All language subtitles for 1899 - S01E00 (EN)

- Morning, Bill.
- Good morning, sir.

- How you doing?
- [Bill] Doing well, sir. Thank you.

Yourself? Sleep well?

- [Odar] Uh, not so well.
- No.

No? [Bill chuckles]

[Odar] Today is the last day
of shooting after six months.

We are actually really shooting
the last scene of season one.

Um, that was always planned.

I like emotional
endings of shootings.

It was really a
beautiful journey.

[woman] Let's roll
the camera, please.

[tense music playing]

[Odar] And action!

[in French] Let her go!

[people yelling]

Stop!

No!

Hi. My name is Jantje.

I'm the showrunner and
head writer, um, of Dark.

Of Dark.

[both laughing]

[man] Bo and Jantje, take one.

[Odar] Uh, hi.
I'm Baran bo Odar.

I'm the showrunner, director,
and executive producer of 1899.

[unsettling music playing]

[Friese] It's about a ship of
immigrants going from Europe to America.

And on their journey, they
encounter something very mysterious.

[unsettling music continues]

But we can talk spoiler now,
no? I guess, yeah. So it's…

The whole show starts
as a period drama

slash turning into some
kind of a horror show.

But then it turns
into a sci-fi show

because what we will reveal is that
they are stuck in a simulation.

And what they will
have to find out is,

first, who put them
in the simulation.

And then, the bigger question, how
do they get out of the simulation?

[Friese] Ultimately,
it's about our existence.

Why we're here on this planet

and who we are and
who created us.

Um…

- Very deep, deep, meaningful questions.
- It's all good.

[man in German]
Everything is connected.

Future,

past,

and present.

[in English] We said to Bo and Jantje,
"Your cast in Dark was so amazing."

"Who can come from Dark?"

[man] Even while we were
still shooting Dark,

I knew that they were going to
do a new series, a big series.

They really wanted to be surrounded
by new talents, by new people.

They wanted, you know, just to
get new ideas and new impulses.

And I knew that it was going
to be an international cast,

so I didn't expect at all
to be involved in that.

Eventually I received a
call from Bo telling me,

"Listen, you know, we
always wanted to… to get

some distance between the work on Dark
and now the new project and everything."

"But actually, when we consider
it, there's enough distance now."

"There's a part in that
show, the captain."

"And we just think you're
most apt to do it."

That was a very
happy day for me.

[glass clinking]

Six hours ago, we received a message,
coordinates southwest of our course.

We believe this message
comes from the Prometheus.

[Brockmann] The
character of the captain,

he was described as being a
sort of soulful, world-weary,

kind of weathered but also
very handsome character.

Andreas was someone that sort
of fits that brief perfectly.

I think there's a kind of through
line of his character from Dark.

[glitchy audio squawks]

[Pietschmann] In Dark, I had
to understand most of it,

because I was the
traveler from the future,

from the past, and
from everywhere.

So I knew what was going on
and was trying to prevent it.

Now, I'm more or less the one
experiencing those weird happenings

and not understanding them.

So I'm now on the voyage to understand
and to find out together with Maura.

[disorienting rush]

[gasps]

I think the story is like a
labyrinth, as Maura's mind

and Maura's obsession
with neurology

and connections in the brain.

It probably has been the
most challenging character

that I have ever played
and will ever play.

I am Maura Franklin.

[Maura] I'm not crazy!

I… I know what I've
seen. I'm not crazy!

[distressing music fades away]

[Bevan] Emily's
character, Maura,

seemed to be an
unconventional hero

from the way that Bo and Jantje
described her as a character.

[brooding synth music plays]

Emily has shown in her huge
range of work up until now

that she had all of those facets of
being slightly mysterious, unknowable,

incredibly strong, dynamic.

She nailed her audition.

[woman] Eyk. Eyk Larsen.

[heavy sigh]

Maura Franklin.

[delicate, mysterious
music playing]

You're the captain.

[Beecham] When Maura
first meets Eyk,

she sees a certain
likeness to herself

and… a vulnerability.

Maura is a woman that is so different
from everyone he met before.

It's not falling in
love at first glance,

but he can sense
that this is a woman

that is really different from
all the other women around him.

They can feel, without telling,
that they have a similar problem.

[child singing eerily
jaunty German folk song]

Why do you take such an
interest in the Prometheus?

Did you know anyone on board?

[Bevan] Normally we
would cast actors,

auditioning them in
real time in this room.

