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I think that’s the biggest credit I can give DR – to thank them for the confidence they had in me and the idea.” “DR, the Danish broadcaster, took a chance with me. If you are just betting on the safe stuff, it moves nothing. “It is very, very important in Scotland and elsewhere that the broadcasters take risks.
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“That, you could say, is the good impact in the industry – that you can show people TV is not restricted to areas with a lot of money and a lot of people. It is just a question of good actors, good directors and a story. “Of course you can do dramas like The Killing in Scotland. As a Dane, I identify with a smaller nation like Scotland. I think it has to do with a similarity with the culture and the climate – they are not that far from each other. “I know the Danish film industry makes movies in Scotland too. Soren said: “I was interviewed by Scottish radio maybe six months ago and I realised we had a lot of fans in Scotland. He hopes the success of The Killing encourages broadcasters to continue to take chances on new and original drama.
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Upcoming crime dramas being made in Scotland, including Field of Blood: The Dead Hour, Shetland and the second series of Case Histories. The Dane is particularly pleased to have a Scottish fanbase and is delighted to hear about a series of Before the breakthrough in the UK, The Killing was respected but, if you get the attention of the UK market, it has an extraordinary impact on your product. “So it was a huge surprise for me, the impact we had when we went out on BBC4. He said: “I thought we did something good when we did it but to have this kind of success in the UK is not something you can expect, especially when you have this strange little language, Danish, and everybody has to read subtitles. The third and final series of The Killing came to an end last nightįor Soren, 44, who lives in Copenhagen with his wife and two children, it was a welcome surprise. The Killing – or Forbrydelsen as it is known in Denmark, which translates as The Crime – was a hit in Scandinavia and Germany first, garnering acclaim and audiences along the way, but it was the British reaction which took it to a different level. “When I get lazy and start doing my old recipes, I hope someone will stop me and say, ‘Wait a minute, you said that was wrong.’ So let’s see.” “I really believe that what is good for TV and movies is that you reinvent the whole thing again and again. I want it to end when it is still good, when we are still ambitious, thinking we did something out of the ordinary. I feel so much bad television is due to never-ending stories, just to make money. “We didn’t want to do a never-ending story. That’s part of the reason I want to stop because, in a while, it would have been just be a recipe like all the other shows that continue and continue. I wanted to redo the genre and to invent my own recipe. “When you see a show like Taggart a lot of times, the mysterious ways of the show decline.
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“The thing is, when you do a show for a lot of years, of course you get a very professional show but, on the other hand, you get a show that is very obvious when it comes to the recipe.
It was shown on Danish television, I think maybe Saturday at 10pm. He said: “I saw Taggart when I was younger. While Soren has nothing against it – in fact, he was a fan when it was shown on TV in Denmark– he did not want The Killing to turn into a Danish version.
Scotland’s internationally famous TV export holds the record for being the world’s longest-running crime drama. While his fingerprints are still on the body, he has revealed the real culprit is… Taggart. It could have run and run but creator Soren Sveistrup has decided to kill off The Killing. Over three series, it has proved an international phenomenon, the biggest Danish export since Carlsberg and Hans Christian Andersen. DANISH crime drama The Killing came to a nail-biting climax last night, bringing the curtain down on Detective Sarah Lund, her Faroe Islands jumpers and Saturday night subtitles.
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