Thomas Vinterberg Talks Adapting Astrid Lindgren’s ‘The Brothers Lionheart’ About ‘Faith and Doubt,’ Contemplates Return to U.S.: ‘Should I Stay or Should I Go?’

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Thomas Vinterberg has prepared himself for the cinematic adaptation of “The Brothers Lionheart,” a fantastical story penned by Astrid Lindgren.

As I embark on this exciting new venture, I’m collaborating with the talented British writer, Simon Stephens, which means our work is a fusion of ideas. Although the book isn’t solely mine, it’s an incredible journey we’re navigating together. Honestly, I can’t wait to see where this project takes us,” I shared with EbMaster about my upcoming project.

The timeless tale by Lindgren revolves around two siblings and an enigmatic realm known as Nangijala, where life triumphs over death.

This book tackles the themes of belief and uncertainty, resonating deeply within my own experiences. It addresses a question that every child around the age of 8 or 10 seems to ask before going to bed: ‘What happens when we die?’ The characters are filled with bravery, mirroring the courage of the young readers. I believe this story can offer comfort and reassurance to its viewers as well.”

– Vinterberg

As a film enthusiast with a deep appreciation for the art of storytelling, I’ve had the privilege to dabble in English-language films, having been part of projects like “It’s All About Love,” featuring the talented Joaquin Phoenix, or “Dear Wendy.” However, my ambition has never been about working in the U.S.; rather, it was about exploring and contributing to the rich tapestry of cinema across the globe. Receiving a Nordic Honorary Award at Sweden’s esteemed Göteborg Film Festival is a testament to this journey.

He views his professional journey more like a series of milestones rather than specific career goals such as moving to America or working with famous actors in films. Instead, what truly motivates him are stories that have left an impact on him and align with qualities like difficulty, daring, bravery, and even controversy.

For a quarter of a century, this question has lingered in my thoughts: “To stay or to leave?” I often ponder over it but have yet to find a definitive answer. Now, something novel is taking place in my life – I’ve begun creating projects on my own in the English language. Most of what I’ve worked on up until now were scripts written by others, which is quite distinct from this new experience.

I’m excited to see Pedro Almodóvar’s latest film, ‘The Room Next Door,’ as I’m very interested to find out if shooting the movie in English has had an impact on him – whether it’s added something new or taken something away. Over time, I’ve come to understand that what makes stories universal is their specificity. Audiences tend to be uninterested in movies that are generic, and this is a risk that can arise when you work in unfamiliar territories.

His upcoming movie concept shares some similarities with the Oscar-winning film “Another Round”. It’s yet undecided whether he will direct it in English or Danish.

For quite some time now, I’ve been grappling with a significant choice, one that doesn’t feel like something I can easily make. It needs to find its own way to me. My films are birthed from a deep connection to reality. My film school mentor, who sadly is no longer here, would often tell me: “Thomas, if you’re going to make American movies, make them in a setting that’s not familiar. Set them in a spaceship, so you’re not burdened by all the research and tedium.

Some of his current projects “would be a part of the Hollywood system.” 

If certain issues arise, I’ve got Danish projects in mind too. They’re two entirely distinct scenarios. Having artistic backing for your film, as we do here, offers immense creative liberty. Many of my films have relied on this, including ‘The Celebration.’ If I were to approach financiers with a proposal like: ‘I want to create a movie about a pedophile father and his son giving a speech,’ I wouldn’t secure a penny. With ‘The Hunt,’ I consulted my agent because I wanted to produce an American film. He advised: ‘Forget it. No banker will jeopardize their job for a story like that.’ You produce it domestically, and then others might want to adapt it.

versions of “Another Round” from Czech Republic and the United States, where four educators embark on an unconventional alcohol experiment to explore its potential positive impact on their lives, are soon to be released.

Just as ‘Festen’ is being transformed into an opera in London, it shares a common thread with ‘The Hunt’ and ‘Another Round.’ This dramatic bond appears to be robust enough to endure various adaptations. I’m excited about the American adaptation of ‘Another Round’ for this reason. It seems that all cultures have intriguing perspectives on alcohol.

Vinterberg’s work throughout his career has been about finding a delicate balance between hope, humor, and love amidst very grim subjects, as he openly acknowledges.

I’ve stood up for all of my characters. I recall a time when I served as a juror, and the movies were unrelentingly grim. It made me feel embarrassed to be connected to them. Although there is still an undertone of disaster in my films, it’s a complicated matter. I find myself preoccupied with what comes after life on Earth. My thoughts have always been consumed by farewells, and even more so since the loss of my daughter. The weighty themes in life are what keeps me tossing and turning at night.

In my perspective, the gripping series “Families Like Ours” left me absolutely petrified. This captivating production portrays the heart-wrenching struggle of Danish families clinging to their bonds as they confront the grim reality of evacuation due to escalating floodwaters. The show’s raw and authentic depiction of these trying times is an unforgettable testament to human resilience.

The event left everyone utterly astounded and deeply saddened. In Venice, someone even grabbed my arm while weeping, exclaiming ‘This shouldn’t be happening!’ Many others I’ve encountered on the streets share this sentiment. While it’s heartening to see their concern, I’m still struggling to cope with the turmoil I mentioned earlier. Whenever they approach me, I inquire: ‘Did you see any glimmers of hope?’ They may not find it significant, but I do,” he expresses.

Writing ‘Festen,’ I found myself struggling after 15 pages due to its overwhelming sadness and despair. To lighten the mood, I incorporated humor and began visualizing it as a story about a dinner party. Although the theme of child abuse was still present, it provided us with a much-needed break. Humor became the focus in ‘Festen,’ while hope emerged as the central theme in my latest series ‘Families Like Ours.’ Hope was crucial for this narrative. My wife, who is an actress in the series and also works primarily as a Protestant priest, cried upon reading my initial draft. It was, and to some extent still is, a very challenging period in my life, marked by the loss of my daughter. My wife suggested that I introduce hope into both my story and potentially my own life.

Vinterberg tries to remain open as a filmmaker – also about his own painful losses. 

He frequently feels remorseful about this, but to achieve legendary status, one might need to be less approachable. However, he remains true to his authentic self, transparent and open as ever,” he remarks.

I enjoy engaging with others and sharing aspects of my personal life, my triumphs and setbacks. I’ve discovered that this approach is crucial in filmmaking, which I learned during my time at film school. It’s not just about that, though; I frequently utilize test audiences to convey my ideas. Perhaps that’s why the American model appeals to me so much. We screened ‘Another Round’ for 19 different audiences before we got the balance right. They provide raw honesty, which is invaluable. When I asked them about the characters, they told me they disliked them because their friend dies and they start dancing and drinking instead. The balance was off initially, but after making adjustments – it clicked! Experiences like these are what filmmakers dream of. This openness should be mutual.

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2025-01-28 15:17