may have more than anyone else.
The deadline: Jacob and Patrick, recently met the president of the Goturg Film Festival, Pia Lundberg, who named two. She talked about how she appointed you at the Stockholm Film Festival as a book of the festival magazine and how you were later caught by the programming team.
Abrahamson: Yes, this is correct.
Anderson: It is a great relationship and a story. Everything is true.
The deadline: How do you divide, comrades of the work burden between Nunstop and Mylla?
AbrahamsonIt differs during the year. I just came from Sundance, 100 % about without stopping acquisitions, but seeing a large part of the coming films for this year helps a lot in what we are trying to do. You get a good indicator of what is happening and you can find inspiration. So I would like to say, perhaps 50 % MyLla and 50 % non -stop. There is also the cinema we run, Capitol, its own organization with the Operations Chief. There are 35 employees at total work there. It is very comfortable that Patrick be my producer. I know he can deal with everything. When it is linked to the Stockholm Film Festival magazine, Patrick and I started in this industry by writing about the movie, but we also came from studying the history of films at the university. Before that, we were just films that arose out everything in local video stores. To date, work in several layers of work, we still need to cut ourselves sometimes to realize that it happens.
Anderson: In addition, it is important to note that when production of Scandinavian, it may take a long time to reach the idea to building your movie, developing financing, and making it happen. The general schedule here is about five years. So, to be close to Jacob and the side of the distribution, you can take advantage of the films that will actually get festivals and work commercially in our market. It is a great cooperation. Here in Göteborg, we have just blocked a new feature film that we will film this summer in the city. It is again a beautiful cooperation. We are the main producers, but we have Finnish subscribers and work smoothly again. It is a wonderful project called Vocords. It is a horror movie about a mother who has enough of her family. We make it in a tone Do not speak evil But it is very close to Fall In the structure. We are on the right path to photograph this year.
The deadline: Where are you with Pella Kågerman and Hugo Lilja’s Eghead Republic?
Abrahamson: We did not communicate much on this topic, but the story of a deputy magazine crew enters something similar to the region in Tarkovsky Monitored. It is completely brutal and crazy. Bella and Hugo, the directors, were dealing with everything on the movie. It was in the post for a long time because it is very ambitious and we had no little money to produce it. So it is finished and you will know more this year.
The deadline: Jacob and Patrick, before we leave, I want to ask what I thought about in the controversial statements of the Swedish Minister of Culture during her opening speech in Goturg.
Anderson: It is a manifestation of the current policy here in Sweden, where some politicians prefer to get the markets, which is difficult when we are a small market in Sweden. So it is absurd to hear such things that were said publicly and aggressively. Talking about the city, at the very least, and everyone is angry.
Abrahamson: What Patrick said is unfortunately the state of things. Swedish industry is not a very prosperous place now. I assume that the speech was a taste to launch a discussion. The government is trying to put the flag as a large report that they commissioned in the local cinema industry that will be published soon. The report is likely to say that the local industry is not idle. We have much lower money for the individual than Denmark, Finland and other countries in Europe. So I think the speech was Baith to start a discussion as the government will say it will not increase funding. This is my intuition. But it is not a very fruitful start to discuss.