On 1899, we couldn't do that
'cause we were mid-pandemic,

so we did it on Zoom.

It was an opportunity
to reach out at a moment

when the world was
really closing down.

[overlapping,
indistinct chatter]

[Bevan] Bo and Jantje wanted to
have this truly international cast,

and they wanted everyone
speaking their own language.

We ended up casting out
of England, Germany,

Norway, Iceland, France,

Hong Kong…

Spain, Poland, Portugal…

Did you say Denmark?

[Bevan] That was a truly
huge challenge for us,

and I think a really
groundbreaking idea from them.

[in Spanish] Ah, waiter.

More.

Don't you think
you've had enough?

The problem is you're
a fucking bore.

Ángel, lower your voice, please.

"Ángel, lower your voice,
please. Calm down."

None of these fuckers understands
a word I'm saying. Why should I?

[in English] 1899 is really
a complicated construct

in terms of how to deal
with different languages.

We have a crew from all
kinds of different countries,

but our main cast is also
from all different countries,

and so are the
characters in the show.

[in Cantonese] I am Isabella Wei. My
character's name in 1899 is Ling Yi.

[in English] The
people on the ship,

they think that Ling
Yi is a Japanese geisha

who is traveling
with her servant.

In reality, she is a very
poor girl from Hong Kong.

[in Cantonese] What would you
need that many knives for?

[woman] I don't know.

Try and pretend you know.

[in English] We'd like
to add, "Just eat it."

And so, I think you're picking
the knife and the fork.

Maybe you share one more look, and
then you say, like, "Just eat it."

- Okay.
- Yeah, okay.

- A certain… Do you know…?
- [Wei speaking in Cantonese]

- [whispers] That how you say it?
- Yeah.

- Okay.
- Is that with "just," or is that "eat it"?

There are days where I have to
listen to Cantonese the whole day,

and I have no clue what they're saying,
but I can tell what they're saying

by rehearsing a lot

and trusting the actors
that they tell me,

"This is the angry version of
'I love you' in Cantonese,"

as almost everything in Cantonese
sounds, to us, very angry.

[Friese] We had to come
up with a lot of systems

for us to understand
what everyone is saying.

Um, is this in character?
Is this not in character?

[woman] And let's roll sound.

[in French] You used me
to get what you wanted.

[Wei] Cantonese, Spanish,
Danish, Polish, German, French.

We all have language
assistants with us on set

who kind of help us if we have missed
a line or have said something wrong.

[moody, mysterious
music playing]

[in Danish] My name is
Lucas Lynggaard Tønnesen.

I play Krester in the
new Netflix series 1899.

[woman in German]
Everyone, from the start!

[in English] The first
scene we see Krester in,

it was actually one of the
scenes I was most worried about.

The dining room is full of
these high-profile individuals,

and this guy suddenly appears
who looks like a freak,

asking something on a language
they don't understand.

[door slamming]

[in Danish] Excuse
me. Excuse me.

Excuse me.

We need help.

[woman] You embrace the fact that
you don't understand one another.

You don't have to spend the scene
going, "I don't understand you."

It's just in the scene, and you
just have to get on with it.

Much like you would in real life, if
you were found in these situations.

You just have to
just… run with it.

[dissonant music warbles]

[Krester yells]

[in Danish] We need a
doctor! Let go of me!

[man in English] The weird part,
it's speaking your language

to someone that you know
is not understanding you.

I have a love interest
in the show, Krester,

with whom I communicate a
lot… in very special ways.

But not with words,
just with the eyes,

with the body language.

And I think that
makes it very special.

A lot more special than

what it would be if
I could just say it.

[dissonant, yearnful
music playing]

'Cause of his eyes,
he can tell that

Krester has a similar
past as he has.

They understand each
other very well.

They understand troubles
they've gone through

because they're both gay in a
time where you can't be gay.

[Tønnesen] It's absolutely amazing to
have all these nationalities combined.

We can communicate
in sort of a way.

It really depends on how we see
through the language barrier.

[jaunty piano line plays]

Ladies and gentlemen…

[laughter]

Ladies and gent… Oh, is it?

- He's trying to…?
- Come here.

Ladies and gentlemen,
welcome to… [tudum] Word.

What does "bangers
and mash" mean?

- Bangers?
- Bangers?

"Bangers and mash."

[speaking in Cantonese]

- Sorry.
- [repeating in Cantonese]

[speaking in French]

Oh, God.

