Original subtitles

"The Hunt for a Killer" is over, and as usual when a series has ended

-so it feels a bit empty. We want to remedy that now.

We will dive deep, look at details and try to understand what we have seen.

But first a warning. See all sections before looking at the after-talk

-because some spoilers appear.

The series is based on two Scanian murder cases from 1989 which were long unresolved:

The murder of 10-year-old Helen in Hörby and 26-year-old Jannica Ekblad from Malmö.

The basis for the series is a reportage book by Tobias Barkman.

It is a gloomy picture of Scania. Many unpleasant murder cases are reviewed.

The police work is realistic and slowly. It's gray.

Director Mikael Marcimain and screenwriter Helene Lindholm-

-should talk about what they wanted to tell.

The series offers criticism of the police reorganization in the late 80s.

We'll talk about it with a researcher.

And a couple of film critics should disassemble and analyze.

But first, let's look at a summary of the series.

I do not know what to say. I am ashamed.

What I have done is unforgivable.

It just came over me.

You've never talked to me.

I'll call so you do not continue with all suspects.

I so regret going to hell.

Unforgivable.

We start where it all started.

At producer and screenwriter Helene Lindholm-

and director Mikael Marcimain. Welcome!

Why did you want to cave down? in these cases?

It started with me read Tobias book 2009-

-and got the same feelings as with "The Laser Man" -

-like Micke and I. did together.

Thoughts were raised about a TV series in the same way as then.

-What was it in the story? -It is a...

It's an exciting story in many layers that tell much more-

-which was interesting.

How did she get you on the train?

She called and asked.

It was different ... You asked several times.

It took a while for the series to become of. You have worked with the script for a long time.

I got to read an early version, though was busy with another project.

But in the end you came to the finish line, and I was invited to dance again.

Helene: A timing issue.

The series takes place in the late 80's and early 90s and onwards.

About the same period as the Laser Man.

What's up with that time? who you are drawn to?

I think it's contemporary, near, present.

It's showing people something which they may have forgotten-

-or tell us something about our time, our nearness and history.

And it's this specific place as Tobias documents in the book.

It's a time which is not so far back.

-But it was incredibly different. -How?

Sweden has changed. It is one theme in several of our productions.

There is a fund, a Sweden under change.

It was interesting to visit again.

Stockholm was in focus in Lasermannen. Here is the Scanian countryside.

It's been 15 years since you did Laser men. Have you seen other things-

-now when it has been even longer?

When Lotta Erikson and I, who have written script, starts writing

-we do a review of the book.

I saw the building blocks of the dramaturgy. You build a kind of rough script.

Then when we discuss themes as new public management-

-that Pelle, our main role, get lost in the organization ...

It's more like us or people in our vicinity have been involved.

We are not experts in this, exactly.

It was something that felt close and as one had experienced oneself.

You mentioned earlier that you are engaged in public education.

-I do not know if I do it. -But you want to educate people. About what?

I do not want to form anyone. But it's interesting ...

What was exciting about Lasermannen and this

-where to get the chance to make one criminal history that is close to

-so that people can relate to it. We recognize each other, hopefully.

For me, it was fascinating to dive into the work of the police

-in a rather meticulous way and not...

The script was amazing - that we forced to endure the boredom-

-as forensic technicians, inspectors and interrogators work their way through.

It's quite a long way from an action police series.

We wanted to work close to something you can relate to.

And with Sweden as a fund. There is themes other than murder and misery.

There is something else to think about. There are many themes.

How do you work it out storytelling? The series has been hailed.

The objections are against rigid dialogue and posh acting.

Was it a narrative technique?

I do not agree. I have the most heard that it is brilliant acting

-and that they deliver the literal interrogations in a realistic way.

It is clear that it is a choice. We have made a choice

-that it should not be too licked with actors delivering.

It can be experienced as ... Stiff I do not know.

I want to say hyperrealistic, without softening the edges.

Not all interrogations are inspired, selected parts are the

-but they are very close the real interrogations.

