‘Severance’ Star Ólafur Darri Ólafsson Cooks Up Crime in ‘Reykjavik Fusion’

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As a movie enthusiast, I’m particularly excited about “Reykjavic Fusion,” a standout competitor at the prestigious Canneseries in France. According to its executive producer Erik Barmack of Wild Sheep Content, this gripping series combines the intense drama of “Breaking Bad” with the heartfelt kitchen chaos of “The Bear.” In simpler terms, it’s an enthralling blend of two great shows that I can’t wait to see!

As the talented yet allegedly tax-fraud convicted chef Jonas, I found myself navigating a precarious existence upon my release, choosing to open a restaurant with backing from a criminal overlord. Daily, I find myself in a whirlwind of damage control, as my life’s trajectory appears increasingly entangled with crime.

Jonas yearns to cultivate his love for high-end cooking, specializing in “Icelandic ingredients prepared with an Asian flair, complete with numerous hidden surprises,” as he shares with his fellow inmates. However, he finds himself unwillingly involved in murder and drowning, accumulating debt, which puts his parole, life, and loved ones at risk.

Remarkably dynamic and action-packed, “Reykjavik Fusion” unfolds on a broader scale than most Icelandic shows, featuring high-speed car chases that are virtually unparalleled within the genre.

Near the American/Icelandic actor Ólafsson, whose more than 100 roles span from “The Secret Life of Walter Mitty” and “True Detective” to “Trapped,” an Icelandic acting ensemble features Hera Hilmar (“Mortal Engines,” “The Oath”) as Mary, a character who’s unpredictable and serves as the accomplice to the crime lord Kristján (Thröstur Leo Gunnarsson, known for “Driving Mum”) and his former fiancée Katrín, portrayed by Lára Jóhanna Jónsdóttir (“Trapped”).

In collaboration with Erik Barmack’s Wild Sheep Content, the show marks the first production under Act4, a banner established in 2023 by Ólafsson, which also includes producer Hörður Rúnarsson, the creator-writer of the show, co-creator and writer Birkir Blær Ingólfsson, and writer Jónas Margeir Ingólfsson. This project is supported by Icelandic commissioner Síminn and co-production partner Arte. Broadcasters or platforms involved include AMC Iberia, Viasat, Yle, ERR, and SBS. The release within the domestic market is scheduled for this fall, with The Mediapro Studio Distribution handling distribution sales.

EbMaster had a conversation with Ólafsson and Rúnarsson at the Majestic Hotel in Cannes. They discussed shifting from Scandinavian noir, their shared passion for culinary arts, and their aim to blend American and European flavors to create a tantalizing fusion that could be enjoyed worldwide.

What does it signify to you that this is the initial Icelandic show chosen for Canneseries, as well as the debut of Act4?

or

In your own words, what is the significance of this being the first Icelandic production selected for Canneseries and also the inaugural project by Act4?

Both options convey the same meaning in a natural and easy-to-read manner.

Ólafur Darri Ólafsson: It’s tremendously significant for us at Act4 to see an Icelandic series making its debut here, marking a substantial achievement. Starting a company isn’t easy, but we’re thrilled that we’ve been able to do it, and even more so that our first series is here just two years after our launch.

We’re grateful to Hördur, Birkir, Jónas, as well as co-directors Samúel [Bjarki Pétursson] and Gunnar [Páll Ólafsson], who have a strong background in making commercials but haven’t tackled a series before. Our aim was to move beyond the typical Scandinavian noir, create something more vibrant, and edit it swiftly for a unique viewing experience.

How did you get the idea of mixing cooking with crime?

Rúnarsson aimed to offer a unique twist in every aspect, including creatives, scriptwriting, cast, and crew, and desired a series deeply rooted in Reykjavik’s atmosphere. Interestingly, I enjoy cooking, and my father was a chef. The concept for the show initially sprang from a discussion with a chef acquaintance. He was juggling tough labor along with other staff while reaping most of the benefits. This conversation led him to remark, “I have a friend who emerged from prison and opened a restaurant! He cooked for some high-rolling bankers housed in a small security facility that provided gourmet ingredients.” That piqued my interest.

Ólafsson: Yes it’s anchored in reality, much more than you think.

Could you describe your character, Jónas? What made him appealing to you?

Ólafsson: Essentially, he’s sentenced to jail for a crime he didn’t actually commit. However, it’s not as if he’s completely blameless; he’s been compelled to serve time due to his past actions.

In Iceland, there’s an expression that suggests going to prison will help you improve as a person. However, the irony lies in the fact that prisons are places where you encounter genuine criminals. Our curiosity led us to investigate what life is like after being released from prison. For example, Jónas lost his family, his fiancée has severed ties with him, and he doesn’t want his children to visit him in jail. He feels deeply ashamed. The only person he maintains contact with is his father. We were drawn to delve into this theme – the idea that prisons are intended for self-improvement, yet upon release, one finds that society rejects them. Thankfully, Iceland’s prison system is far superior to the United States, where people can lose their right to vote among other things.