[speaking in Danish]

[speaking in Spanish]

There's a lot of people from
different countries working.

That's really cool.

[speaking in German]

I feel like it's "custard."

No, it's not.

[speaking in Polish]

I agree.

[in Polish] My name's Maciej
Musiał, and I play Olek in 1899.

It's fine.

[Ling Yi panting]

[Musiał in English] Olek
finds Ling Yi on the deck

when she's trying to
hide from her mother.

And he's like, "Oh,
come. I can hide you."

[Olek in Polish] Are you cold?

[in English] It's a beautiful scene
'cause we don't understand each other.

She speaks Cantonese,
and I speak Polish.

Just by our intentions,
we understand each other.

[in Polish] Dirty. But warm.

[in English] I believe that in
languages, you have seeds of cultures,

of feelings, of… of
different countries,

and in order to,
like, meet them,

you have to be brave
enough to listen to them.

I think this show gives
you the opportunity.

It feels like you're… you're
traveling to all those places.

[producer] I've got something to send
you Josefine sent me from Denmark.

There's no quarantine there

so it looks like we might
be able to go to Denmark…

[Odar] The first issue we
were facing was the pandemic

that happened that, yeah,

turned this world upside down.

We wanted to make
a European show

with a European cast
and a European crew.

Wanted, actually, also to
travel to all these places

where we wanted to
shoot and just realized,

"Wait, we can't
do that anymore."

[producer] We have to
get special dispensation…

Every production is always a
headache. It's always a crazy puzzle.

But in COVID, it's insane.

You're not only dealing with people
who are going to be in other shows

or traveling from countries.
They've got families.

You're also dealing
with quarantine.

Quarantine when they go home,
quarantine when they come to us.

So if someone's coming two days,
you're taking them out for three weeks.

That's when the Volume
started to be talked about.

[quirky music playing]

[crew speaking indistinctly]

Me and Bo, I think we're both quite
strong in stressful situations.

There are people who just
crumble under stress.

And I think both… Bo
and I, we kind of… grow.

[Odar] Someone at Netflix told
us about the Volume technology.

At the beginning, we didn't really
take it seriously, to be honest,

because we are more the
very traditional filmmakers.

Anything that can be done
in camera, we prefer.

Like, we really
hate green screen.

Venturing into something that's
completely new is very difficult,

and it helps if the
people at the table

understand what each and
every one is talking about.

Some key figures for us were
definitely Udo Kramer and Nik Summerer.

They already know what kind
of look we're aiming for,

and we know that we can
communicate with them

and that the
communication works.

The Volume is an incredible
artistic tool to work with.

But it also is quite a
beast in its own rights,

and it can be really challenging

to actually tame
this Volume animal.

[Odar] Every person
who reads about it

or watches some "making of"
always thinks it's a magic tool.

You just push a button, you
choose any landscape you want.

And in seconds you have it,
and you can do it right away.

It's a lot of prep work.

It is a lot of frustration.

It is literally a new
way of filmmaking.

[Friese] Going into production,

we didn't know whether this
was actually going to work.

We did a lot of research,

but there wasn't so much
research we could do.

There was just basically one show
that used this technology before.

[Odar] We did the
test shoot in London.

Really tested things that
we knew will not work

to understand why
it's not working.

Really harsh sunlight scenes
are still tricky to create

because the sun is
such a hot source

that it's really hard
to create on stage.

But the stuff that
actually then worked…

And that was, for example,
the evening atmosphere.

We shot with a woman
standing there in the desert

and had this really
beautiful reddish sunlight

on her hair and skin tone.

It was really mind-blowing
for us that it looked so real.

We've looked at each
other, Nik and I.

And we knew, "Okay, this is
definitely the way we're going."

[interviewer] How would
you describe the Volume

to somebody who knows
nothing about it?

Well, I tried to describe it
to my son, and I just said…

[inhales deeply, gasps in awe]

[laughing]

"It's like the biggest
TV you'll ever see,

and we just act in front of it."

The Volume is a massive, massive
cylindrical wall of LED lights.

And it literally can take
you anywhere in the world.

[in Cantonese] Mother!

[man in Portuguese]
Don't go! Help!

[in English] We call
it the Dark Bay.

It's built in the oldest
building complex here on the lot.

That's the Marlene-Dietrich
stage, built in 1910.

Fritz Lang's Metropolis
was shot in there.