Then there is a very quiet series too-

-with silences and things that are not said.

Hopefully the audience will be able to draw their own conclusions.

The series is not run by a star, but it is an ensemble play.

-And many unknown actors. -Yes.

Unknown, talented actors, which we have tried to highlight here.

It's fun to see many Scanians actors who are allowed to perform.

Speaking of Scania. The picture you paint of Scania is not very beautiful.

Let's look at a clip.

Wondering what it looks like in the rest of Sweden.

It's a busy area. Working- looseness, abuse, the social legacy.

Yes, thank you, I know. I pervon and pedophiles in every bush?

The picture you give at times is some kind of outlaw landscape.

I was thinking about the first season by "True detective".

Perverted men in every bush, misery. Was it this damn?

When I read the book there was one key remark from Per-Åke Åkesson-

-how many pedophiles had moved in Hörby when Helen disappeared.

So that was a key remark in the series.

But everything is based on that as Tobias has written.

So facts.

It is ONE place in Sweden, I know not what it looks like elsewhere.

But sure, this is what it looked like.

We do not include everything that happens in this place.

There are several murders in the immediate area which they solve, which we do not include.

So I would probably say that it is not an exaggeration.

Maybe the other way around?

These are sensitive murder cases.

and a child murder which is very noticed.

How have you been? to the relatives?

Some relatives have we been in contact with long-

-some closer to the recording.

Some have been on the recording, some do not.

But that's something we've had with us.

It has been something that has been right from the start, with the script work ...

When making a series about real people and events-

-Is it very important to be careful of the truth-

-to be able to take liberties-

- as our entire team does to produce poetry.

But then you also have to be aware on what is true and not true.

That's one thing with a series like "Succession" -

-which everyone understands has a role model, but is fiction.

This is also fiction, but man must address it in detail carefully.

So I see it, and so does Mikael.

I wanted Mikael to do it, for it is written for him.

It's a huge amount of detail work all the time with different time markers-

-ner to the smallest car model.

-What has been the most difficult? -It's good to get everything.

It has been an incredible effort from the costume department and Cilla Rörby-

scenography led by Linda Janson, worm department, Anna Carin Lock.

They have done a huge amount of research work that we have since collected.

It is difficult to recreate something which should feel authentic.

It's not a documentary, but we wanted to approach it as if it were.

The inspiration was rarely other films without documents from that time.

Radio features, TV features, news-

-all possible research during the journey. And to be careful.

But if we return to the dialogue, did you talk in a different way then?

Yes, they certainly did.

As in "Up to Fight", there it was perhaps clearer to me.

Or "Call girl" in the 70's Stockholm. You talk more slowly.

And that probably applies to other parts of Sweden as well.

Slower, I think ... Someone in Scania said that.

"It will to take longer to talk. "

You shark when you look old TV feature. Thank you for coming here.

"New public management". It is so the organizational model is called

-like Sweden and many other countries began using in the 80s and 90s.

A performance-driven model inspired by business that is still in use.

It is controversial. In the series boys that of skepticism, as in this scene.

So good that we can gather. It is not often we get the chance to do so.

I want you to take post-it notes, lying there. What color you want.

Here you go.

Great.

I want you to writes down value words on the notes.

-Words that we can work by. -What should this be good for?

We will find words that will permeate your work and the organization.

-It is important that you are involved. -Very important ...

It is extremely important to have one common values ​​to work according to.

Words that can be included are, for example "quality" or "transparency".

That's important that it is words that are rooted in you.

What nonsense. Will there be more openness because we write it on pieces of paper?

-I have more important things to do. -It's best to do as she says.

"Higher pay". Welcome, Bo Wennström, professor of law.

You have written a book about the reorganization of the police force.

It's been a bunch over the years.

When I counted investigations on the organization of the police since 1925-

-so it was 120 pieces.

It is addressed in the series. It is many unforgettable scenes around the introduction.

Why did the police need to reorganize according to this model?

In general, in the state, it was discovered ...

