se gb

The background to Dead Love

2009 we started talking about making a short film of about five minutes. We had very nice locations to film at the Hagabadet so it would be stupid not to take the chance. Said and done, we sat down and wrote a small script. It was about the caretaker of the bath, David Nilsson who then worked there. He was then also in front of the camera, playing himself. We fixed cameras and had two helpers with us who filmed some behind the scenes and I, Fredrik Lindau, was comfortable behind the camera.

First version
Shots went quickly, they rushed at a devastating pace. The speed was all that mattered. There was no such thing as lighting. Audio recording was not even in the planning stage. In short, it was a disaster. This became brutaly obvious later on when David saw the material filmed and he simply pressed the delete button and deleted the entire evening's work. The rest of us were a bit disappointed but David did not think his performance was enough, what do I know. I think David himself may comment on the reason for this prank. But some of the material is still there. The material that was being filmed for behind the scenes. Below you can see a short excerpt.





Anxiety, Swedish film and not to give up

After David's disappointment , we laid down the business for a while in pure anxiety. Should it be so hard to record a little short? Later in the fall of 2011, I, Fredrik Lindau, began to think about whether I could take Davids part in front of the camera in lack of a better actors. Mostly to get something out of your hands. To do something. You learn nothing about movie makeing siting at home twiddeling your thumbs.

After much thought and anxiety, we decided a second attempt. This time we sat down and made the script so it would be more processed. We did not want to rush through this. It would take the time needed. Little did we know it would take so long that it actually has.

Second version
First shot at the second attempt were horrible. I would act, something I've never done before and it was noticeable. We had been using a very nice woman named Eva who lined up to be my co-star. Besides my demons standing in front of a camera, there was some obvious physical problems. I am 190cm tall, Eva was about 160cm tall, David used the anamorphic lenses in a narrow corridor. For those who do not know it, you cann't zoom with an anamorphic lens, it is fast and requires quite a lot of light to function properly. This together with the height difference between me and Eva made ​​the angles very interesting to say the least. We've cut together this little masterpiece so you can see how it all began.





New actors

When the anxiety that we hadn't managed to get it together had lifted, we took the new start and hired an actor in the hope that she could take the focus off my bad acting and give it a little class. Anne Lichtenstein was her name. It said in the script that I should diss her a bit, I wouldn't be so interested about her, all I wanted was for her to go home and leave me alone. She endured my arrogant behavior an entire evening, until she slammed a folder in my head.

The ghost was played by two women. They play the same role, but because we couldn't synchronize our times with locations so we had to hire two. I think no one will notice it for it's two completely different scenes. Nathalie Samuelsson was the first ghost, she had the grueling job of hanging in a construction harness about half a meter above the ground. Praise because she endured thoose couple of hours (!).

Woman number two who had succeed Nathalie was Annelie Sjölin. We wasn't especially kind to her either, she had to play a woman from the early 1900s in an unheated building for a few bitterly cold days in January 2012. More about these green screen scenes you can read about under "green screen" at the top of the page.

Late night, early morning
One of the biggest challenges of filming was that we could not make it during opening hours. We had about four hours each time. Either it was early in the morning at 5:00 or late evening until 11:00. At worst, late night and then sleep for a few hours and up again to begin at 5:00. That's how we kept on throughout the fall. We have calculated that we have put in about 60 hours on this movie. Hours for editing and effects not included.

Summary
In short, this film has been incredibly rewarding to do. Both technology, directing and anxiety wise. I'm starting to somewhat understand why artists equally suffer. It is a combination of Swedish anxiety and cursed law of Jante. We hope someone out there bothers to read this and also sees the movie can get something out of the story. If you do not, there are, there are certainly some outtakes you can have fun over.

Last but not least, both David and I must say a big thanks to you all involved. You have put up with the most weird things without complaining, and helped us to do something we have long dreamed of.