They used, on these
stages, rear projection.

The Volume itself is the
development of that technology.

It's rear projection
brought into the future.

We have 350 square
meter shooting area,

270 degrees of viewing angles.

And has an industry-first
revolving stage,

which can basically
move the entire set

and enable the filmmaker
to shoot 360 degrees

in whatever environment
you could think of.

[production designer] We thought
we could bring this on a new level

and try to not change
the set all over again,

but change part of the set that
fits in like a pizza slice.

Get this part, bring it in here.

Whoops.

Go back, shoot it.

[Summerer] So now we have
a turnaround situation

of just a few minutes.

Actually, we have camera
assistants complaining

that they have no time
to have a cigarette.

[woman] Start the rain, please.

[Summerer] The other great thing
that we have in here is a rain rig.

And this is something where I
think nobody believed in but Bo

that this is possible.

And I'm not talking about drizzle,
I'm talking about proper rain,

where we've been all standing,
and the actors have been standing,

and we all got really wet.

And it worked like a breeze.

Nice. Come here, I'll help you.

And this boot.

Yay, here's my
flying sweetheart!

It's okay. It's okay. I'm
fine. Thank you so much.

[actor] Hallelujah.

It's really hard to kill people.

Hiya. I'm, uh, Fflyn Edwards,

um, and I just did a stunt.

Hey. Nice to meet you, guys.

Introduce yourself.

I'm Antje, the stunt
coordinator on this show.

I'm really proud to be here,
and he did just an awesome job.

I don't wanna do this anymore.

That's why I… I rest.

I already killed him multiple
times. You know, the boy. So, um…

[crew member yelling
indistinctly]

Yeah, I think they're
doing it up there again.

[in Danish] Throw
the boy overboard!

[Maura in English] Stop!

Don't do this, please!

[in Danish] Don't
let them stop us!

[gunshot]

[all clamoring, shouting]

[Erwolter] To be honest, I feel
guilty that I start this riot,

and I'm sick and sitting
right here in a robe.

[laughs]

[tense percussive music plays]

[Rau] Three, two, one, go!

[Edwards, Beecham yell]

[resounding splash]

[quirky music playing]

When you do work in
a virtual production,

you have to create
content beforehand.

You're kind of pulling postproduction
up front before shooting.

It was new for
everyone on both sides,

on our traditional
filmmaker side,

but also on the side of the guys who
are actually doing all the backgrounds,

Framestore from London.

[man] We started this
when there was no script.

Jantje was writing.
The story was evolving.

There was just an idea.

With virtual production,
we have to provide content,

visual effects, before we film,

so that on the day when we film,

we have content that we can
provide and get it in camera.

[in German] It's great, no?

[in English] The basic key for me as
a designer is there is no virtual set

and the physical set
or different sets.

There's a set, and the set
is following the story.

The Volume itself, it's
logistically challenging.

It requires far more prep time.

You need to be close in contact
with all your colleagues.

Working with Udo on
the production design

was a new experience, I
think, for some of our artists

because they were used to
receiving production designs,

and just translating them.

In this case, for 1899, we were
developing them from scratch with him.

His sets needed to fit into our
environments or our virtual sets,

and our virtual sets
needed to work with his.

It's a lot of fun to do it and see
so many people, um, being on it.

Not that feeling, "Ah,
I'll fix it in post."

Or, "We do it now, and we
see later what's going on."

It's now or never, and you get
the magic to be on the point.

It's stressful, but
the payoff is amazing.

Can you see my screen?

[Odar] Yes.

Can you show the LED wall just so
I understand where it would be?

[Summerer] Christian Kästner
and the team of Framestore,

they shaped all this
in the beginning.

So we had a lot of scoutings

in a virtual world
of where we wanna go.

What angles are we shooting? Where
could we stand with the camera?

Where we wanna be?

This one is still the
trickiest to sort out.

[Odar] Uh-huh. So where's
the shopping center?

[Odar chuckles]

It's fun. You're
like a little child.

You create worlds, and then you
feel like it's not real enough,

and then you add stuff
here and add there.

And step by step,
you're getting closer,

creating a reality that doesn't feel like
it was created, but it actually exists.

[in German] Yes, thanks.

[in English] Could you go back?

I sent a screenshot

of an area I really liked.

Do you see that?

[Kästner] Bo was shooting
ocean plates in Scotland,

and the helicopter captured a
valley that he really liked.