Sweden was rich in the 50s, 60s, 70s.

Then you drive into the 80s and realize that the resources are not infinite

-and you start to appreciate everything and inspired by business.

That's what happened in the '80s, and then it accelerated.

Why new public management struck through on such a broad front?

In part, there may have been one needs. The money no longer existed.

Then did political fashion and others things that one embraced it all.

It was inspiration from business.

They wanted answers to questions such as:

"What does the money go to? Do we get value for money? "

Then one must not forget the Palme murder in the late 80s.

The resistance was so compact as depicted in the series?

Yes, to a ... It depends on who you were.

It was a way to make a career, to be for the new.

There are some dividing lines:

Before and after 1992-1993, and after 1998. Different things happened then.

1992-1993 the goal control broke through in the state and in the police.

Before that we had it as Per-Åke tampas with, all these forms-

-and a completely unreasonable form of follow-up.

He would basically say how many murder he would investigate next year.

If you look at how it is portrayed - form hysteria, HR people ...

Is it true, like the meetings with post-it notes?

Yes, although they were more centralized.

Often a police chief traveled and someone who was training around.

But purely dramaturgically you can not bring in new people all the time.

In what other ways would the police learn the new reorganization?

To begin with, before 1992 one would appreciate everything.

You would start thinking financially.

This may be a bit overrated in the series.

There is talk about it until 2004.

But then something else would probably have worked through.

They took various tricks to get people thinking about what things cost.

-You mentioned board games. Can you tell? -It was a financial game.

I think it was called Monopolis. There were such games in the state.

You would learn what things cost and put a value on it.

-Did the police think it was fun? -A part.

Others may not think so.

I have also sat and written value words on notes, here on SVT-

and known as the cops. What is the benefits of new public management?

The benefits, or what you want to achieve is

-to formulate goals and follow up on those goals.

And with mission management, the idea is

-that one should give freedom within the framework of designing it all.

-And what are the disadvantages? -You get strange forms of control.

The goals you set and so on, they have consequences.

"Pin hunting" people talk about within the police.

In the series, they say they took every phone call as an interrogation.

It is the deviation of the whole.

And the professional does not get the same impact.

-Does the police organization work now? -No it does not.

-It was a quick answer. -Yes.

The reorganization in 2015 became a great disaster.

I would like to say that what happens now is like a broken bone.

In the end, things heal themselves, but that is not sure it heals well.

Nowadays, I do not criticize the police so much.

You should not kick the person lying down and the situation is difficult.

Okay. Thank you for coming here, Bo Wennström.

Agile police work, form-nagging, pedophiles and misery in northern Skåne.

Rarely has a landscape been painted as home to so much evil.

What do our reviewers say about "Jakten on a murderer "and the image of Scania?

-Do you know where Mikael is? -You never know where you are.

- He's not here. - Or is he? -Fy fan ...

He's probably with that one in Bromölla.

Yes, she's Victoria.

She lives down Viby in a gray house behind the gas station.

Do you see his hands? That was not enough by raping and murdering a 90-year-old.

He was going to crush her. Liver, heart. Everything was shattered.

-Out from here! -Let me be! I do not want to talk.

He would not have grown up like that. Soc should have taken him.

It must have been a mistake. Probably when Karin worked there.

You can sit here in the back.

What have you done with your hand?

I flew off the moped when I would go home. There was nothing wrong with that.

Welcome, Fredrik Sahlin, critic on SVT-

and Charlotte Wiberg, critic, among other things, active at the magazine FLM.

You are from Skåne, which is relevant-

-because I think we're starting with how Skåne is portrayed. What are you saying?

Well, as someone says in the series: "How is it in the rest of the country?"

I have no doubt that it is so much misery and crime-

-out in the countryside in Scania.

But it can be in other parts of the country as well.

What do you say about the dialects? Is it correct North Scanian, Northeast Scanian?

To me sounds a lot not completely authentic.

I know more Scanians as well thinks it is false Scanian.

