All language subtitles for 1899 Baran Bo Odar, Jantje Friese and cast interview Entrevista (ative as legendas!)

- I would say... I'm so nervous, I'm so sorry, I'm like...
- Don't worry

Ok, thank you.

And this is my dog Jonas.

- Oh my gosh!
- Wow!

A passport, a dark passport?
- Yeah, it's a book, it's from the show.
- So he's heavily reading it.

I feel like the pressure's on now.

- I had it in my in my hands so much...
- Pressure's on!
- Tannhaus...
- Where did you find this, did you have...
- I made it.

- Oh my god.
- That's very clever.
- I have a friend who does jewelry, so i made it.

Did you meet Jantje and Bo yet?

- No, not yet.
- But you will?

- Yes, yes.
- Ok.

- I'm looking forward.
- That is important.

I have to tell you that I have two dogs and their names are Jonas and Mikkel.

- And this is Jonas.
- Not Martha?

No, they're male.

- This is Jonas.
- Sweet.

- Oh, yes of course
- That's so sweet.
- ... this is Jonas, has to be.

And Mikkel is younger, but he's kind of turning into Michael right now, cause he's getting bigger.

Maybe, he'll send a letter.

-Very cute!
- We hope he has a different ending.

Yeah, I hope so.

But yeah I'm a huge fan and I did a lot of videos about Dark and

I'm here representing all the fans from Brazil.

So I would say "1899" it's a mystery show.

But also the characters, they seem they don't have a clue of of what's going on,

so how do we how different do you think it's acting when

the character doesn't know what's going on also?

Is it different?

I think it helps you a lot, it's good, because then you don't have to pretend you know everything and you understand everything,

but you can like easily just go into the show with all these question marks in your mind and go.

I don't know what's happening, and I think it's good, because as the show develops you can develop your knowledge as well.

and so i quite like that actually.

Yeah, and you're told the necessary things, and so you're sort of going down these dark tunnels.

How much did you know before it starts?

- It depends...
- How much do we think we know is the question.

Yes, and...

The bucket, there's always a bucket empty with Jantje and Bo's thoughts,

which will always be channeled into what you think you know, so...

Never pretend like you know it all!

- Because you don't
- It might change.
- It may change,

but that's great.

It's useful because it makes you very reactive,

and I think some of the best acting really is when you you're reacting to things,

rather than pushing performance, you're reacting to what is happening to you.

So it's very useful tool actually.

How do you decide which clue you're going to show in which episode?

We always approach the narrative in three ways,

because we kind of box our audience into three boxes.

One is a very-very smart, genre fiend audience,

that just knows how to read clues, spots all the clues, knows how to connect the clues, knows all the references,

so understands when they are tricked, when they're not tricked,

and they figure it out quite fast.

So this audience is really-really important to us, because that is like the biggest fan base.

They want to be treated right like they want to have fun.

If they are getting information too early it's just too boring for them.

So it really has to be a great riddle for that core audience.

But they are also very happy and like can pet their shoulder,

when they figure it out before everyone else does.

And i think that's like the excitement also we have when we're watching something is like exactly that.

And then we have an audience who's like more in the middle,

that they might need a bit more clues until they get it,

so it's giving them a bit more and then voicing it a bit clearer.

And then there's the last box people who usually do not play puzzles, or are not so genre fiend and take a bit longer to figure it out,

so then you have to also voice it at some point,

like really have someone say what it's about or deliver the clue, not only hidden

but like you know really here: "Bong!".

There it is.

And that's how we approach information, trying to be quite aware of all those three kinds of audiences,

and giving everyone kind of what they need, but it's difficult.

And Bo: how was directing with the volume technique?

I think writing is must be difficult also.

How was figuring it out this new technology?

It was actually very tricky at the beginning and then it took a lot of time to learn,

because it is, we both met at film school we learned all the

techniques you can use but it's really a new technology, and it's it felt like we're going back to film school and i have to

really understand this beast and what you can do with it.

We got a lot of help from industry people who worked on it already,

and told us "You can't do this. You should never do this, because we already tried, it's not working".

It was really a day by day, week by week finding out what can you do, or not, it was a very long prep phase this time almost a year,

where we literally build a smaller version of it,

and try it out with camera and angles and

with the production design, because you have to think a lot about layers,

a bit like in Photoshop, where you have a foreground and midground and background,

and how to combine these and literally creating reality in an unreal stage.

Which is really fun, because we are very playful people and

that's what I always liked as a child too - creating weird scenarios in a sandbox and then destroying it.

It felt very similar here, so it was very joyable, but also with some frustration.

In the process, yeah.

When you write for a show, you always have the budget

in mind in terms of: how many locations can I open up?

How complicated can those locations be? How big can those locations be?