He told us, "You know when
we talked about Scotland?"

"This is what I really
would like it to look like."

We decided very quickly,

"Okay, let's go up and
scan the environment."

So we did a drone scanning of
the environment, photogrammetry.

After that, we modeled and…
and stitched the environment,

and that's our
background for Scotland.

[delicate, mysterious
music playing]

[woman] Um, already much better.

There's still some
kind of strange plants,

some stragglers.

They stand out quite a bit, especially
when we rotate to the right.

So that's real rock? Fake rock?

That's us too, right?

[Kästner] Being such a core
part of the production,

with 16 people live here

when we're shooting every day,

that's super exciting

because for a lot of visual
effects artists, this is new.

It's been, you know, a little bit
of a dream come true, I must say,

that you can be
part of the puzzle.

[cryptic music playing]

[in French] Where are we?

How did we get here?

[in English] What is very important
for me when it comes to the Volume work

is the pre-lighting,

so that I have time to
establish this world,

to create the lighting here,

and that whatever light mood
is in the preproduction,

created on the wall, is actually
going into the foreground.

And they, you know,
fit well together.

And we're still 1899, so there's
no florescent lights or anything,

so it should be all warmish.

It's all fire-based
flames, basically.

The Hong Kong harbor is my
favorite set, I would say.

The mood that is created,
everything that is on the screens

and the foreground are
marrying so nicely together.

It's just such an…

Yeah, beautiful scenery.

[woman] The ambience, the
peacefulness of this set,

the way Nik sees the
light, how fast he works,

they managed to create
something that was so…

I don't know, that was

the most beautiful set
I've ever seen in my life.

[man] You don't need to have
a part of your brain focused

on projecting and imagining.

You can just receive it.

It looks real. It
really looks real.

And it's a huge help for us.

So we don't have to travel to the desert
nor to the North Pole nor to the glaciers.

You can change that
within a minute.

[Beecham] It would be a different
experience on green screen.

It just illuminates, like,
literally everything.

You can see the whole landscape in
front of you and the lighting and…

So you're really
looking at the sea.

[Craig] It doesn't
get less thrilling.

You may stay on a sound
stage for 14, 15 hours,

but it still takes your breath
away that this is possible.

[Wei] It's so real that a lot of us,
when we first stepped onto the Volume,

got seasick when we were watching
waves in the background go up and down.

I said to Izzy, I was like,

"I just can't believe that we've been
able to make a series on here, you know?"

"It's just… It's incredible."

She was saying, "I wanna do
something on location next,"

and I said, "I absolutely don't.
I just wanna stay in here."

[passengers chattering
indistinctly]

[Wei] So much has been going into
this kimono over so many months.

All of the designs on this costume
have actually Incorporated elements

from the entire show.

On the bottom of my kimono, we
actually have the waves from the ocean.

And then we have this
Japanese landscape,

and it's embroidered.

On my sleeves, there
are some mountains,

um, upside down, like the camera
flips upside down many times.

My favorite detail of this whole
thing is actually on the obi.

We have a cockroach
in the front,

and we have a bunch of little
cockroaches in the shape of a triangle,

which is the earth sign that
is shown a lot in the series.

[tense percussive music plays]

[Daigeler in German] Are
they waiting outside already?

[man] You are all
third-class passengers.

You really need to look
tired and exhausted.

[Daigeler] Wonderful extras,
beautiful, with costume and makeup.

Could you put on
the hat? Thanks.

[Friese in English] It's
great to work with people

we've already
worked with on Dark,

but I think it's also great to have
some new additions in the team.

And I'm especially
really thankful for Bina

because she's just such a talent
and such a hardworking person.

- [in German] Do you like it?
- [Daigeler] It's a nice souvenir, no?

[Daigeler in English] All the costumes,
they are all done in our workroom.

We made everything.

We made all the shoes, the hats.

There's a lot of embroidery.

We printed a lot of fabrics.

It was all dyed and aged.

So the workroom was huge
and a very long process.

[in German] Do you think it's
prettier when you do it this way?

[in English] At the beginning,

all the characters had
like four or five changes

because of the different
dates of the story.

When we discussed the
evolution of each character,

we realized that

we rather prefer that each
character has one hero piece,

like a superhero costume.

[Beecham] Basically, our
characters don't change.

There's many days, and they
are in the same costume.

And that's, of course, a clue to
that this is not really as it seems

and maybe we're
not in a reality.