The intonation sounds wrong sometimes.

But it's fun to hear a lot Scanian. This is not often done.

What do you say, Fredrik?

I have long complained that are not dialects in movies and series.

It feels as the first major production

-where you have really taken dialects to create credibility.

And really succeeded. Basically all Scanians speak Scanian.

And you are very far from the art round at Österlen.

It's a completely different Scania, like me have understood still exist-

-with perhaps not as much poverty, but there are big differences in Skåne.

And certainly in the rest of the country as well. But I'm very happy with the dialects.

It is one of many good things the series, precisely because it is so detailed.

It's everything from PPM choices, what the biscuit chocolate looked like and the language.

Charlotte, you were not so fond of the series.

But then came a scene that changed everything. We'll be watching the clip.

/ "THE NIGHT" HIGH VOLUME /

Ika: What's up with the scene? who got you stuck?

Charlotte: It is very nicely done-

-with the killer coming as a shadow in the background.

/ SCREAM / -And the disgusting scream. -It's shocking.

Maybe it's the only real horror.

It took me very hard, so I remained seated and continued to watch.

But it's a mix between two styles.

Partly the slightly stylized thriller.

It's almost like the vampire and his victims.

But at the same time, it is realistic. She's an ordinary girl in suede clothes.

-and he's a little round, prosaic figure.

You have these gloomy colors. And the music, which is important.

On the one hand, they sing in Scanian.

Björn Afzelius and Mikael Wiehes "The Night" is about a murder.

But that's the murder of Olof Palme.

So you get in a little this with the shift after Palme-

-the socially critical.

There are no details which are left untouched.

But Fredrik, what do you say about how the story is told?

The basic bolt in the entire series is its authenticity.

And at different levels. Both in the acting and the details.

Let's look at that clip which I had with me? We start there.

-Go out! -I want everyone to stay here.

Go out.

We want you to come along and answers some questions.

- Do you want that? - Do not quarrel. Join now.

-I'm drinking coffee now. -Your mother will come in too.

I have to go to the track and arrange a few things.

Stay here!

It's so beautiful, that scene. It shows what I like about the series.

There is a lumpiness in communication between people.

But it's a warehouse of hyperrealism-

It's far from walk and talk, when the lines go like this.

Here it's authentic, and it's amazing.

Another example is how the main role, the hero role is.

The convention is being violated while following it.

Per-Åke does not have the intuitive at all the ability to see who is to blame.

He makes mistakes several times. That way he is completely different.

At the same time, he is the police who know opposed, and IS opposed to

-and refuses to comply with the regulations.

But he's so extremely supple, as a melancholy Dirty Harry.

It does exist, that property, and I think that's great.

What do you say about the narrative, Charlotte?

I agree with. I like it.

I appreciated the series more when I watched the first episodes.

But the acting ... I would not call it hyperrealism.

I think that it's a little too poley.

-A little too clumsy. -I think it's wonderful.

Sometimes it is "now he stands and thinks after which line he shall add ".

Yes it is good. But the way you say it it does not sound so authentic.

Yes, it took a while to get into it.

Are there risks when reality is so close?

There is always a risk.

That's the treachery when it is so close to reality.

It's fiction, but is so close to reality-

-that the brain sorts it out in fiction anyway.

If you theorize you can see what is fake.

That's why people are so scared, who do things like this.

As with "Monica Z". "Her father was not like that at all."

-There is a danger in that. -Yes. Everyone knows it's drama.

But it makes such a big impression to see that, with all the sensory impressions one gets.

And the picture, you enter the environment itself.

Somewhere in the brain it becomes almost like some kind of memory.

One can draw a parallel to "The crown".

The English Minister of Culture wants a disclaimer before the series begins.

"It's not for real." There's a point there.

Thanks, Fredrik Sahlin and Charlotte Wiberg.

And thank you to you back home who have watched both the series

-and on this after-talk. See you. Bye!

Swedish subtitles: Stina Hedin Iyuno Media Group for SVT