Indeed, there’s a rich tapestry to this tale that I find fascinating: my growing understanding of the complex dynamics between him and his fiancée, who has a new partner stepping in as a father figure to their children. Adding another layer is the character of Mary, his associate connected to the criminal figure providing loans for his restaurant venture, whose personality never fails to entertain me.

How can we captivate the viewers, making them eager to continue watching and cheer for our characters? Can you share insights into your nuanced portrayal and physical expressions that convey far beyond what is spoken?

Ólafsson: Essentially, Jonas is always responding to events, which makes it enjoyable for me as an actor since things are always happening to him. I appreciate Jonas because he’s complex, having his imperfections. Regarding the physical aspects, they seem to emerge naturally with each role.

In simple terms, given that you’ve become widely recognized as an actor and have the freedom to select your roles, what criteria do you use when making these choices?

What truly matters is determining if I can contribute something meaningful to the story being told.

I often cling to it, but other factors also come into play – like who else is involved, the financial aspects, and so forth. Additionally, while some people claim actors can take on any role, I don’t entirely agree. Although you can achieve remarkable feats, there are specific roles that carry more significance based on your current stage in life. Whenever you assume a part, you’re drawing upon your experiences and understanding.

Essentially, whenever I select a particular aspect, I rely on instinct. After reading the narrative, if I feel that I could enhance the story, it becomes appealing to me.

What did you dig from your inner-self to play Drummond in “Severance” then?

Ólafsson: I found there were plenty (chuckles)! While portraying Drummond, I often pondered about the people who make me uneasy. With our current U.S. administration, it’s an intriguing time as some appear to be ardent followers and might go to extreme lengths for a particular figure. I believe Drummond embodies such a person, and violence isn’t even the least of his potential actions – that’s what attracted me to this character. It’s exciting as an actor to step into the mindset of someone you wouldn’t typically identify with.

Previously, I starred in a series titled “Nine Bodies in a Mexican Morgue” on MGM+, portraying a character who firmly supported Trump and election fraud claims. The experience was incredibly engaging. It wasn’t about caricaturing him; rather, it showcased the belief in various things that people might hold, sometimes leading them to realize they were deceived.

Does it sound accurate to say that the production of the show is shared by Erik Barmack from Wild Sheep Content, as well as Arte, making you a kind of bridge between American and European storytelling? In other words, are you blending American and European narratives?

Rúnarsson: Yes, that’s correct. It’s a blend of both worlds, and in many aspects, Iceland finds itself situated between the U.S. and Europe. We often turn our gaze towards the U.S., even though we are part of the Nordic region.
Olafur Darri, being of both U.S. and Icelandic heritage, do you find yourself straddling allegiances between the two or deeply connected to Iceland?

Ólafsson: I’ve spent a good amount of time working in the U.S., yet I’ve consistently returned to Iceland and never felt compelled to stay away. When I first began my career, it was frequently suggested that I relocate to L.A. for international success. However, times have changed, and it’s no longer necessary to reside in L.A. to make a mark. Regrettably, there aren’t many productions taking place there these days. With Act4, we take pride in bridging those two worlds.

Regarding the show, it’s fascinating how visual cooking stirs up our senses and hunger. I understand that a Michelin Chef, Þráinn Freyr Vigfússon, was part of your team as a consultant. Could you share your experience working with him, and may I inquire if you have a passion for cooking yourself?

Ólafsson describes cooking as a harmonious mix of meditation and chemistry, stating that it’s an ideal activity to unwind after a long workday. He often sets the mood with some pleasant music, and if everything aligns, he might open a bottle of red wine for a bit more relaxation. His family particularly enjoys his homemade pasta bolognese or boeuf bourguignon dishes.

It’s a joy for me to savor delicious meals and great companionship. Remarkably, I came across an exceptional chef named Þráinn who oversees two eateries in Reykjavik – Óx and Sümac. We grew quite close, and I realized he would be an excellent advisor. To my delight, not only did he exceed expectations by creating the entire menu for our restaurant, but he also prepared the food during filming. He was the unsung hero behind the scenes in the kitchen, making me shine!

What’s next for Act4?

Ólafsson: Our latest series is titled “Death of a Horse” [produced by the New8 Alliance, funded by RÚV]. It’s a captivating murder mystery with an unusual angle: the victim is a horse. The owner files an insurance claim and delves into the investigation, which sets up an intriguing scenario that challenges our perceptions of animals, particularly horses, in Iceland, where they are often regarded as family members and play significant roles in our lives.

Will you act in it?

Olafsson stated, “I’m afraid I won’t be involved. There are plenty of talented actors here in Iceland that we can pick from instead. Jonas and Birkir are the ones leading this project as showrunners.

Rúnarsson: Financing is locked and we’re shooting in July. We’ll soon announce our sales partner.

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2025-04-28 11:48