Yeah, Maura is a very modern
character for her time.

[Wagner] For Maura, we wanted
to have a more simple hairstyle.

In this period, women secretly
do blush and lip tint.

Maura does not.

She also has very simple,
um, hair accessories

as she has just two golden pins

in the hairstyle.

In 1899, all the women
still were wearing corsets.

Wouldn't Maura,
perhaps, be a person

who, once she is on the boat,

she just forgets about
the corset and just said,

"I am without it.
I'm done with it."

[Friese] It has been such a joy to see
how the characters actually are shaped

by the costumes
they are wearing.

And it has been for
me, as a writer,

really inspiring

to see how costume and makeup

influence also my choices
on the characters.

[in French] You
know what they say?

Men invented dresses and heels
so that women can't run away.

[ship's horn blaring]

[Klausing] To find that location,
to find the look of the story,

was probably the biggest challenge
art department had to face.

There's no ship of that era

which is still floating
somewhere or in a museum.

They're all gone.

We're talking about a ship
which is 330 meters long

and was made to travel
over the North Atlantic.

And to recreate
these environments

is something which takes a lot of
energy from a production designer.

[in German] That's the
first pipe, second pipe.

[in English] I'm
addicted to details.

Could be the architecture, the
surfaces, the moldings, the props,

the set decoration, the right
things at the right place.

[woman] We had a lot
of reference materials.

And I think this is a
good thing to start,

so that you have a feeling for this
period, you have to know the rules.

You have to know what you can
do and what you shouldn't do.

Or if you break the rules, then
you should do it on purpose

and not because you didn't know.

1899, what would they have?

No, you should be
sure about that,

and then you see what you can
find, and you build it around that.

[shovels scraping coal]

[workers chattering
indistinctly]

- [leadman blows whistle]
- [worker] We're moving on!

[man] The world is
very big, visually.

The sets are incredible.

One especially for me
is the engine room,

where there's secret panels,

and we find these incredible,
designed futuristic machines,

which are mother brains,
to operate the simulation.

And I seem to know
where all of them are,

and… and I'm able
to manipulate them.

I have a device, which is
this wonderful silver thing.

It's got moving plates on it,

which are different codings

so I can plug it into
these motherboard computers

and manipulate the
simulation itself.

Even if we use something
like the Volume,

we want to create as much
as possible in-camera.

So everything needs
to feel believable

and that you can touch it.

In Dark, we had the time machine,
and here, we have a weird object.

We're really fans of gadgets.

[Barnard] The design behind these
gadgets are very, like, steampunk-esque

but of a completely
different world.

1899, through its design, is
creating its own genre almost.

[power humming]

[console beeps]

[device beeping, trilling]

[beeps]

[power surges]

[Virginia] What's going on?

[full, resonant
tones reverberate]

[whispers] Follow me.

It's like a living organism.

You don't know what it's doing with
you. It's a little bit alien-esque.

We said from the beginning the
ship should be its own character.

That you feel it's
like a weird monster.

[Kramer] We wanted to see the
ship not just as a period ship,

steaming across the Atlantic.

It's more like a living
structure in itself.

The anti-Titanic, leading directly
into the brain of each character.

[protrusions rustling, roiling]

[Kramer] We can go from
one cabin to the next

through hidden shafts,
ventilation chambers, tubes,

places that transport
the sensation of,

"My God, there's a door
behind the wall" feeling.

"I want to see behind the wall."

You feel that you get deeper and deeper
into something that you should stay out.

I like this kind of tension.

Look at this.

Oh.

Then I disappear.

[chuckles]

Whew!

[hook-and-loop rips]

[rapid, flitting percussion]

[ponderous, emphatic beats]

[disconcerting tones play]

[cymbal drawing out tone]

1899 was recorded
all over the world.

The Tangram Ensemble
from London.

Sinfonietta Cracovia,

this amazing string section, the
same people I worked with on Dark.

[elegant, plaintive music]

And then there's actually
quite a lot of vocal material.

They are the three
main elements.

And there's everything that
I'm sort of doing with that.

I took a lot of that
material with me

here back to Iceland
and took it into

various ships down
here in the harbor.

So I'm taking those recordings

and actually feeding them
through a speaker, um,

into various parts of the ship,

and sort of using the
music to resonate…

literally resonate
the hull of the boat.

[resounding bang]

Kinda terrifying, honestly.

It… It becomes something else.

