ATJ: These are the hybrids, right? Whenever we have to talk with distributors, we have to talk about gender, because you have to put a fucking genre in there. I hate genres in that sense. It’s a selling point, like having Italian or sushi, to make the audience get exactly what they want, laugh or cry. I think it’s so boring and old fashioned. I love films that play with genres.
MM: He travels very differently too. I have been with our others at festivals, for example in the Bahamas once with “The Green Butchers”, where he was nominated for an award. Since Thomas was not there, I was there to represent him. And when he won, there was a rhetoric as to why, and in their world it became clear that he acted like pure drama: heartfelt, dramatic, ultimately a heartbreaking story. And I was setting there in the audience like, “Do I tell them this is a comedy?” Or should I just accept the price? “
ATJ: “Flickering Lights” won a horror film festival in Italy.
Mads, I must congratulate you on the success of “Another Round,” which won the Oscar for Best International Feature last month.
MM: Thank you.
You are both considered beacons of the Danish film industry, and your respective work spans decades. How has Danish cinema evolved since you started out, especially since it is recognized around the world with films like “Another Round” and this one?
ATJ: For me, the most important thing about Danish filmmakers is that we are a very, very small community. We share ideas and help each other. It’s something that started with Lars von Trier and the Dogme 95 movement, really. I saw the power of us reading each other’s scripts, and I read for other directors while letting my stories be read. Together we are better.
MM: Although Denmark can be placed on a map, there is no coincidence in this sense: “Oh, there is a certain way of doing it in Denmark, and anyone can take it and do it. an excellent film. ” We’re just living in a time where there are more than one or two really great talent making movies. It could not have been done in the 1930s, perhaps, but it is happening now. But what’s unique is that our budgets are so small that if you have talent and ambition as a director, and you make a movie, it’s not the producer’s movie – or the film from 20 different producers. Everything in your heart comes out on the screen. It’s a bit unique compared to people dealing with $ 40 million to $ 80 million movies. If the director turns out to be awesome, he’ll show up.