Norway’s Erik Poppe on His Haugesund, Toronto-Bound ‘Quisling – The Final Days,’ Upcoming Jon Fosse Adaptation and Movie Based on ‘The Scream’ (EXCLUSIVE)

As a film enthusiast, I find the approach of this enigmatic European producer both intriguing and admirable. His unique methodology of gathering audience feedback through questionnaires after screenings is not only innovative but also speaks volumes about his dedication to his craft. It’s like he’s a taxi driver, taking us on a journey, and then, rather than striking up conversation at the destination, he leaves us with a thought-provoking questionnaire.

Renowned Norwegian film director Erik Poppe, known for movies like “1,000 Times Good Night” featuring Juliette Binoche and the Golden Bear-nominated “Utøya- July 22,” is set to open the Norwegian Film Festival in Haugesund on August 18th. This will be with his eagerly awaited drama “Quisling – The Final Days,” before its global premiere at Toronto’s Special Presentations.

Despite being set in Norway during World War II, this movie delves into a contemporary concern – the escalation of far-right extremism and its potential danger to democratic values.

The narrative focuses on the final days leading up to Vidkun Quisling’s execution on October 24, 1945, a man notoriously known as a Nazi collaborator whose name is synonymous with traitor. In his solitary cell, Quisling is visited by the priest Peder Olsen. Their interactions, recorded in Olsen’s diary that significantly influenced the script, evolve into a psychological confrontation between the humanist and the fascist.

As a movie critic, I’m thrilled to share my impressions of this captivating cinematic piece. In this production, we witness standout performances by Gard B. Eidsvold (“Troll,” “In Order of Disappearance”), portraying Quisling, and Anders Danielsen Lie (“The Worst Person in the World”) as the priest. Joining them on screen are Lisa Carlehed (“The Emigrants”) as Maria Quisling, and Lisa Loven Kongsli (Force Majeure”) as Heidi Olsen, the priest’s wife. Each actor delivers a tour-de-force performance that truly brings their characters to life.

According to a script penned by Anna Bach-Wiig, Siv Rajendram Eliassen, and Ravn Lanesskog, the film was created in partnership with Finn Gjerdrum and Stein B. Kvae of Paradox, who are often collaborators for Poppe. SF Studios’ Norwegian production branch assisted them. The movie, as well as a separate TV adaptation, have been marketed globally by REinvent.

In an exclusive conversation with EbMaster before the film’s global debut, Poppe shared insights into his creative process, experimentation, and future endeavors: He discussed “Bad Moon Rising,” a poignant relationship drama based on a script penned by Nobel Laureate Jon Fosse, as well as his first foray into the genre with “The Scream,” a film inspired by Edvard Munch’s renowned painting.

In our third movie of this trilogy focusing on the danger posed by far-right ideology to democracy, following “The King’s Choice” and “Utøya, July 22,” we delve into a less conventional angle – that of the antagonist. Instead of portraying the victims’ perspectives, as in our previous films, this time we attempt to understand the driving forces behind the actions of Quisling, examining his motives and questioning if atonement can ever be achieved. What inspired us to explore this unique approach with this film?

Erik Poppe: Indeed, you’re right. However, let me take it back to the start of my journey. In 2003, I became interested in the tale of one of Europe’s most notorious traitors. At that time in early 2000s Europe, there were rising figures of authoritarian leaders and far-right movements. Over a few years, I delved into reading and researching, yet couldn’t uncover the central part of the story.

I oversaw the production of “The King’s Choice,” a film about Germany’s assault on Norway’s democracy, and subsequently “Utøya, July 22,” which depicts the tragic terrorist attack on Utøya Island [on July 22, 2011]. One day, I received a diary from a relative of priest Peder Olsen, who was with Vidkun Quisling in his last days. His family had been aware that I was studying his life.

I suddenly understood that the pivotal aspect of the narrative isn’t about who Quisling was during the war, or even as a young man. Instead, it centers around those critical days spanning from his arrest to his execution, focusing on his struggle to survive, protect his reputation, and justify his actions. The diary provides an unprecedented glimpse into his mindset. Essentially, the story revolves around the intense conflict between the humanist Olsen and the Fascist Quisling.

A priest is not allowed to disclose a confession. What exactly was in the diary?