It becomes very, um, alive.

[full, resonant
tones reverberate]

[Henry] Our brain is a
very complicated construct.

As much as we can try to forget the
things we don't want to remember,

we will never be able
to delete them entirely.

They're part of who we are.

Woven into our very fabric.

[man] And landscape!

[Volume whooshing]

[electronic trilling]

[Henry] There's no
reason to be afraid.

This isn't real.

Remember?

It's so complex that I couldn't
say, "Well, it's about this."

[laughs] It's about
so many things.

And, um, I guess if you
ask me what it's about

and you ask someone else, and
you get different answers,

in a way, they're both true.

I guess I think 1899… Yes,
it's incredibly confusing.

And, um, all of these…

No, I don't wanna say
that. Um, okay. [chuckles]

Should not say it's
incredibly confusing.

My picture of it is like a round
puzzle that is moving at great speed,

and Jantje's putting
in the pieces.

I have no idea.

I mean, I have no idea how
she keeps it all straight.

I mean, I don't
know how they do it.

[Friese] The only thing that I think
that's really important with mystery

is that you don't listen to anyone
who says, "I didn't understand this,"

or, "I think this needs
to be made clearer,"

or anything like that.

I just go, "La, la."

I gave up to try and understand
her brain a long time ago.

She puts different, strange
worlds together into one,

and you think there's no way

they can ever connect,
they can ever be combined.

But then later on, it reveals that the one
is actually the source of the other one.

[Friese] I'm a
huge puzzle freak.

I love mysteries,

and I love, um, solving
any kind of riddles.

For me now to be like the person

who actually builds the
riddle is just pure pleasure.

So I'm actually, yes, I'm
doing it for the fans,

but I'm also doing
it for myself.

[Barnard] Jantje is
doing all the writing.

Uh, the rest of us are
on set with Bo directing.

As things are being dripped back
to Jantje within the edit room,

she can really see what's
working, what isn't working,

how things could be
more interesting.

They have this flexibility
to move the story

in any direction they want.

[Friese] I might see a
prop in the background

that art department put there.

For example, in Ramiro
and Ángel's cabin,

there is an old picture of a
wolf and a lamb on the wall,

and that inspired me to
actually write a dialogue

that kind of grasps
those two characters.

[in Spanish] Why don't you have
a little conversation with God?

Ask him why he turned
you into a sheep

and me into a wolf.

The power of… of
decisions here in the show

are very centralized in
them, in Bo and Jantje,

and I think that's really good.

It adds a lot of personality,
their personality.

[man] It's still the
mind of Bo and Jantje.

They didn't step away from what
they want and what they like.

They like weirdness.

They like fantasies.

They like mystery.

They like fucking
with your mind.

And that's what they do. Even
with us sometimes, actors.

We were like, "We wanna ask about
season two for our characters."

They were like, "No! You do
season one, and then you'll see."

[Barnard] When you
go into a scene,

and you've got 100
questions for Bo,

and he goes, "I haven't
made that choice yet."

"I don't know if I want this character
to go down that road or that one yet."

"So let's see where we take
it where you don't know."

"Yeah, okay, great."

"That's really helpful."

But, you know, that's the… that
is the interesting thing about it.

In that moment, you have to make a
natural choice of the circumstances…

[Eyk grunts]

[Barnard] …and play that and
play the honesty of the moment,

regardless of where
it's going next.

Maura, please.

[Maura] Get in there.

[Henry] I know all of this

must be quite confusing for you.

[Lesser] You feel a safety in the
hands of people who have this pedigree.

They've done this
amazing series before.

And yet you feel they are
operating in a very free way.

And the way it starts out may be
the way it continues or it may not.

I've not come across that
a lot in modern drama.

The key.

[quirky music playing]

[porter] Everyone, please
assemble in the dining room.

The captain would like to
address the current situation.

What's happening?

They're not telling us a thing.

That's what you get when you
have a German running this.

I don't know if it's similar because
I've never been a captain on a ship, um,

but I guess it's
maybe as exhausting.

[Ling Yi] Olek!

[Odar] If you wanna
have family on the set,

then you also have to create
a safe place for everyone,

and especially for the actors
because you ask so much from them

to do in front of a
camera, almost being naked.

[Maura screaming]

[inquisitive music playing]

He's a very dark
soul. [chuckles]

Which is very cool.

He's not afraid of
the ugliness or…

the deep dark secrets

or sorrow or grief

or… just all the dark
sides that humans have.