All of that stuff, and what the volume does it frees you instantly from that,

because you can really create locations.

You usually can go to, for example, the whole Hong Kong,

like, we would have never gotten the whole team to Hong Kong to create an "1899" set up,

that's just impossible.

So it does free you in a lot of ways

where it gets a bit trickier than, a small technical things,

like, you can't have doors, if you want to create a room,

obviously you can't have someone opening the screen and walking in,

so it's just constructing entries and exits of characters a little bit differently.

You know your periphery vision is always seen the lands, the landscape of the sea behind the ship,

and that really kind of helped the moment for you to stay in the moment.

So rather than seeing a green screen

or a technician accidentally walking behind the camera or anything like that he actually got

you had the environment surrounding you,

and, you know, Bo's very good at using things like wind and rain and sometimes even music

and the platform could move as well that we were on.

So we brought everything to life, in real time for us.

And how do you guys work together as the showrunners?

Because you have some things you decide together, and some things you decide for directing, I suppose, and for writing.

So how is the middle ground?

Well, we live together, so there's always one moment at least.

- And that's...
- In bed.
- Dinner, or in bed,

where you will talk about the day and discuss things,

that didn't work on your side or on her side,

where we try to find solutions

But it's... We're together since over twenty years, we're almost like one person,

it's not even meant in a romantic way, it's rather the opposite,

that we have one brain, that we are sharing.

It can be helpful for a lot of decisions,

But sometimes it's also not helpful to have just one brain.

Yeah, that's the way it is.

But I think what helps us a lot is that we're two people.

I think showrunning is a really-really hard profession and i don't understand how people can do it alone

and I think it really helps, that we can be two people in discussions with other people,

that just helps, but also we can split apart

and everyone kind of deals with their own problem,

because it it gets quite overwhelming.

And in the show you have to react a lot,

because it's a lot of nonverbal acting, right.

Because of the language barrier and stuff.

Of course the three of you speak English, but some of the characters don't.

What it does it makes you listen more.

Because you really have to listen to someone that you don't understand,

to try to figure out what they're trying to communicate.

So you open up another door, a vulnerability maybe,

which is always lovely to see, I think, in people.

It becomes very endearing to watch the story unfold,

when you watch people exploring each other, when they are quite not working out.

You know, it's complicated.

And I think hopefully as a viewer you kind of want them to succeed to figure it out.

It's a good way in, I think.

I quite appreciate it, because we as actors we always need to deal

with what is happening between the lines, we're not so much concerned with the lines,

but what is happening between them, what is happening in the heads, in the hearts of people.

And that is, you know, it tends to sometimes be even more important.

And so that is actually quite helpful,

if you need to deal with each other without words.

So it actually was quite...

it was interesting.

How far do you want it to go from "Dark"?

You wanted to make it different,

but also it's your thing, it's your signature.

So how did you decide how far to go and stuff like that?

I think first of all for us it was really important that we do something new.

We didn't want to repeat ourselves: we get quite bored, if we don't get distracted by new stuff.

So "1899" from the get-go on was supposed to be something completely different.

So there is no reference to the "Dark" universe, there aren't any characters from the "Dark" universe suddenly appearing in "1899".

I know, a lot of fans have been speculating,

but that's not what's going to happen, it's really a thing on its own.

But at the same time, as you said,

we're still the film makers,

it's like our handwriting so to say.

And we definitely wanted to do a mystery box again,

like really presenting little puzzle pieces.

And you need to have an engaged audience, trying to figure out what's really going on,

like really reading into the things and filling gaps in there, in their mind figuring it out.

So there are a lot of similarities just in terms of genre constructions, for example.

And I think another huge similarity is that in "Dark"

it was really centered around the theme of time travel or quantum physics,

and now we have a different theme and that's like the center of "1899".

That's a huge spoiler, so we can talk about it right now,

but that's where they are really-really similar,

but there are also differences just in terms of small things:

"Dark" was quite static in its visuality, "1899" has a lot to do with movement,

because we're they're all on a journey, we're on a ship, so the camera is moving constantly.

So we tried to visually separate it, while yet feeling it is kind of still our own.

And i think the atmosphere that is transported by the sound and everything,

- It kind of feels like it gives you that those "Dark" vibes
- The montage.

Yeah, but it's still something different.

One-word answers.

Okay.

What really motivates your characters?

The truth.

- Loss.
- That's two words.

Survival.

What is this show about?

Connection.

Love.

Community.

What was the most difficult part of acting on this show?

Emily.

An... I am sorry!

"Andy! I mean (?)... Andy!".

Mystery. Mystery...

Was help and a hindrance.

Unknown. The unknown.

The labyrinth... of the of the journey.

Andy?

It was just a pleasure!

Just a good stuff.

Thank you guys so much!

Thank you!

Thank you!