The diary contained observations made by a clergyman during his consultations with Quisling. This cleric worked in a psychiatric hospital and was accustomed to dealing with intricate personalities. When he was appointed as Quisling’s spiritual guide during his final days, he felt apprehensive about the task, fearing he might not succeed. He scribbled down brief notes following each meeting, documenting the events in a convoluted manner to prevent others from understanding them. However, when the diary was discovered years later, scholars at the University of Oslo were able to decipher its contents, revealing both Quisling’s and the clergyman’s thoughts. I brought the diary to a theology department at the University of Oslo, who provided insights into the text. Historians then authenticated it, leading us to believe that this was an unprecedented glimpse into Quisling’s mindset. The film was subsequently made. Another intriguing aspect of the story was the clergyman’s internal conflict with his religious convictions.

After discovering some unique details about Quisling, what aspects of his character particularly caught your attention?

AP: Many authoritarian figures seek power primarily for personal gain and amassing riches. However, diminishing their power isn’t just about targeting their wealth; it’s also about undermining their resources. The most challenging anti-democratic leaders to combat are those motivated solely by their ideology, such as Quisling.

Leading psychiatrists from Europe traveled to Norway to examine Quisling’s mind, hoping to uncover any abnormalities. However, their assessment concluded that he was mentally sound, not a psychopath. Despite this, Quisling appeared sympathetic and seemed like an ordinary nice person. Yet, such a ‘normal’ individual ultimately became a significant threat to our democratic system. As early as April 1940, Winston Churchill first referred to him as a traitor using his name.

Reflecting on my own life experiences, particularly during the tumultuous years of the Cold War, I find myself drawn to stories that delve into the psyche of autocratic leaders like Quisling, Putin, and Orbán. These individuals, with their dangerous ideologies, have shaped the world we live in today, and it’s crucial for us to understand their motivations. In these times of political uncertainty, I believe it is my duty as a storyteller to shed light on such complex characters, not for sensationalism, but to foster informed discussions and promote peace. After all, knowledge is the most powerful weapon we have against the dangers of autocracy.

Could you tell me about your teamwork with frequent collaborators Siv Rahendram Eliassen and Anna Bache-Wiig, and why was it important for you to ensure historical accuracy in your work?

Initially, I had a basic outline for the story that I developed. I debuted this concept at Cannes 2022 and received significant attention from potential investors. Subsequently, Anna and Siv, with whom I’ve collaborated on “Utøya, July 22” and “The Emigrants,” joined me in refining the idea. We enjoy working together in a collaborative setting, so we decided to create a writers’ room. As I delved deeper into research, they began constructing the story structure based on my initial concept. Over time, we added layer upon layer, evolving the script until it became version 13, which is typical for us. This process took nearly a year. We interviewed elderly individuals who had worked with Quisling, members of the Nazi party, and people close to the priest. Their insights were invaluable. Additionally, we received supplementary historical material from scholars. I invited two renowned historians specializing in Quisling to review our work, not to correct it but to ensure its accuracy.

In examining certain Hollywood films set in historical periods, it’s evident that some deviate from truth for the sake of a compelling narrative, with the tale taking precedence over historical accuracy. However, when it comes to biographical films like “Oppenheimer,” the filmmakers have made a concerted effort to portray events as authentically as they can, which significantly enhances the impact. This is the approach we aim to emulate.

Speaking of Vidkun Quisling’s Russian spouse, Maria – she is another captivating figure shrouded in mystery. Care to share some insights about her?

She remained by his side until the final moment. They had first crossed paths during a humanitarian crisis in Ukraine, where they were both part of Fridtjof Nansen’s emergency relief team. Nansen was later honored with the Nobel Peace Prize in 1922 for his significant contributions to prisoner of war repatriation. Unlike him, she distanced herself from politics and escaped arrest. However, she narrowly avoided execution.

Did Gard B. Eidsvold and Anders Danielsen Lie provide exceptional acting? Were they the natural picks for the roles, and can you tell us about your collaborative process with them?

As a movie enthusiast, I’m all about dedicating substantial effort in working closely with my cast during rehearsals. For this particular project, we delved into rehearsals for nearly three months. I managed to achieve this extended preparation time by condensing the filming schedule, ensuring a financially viable production. The roles demanded fearless actors, ready to bare their souls and plunge headfirst into their characters.