And I just love to have a
director who wanna go in there.

[Barnard] I'm not good if
I don't trust the director.

And if a director doesn't make
me feel like I can go to places

which are very vulnerable,

I can't give you my all.

I feel comfortable enough to explore
what the possibilities are because of Bo.

And that's a good captain,
to make you feel safe

in a very vulnerable place.

Him and Jantje, they
both know what they want.

Sometimes they don't know
how they wanna get there.

Then you're a part of that creative
team, so you help them get there.

And there's a great essence
of family because of that.

[emotional string music playing]

It's been such a journey.
I get so emotional.

People here are amazing.

I met actors from all over the
world with different cultures.

I hope that people see that
no matter where you're from,

no matter your skin tone,
no matter your religion,

we're just equal, we're
just all just human beings.

It is the same hurt,
love, and happiness.

We're on the same boat.

You're looking for what you have in
common and you try to build up a synergy

to create together, and that's what
we're doing here internationally.

Especially during our time,
with COVID and Brexit,

and everyone wants to
become way more selfish

than they probably already were.

It's just great just to see
that we're all together.

And this is the beautiful
story about 1899.

If you actually wanna survive,
we have to be together.

No one can survive on their own.

[Odar] I will definitely
fall into a hole

after the end of this shoot.

You always do.

'Cause I really…

No one sees me behind
my monitors in my tent,

but I do, uh, live the
characters as well.

And I do act in front of the
monitors. No one sees that.

Just to try to understand what
that character could do or not.

Of course, in a very bad way
because I'm not a good actor.

But, like, I really
live these characters,

and it's sad always to
say goodbye to them.

But maybe hopefully we will say hello
again to them in another season.

This is where they shot Alien.

- [man] Oh, wow.
- Yeah.

So it has good history.

[Odar sighs heavily]

Thank you, sir.

[Bill] You're welcome, sir.

Hello.

- [Beecham] Hello.
- [Wagner] Hello there.

[in German] It is of course a bit
of an undercut, as we had discussed.

[Odar] Yeah.

[in English] How
are you feeling?

[Beecham] Yeah. It's
growing on me. I like it.

[Odar] It looks pretty cool.

- [Odar] Hello.
- [makeup artist] Hello.

- [Odar] Ah! Now you're a footballer?
- [Pietschmann] I'm a footballer.

Where is your beard?

Yeah, man.

- See ya in a minute. See you.
- [makeup artist] See you.

Yeah.

[suspenseful music building]

[in German] Then we'll go…

- [in English] It looks pretty amazing.
- Yeah.

And we have to fit
all the actors in.

Actually, let's start with
the people in the pods.

Jérôme, Clémence, Virginia, Eyk,

Maura, Krester,

Tove, and Olek.

[evocative vocalizations
reverberate]

[Odar] Get used to it.

This is season two,

just like this.

- In this box?
- But beautiful dialogues.

Yeah, beautiful.
It's so well written.

[woman] Okay, let's
stand by to shoot.

Rolling sound.

And action.

[high-pitched,
mysterious tones play]

[audio warbles disconcertingly]

[Odar] The ring. The ring.

- Cut. Very good. Moving on.
- [woman] Cut. And cut.

[Odar] Good news.
It looks awesome.

[crew cheering]

[brooding synth music playing]

Then at the end, your head
as straight as possible.

'Cause you're going into…

[laughter]

[indistinct chatter]

[Odar] I want to wrap.

- [woman] Aw, so sweet.
- [Odar] "With love."

And now my postcard. Thank you.

[Odar] There. Where's
the champagne?

Everyone, we're super quiet 'cause
it's the last one on the cast.

1899.

[Odar] Boom!

If this isn't iconic…

And…

action!

- [glitchy audio burst]
- [machinery powering down]

[low, disconcerting music plays]

Cut!

That's a wrap!

[cast and crew
clapping, cheering]

So guys, it was a pleasure
and honor working with you.

You're a fantastic cast.

I thank you from the
bottom of my heart.

It was a hell of a ride,

hell of a cast,
hell of characters,

hell of everything.

I love you all, really. Really.

Thank you. Thank you very much.

[applause, cheering continue]

[man] Well done.

Bo, from all the cast,
this is a little gift.

There you go. It's for you.

[Odar] This is awesome!

[woman] I want this picture.

[Odar] This is amazing.
Thank you very much.