For some time now, I’ve been considering Anders for a role in a project we were planning. He’s internationally renowned and often collaborates with Joachim Trier. On the other hand, Gard, one of Norway’s most gifted actors over the past two decades, has primarily had supporting roles. Despite his impressive portfolio, he hasn’t yet been given a lead role. I felt it was high time to give him that opportunity and demonstrate his immense talent to the world. Our shared vision was to create a character as closely resembling a historical figure as possible. Not only are Anders and Gard friends of mine, but it’s a joy to collaborate with them on this project.

Director’s Statement: Tired of the commonplace blueish tones in period films, I wanted to venture into uncharted territory. While this story is set in 1945, it possesses a contemporary spirit, so why not create a visual style that reflects this? The camera work remains controlled yet dynamic, while the color palette is bold and striking, featuring an unusual combination of green and red. This vibrant scheme was the result of extensive experimentation with my cinematographer, Jonas Alarik, whom I collaborated with for the first time. His impressive work on TV shows like “The Playlist” and “Snabba Cash” made him a perfect fit for this project. My aim is always to innovate and push boundaries in filmmaking.

It’s fortunate for me to collaborate with exceptional producers such as Stein B. Kvae and Finn Gjerdrum, who consistently back my ideas without hesitation, even when many others in the industry are wary of taking chances. The bond of trust we share is paramount above all else.

It seems you conducted pre-release audience tests to gauge their responses. Distributors should certainly value your willingness to share feedback in this way…

During screen tests, I personally arrange and conduct them. While working on the film, I welcome constructive criticism, even if people label it as subpar; I encourage my entire team to scrutinize my creative vision.

There will be a TV version of “Quisling-The Final Days”. How will it look like?

The episodes for this five-part series will present a new tale altogether, featuring additional content. I captured significantly more footage about Maria Quisling’s story, particularly during the late 1950s when she went to retrieve her husband’s ashes. There is also additional material on the priest’s wife’s story included.

It was quite fascinating that I managed to tackle a task I hadn’t encountered before. I divided my workspace into two distinct editing stations, each assigned its own team responsible for editing, music, and sound. Remarkably, these teams worked independently without knowing the other’s progress. Observing their unique approaches towards the same sequences was intriguing. Both versions showcase distinctive styles and paces.

What do you hope audiences will take away from watching your movie?

RP: Frankly speaking, I’d like to explore and convey the thoughts that lie within Putin’s mind, as well as other authoritarian leaders. The feedback from the test-screenings suggests that viewers found it startling how relevant this film is in today’s world. My aim is to create commercially successful films, which also serve as a platform for questioning and reflecting on our current society.

What else are you working on?

At present, I’m on location scouting along the North-Western coast of Norway for the film “Bad Moon Rising.” This movie is penned by the 2023 Nobel laureate in Literature, Jon Fosse, who surprisingly has only one screenplay to his credit. Unlike my other films, this one is significantly shorter – approximately 86-90 minutes long. It’s a love story centered around a couple in their early thirties, detailing their meeting and separation. The narrative is compelling and elegantly crafted, distinct from Ingmar Bergman’s “Scenes From a Marriage,” which is relentlessly grim and emotionally draining. Jon Fosse was unaware of “Scenes From a Marriage” as he seldom watches movies. His relationship drama unfolds in intervals, with brief chapters, portraying the couple when they are together, separated, having a child, and eventually parting ways. The story revolves around their struggle to reconcile despite feeling misplaced and mismatched. It’s about the choices we make.

Jon has a significant reputation in the United States, Japan, and Europe. Working alongside him, along with my usual collaborators at Paradox and SF Studios, is an exciting prospect. Our aim is to commence filming in November. We have a remarkable ensemble cast that we will reveal at a future date. This project is set for 2025. Following this, my 2026 project titled “The Scream,” co-produced by Paradox and SF Studios, promises to be monumental. It’s an international psychological thriller in the English language that delves into the life of Edvard Munch as he creates one of the world’s most iconic paintings, ‘The Scream.’ The narrative is captivating and I have been developing it for some time. However, the script has now been finalized. We are already immersed in this project and have secured a few key partners. We will shortly initiate casting to attract interest from top-tier actors for the roles.

Will it be your first genre movie?

AL: Absolutely, and as for my perspective, it’s about mustering courage and seizing opportunities. (Note: This interview has been modified for publication.)

2024-08-15 13:18

Norway’s Erik Poppe on His Haugesund, Toronto-Bound ‘Quisling – The Final Days,’ Upcoming Jon Fosse Adaptation and Movie Based on ‘The Scream’ (EXCLUSIVE)

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