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teejaysnow · 2 years

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Translation: Manusoverlevering, part 2

Here's part 2 of the youtube video translation, from 24:21 to 43:23 (also, there will probably be two more parts, rather than just one - otherwise this will begin to feel too much like work...)

Any mistakes are there for your enjoyment - I'm a Swede translating Norwegian into English, which gives me two extra languages to føkk up. Ooops.

Also, there are a lot of starts, stops, pauses and unfinished sentences going on during the panel - I haven't cleaned that up, you're getting it just as it was said. So, yeah. Sorry, not sorry.

Anyway, translation (hopefully...) under the cut because, once again, it's looooong...

[link to part 1]

Christopher Pahle: It’s nice when scenes are so well improvised that it seems like you’ve just been really good at writing them.

Julie Andem: I… Yeah. I remember that scene, or the filming of that scene as really exhausting, it was like at the end of the day and everyone was tired, and I know that there’s a really funny blooper from that scene where we’re running out of time to shoot so I’m trying to communicate during the take, I think it was to Marlon, that he should move, and then the whole group began to move, so they remained standing in a small herd. So it was a lot of not very good stuff we returned home with from that scene too.

Henrik Holm: And a lot of takes.

J: Yeah, there were quite a few takes of it too.

David Sjøholt: And you were… you were doing it after… after another one. We had an earlier recording that day, so it was like…

J: Yeah, it was pretty late in the evening when we did it.

D: Mmm.

J: But, yeah…

C: But, but that reaction where you suddenly realise who Even is is first of all really, really funny, but it’s also nice how it’s played out, how did that come to be?

D [shrugs]: I don’t know. I really don’t know, it’s just like… how improvisation works, it just happens and it just… I remember so well, um… when it happened, you got so flustered that you said ‘Henrik’, you didn’t say that your name was Even.

H: I think we all said our own names in that scene.

J: Marlon says Marlon, doesn’t he?

H: Yeah, he does.

D: That too, but it was, yeah…

J: But you are a bit, like, what’s so great with you is that as soon as you get a bit bored because nothing happens, like I think, if I’d have to guess, what you felt here is that you felt that Tarjei, or, slash Isak, wasn’t mocked enough, or it being embarrassing enough for him…

D: Maybe, I don’t remember… I guess it was… Yeah, that was probably it. It was so little that was happening.

H: But it… I remember very well that we did it so many times. And you’re very good at that because you always dared to do different things because you were the character that you were. I remember that you always played around with, like, how we boys communicated with each other, the comments you threw in were different from scene to scene, right? So it’s like you say, when you said that I got completely flustered and was just like, “uh, Henrik?”

D: I’m very…

H: So after a while I remember that it became our task, so… in that scene I remember hearing Marlon about to say “Maaaarrrlllo-” and I’m just like [speaks very quickly] “pleased to meet you”.

D: That’s true, and it’s like...

J: You said it in slow mo.

D: But… I shouldn’t sit here and be praised, because that part is really easy to have. It’s you…

H: You should get all the praise.

D: …who should get all the praise because you have all the boundaries, I can pretty much do as like, it’s just like [he shrugs].

H: Yeah, but that’s, like, so subjective. You think it’s easy, but for most people, having that sense of humour, timing, and playfulness… that really did a lot for the boy squad and what kind of mood they were in.

J: Definitely.

[Audience and panel applauds an embarrassed David]

C: Is there anyone of you that doesn’t like to improvise? I have a feeling it’s a condition to be a part of Skam.

J: A bit, yes. Really.

H: It was part of the audition.

J: Yeah, yeah. There was a lot of impro during the audition.

C: Carl Martin, you also like it, right?

Carl Martin Eggesbø: Yeah, I really like to improvise, yeah. It almost became a bit like, when we recorded it was a bit because I, too, failed to learn the script. So then I had to, yeah… mm.

C: Are there any improvised scenes that were left on the floor of the editing room that you’re missing? Where you’ve thought, “Damn that that isn’t in”?

J: There is so much good left on that floor.

C: Is there anything in particular that you can think of? Or the rest of you?

J: No… or can you?

CM: No, nothing spec… or, like, it was really exciting to see when the clips were released what had been selected. Because I just remember, at least for my part, it was… there were so many different clips. So it was really exciting to see what was kept in and what worked and contributed to, well, adding on to the story.

C: Right. How many times did you record the coffee spitting… How many takes for that?

Ulrikke Falch: That was pretty fast, wasn’t it?

J: Yeah, I think so. It was… you were totally awesome. In the script it just says something like…

U: We’re a couple.

J: …Vilde and Magnus are a couple and in love in an annoying way. I think it says.

D: Spit coffee and…

U: I spit coffee, yeah.

CM: Don’t you remember that?

D: Yeah, I remember it but I just remember that it was kind of different, and…

J: Ulrikke…

U: You liked it.

D: Noooo.

U: It seemed like you were in on it.

D: Yeah, I was, but…

H: You liked it.

U: You opened your mouth.

H: You enjoyed it.

D: It was a lot of fun. Definitely.

J: And Ulrikke is absolutely amazing…

D: Yeah, fucking hell.

J: …at impro, like, she’s made me laugh so much on set that I’ve peed myself a little bit, like it is, it is completely random what comes out, like it’s a party. It’s like I can’t make myself say “cut” even if we’re running out of time because I just want to sit back and watch what comes out, what her next strategy to keep the scene running will be. It’s just so much fun.

C: What is going on in your mind when you’re doing it?

U: It’s images, images appear and I just follow the images. Um.

CM: That is… What does that mean, I can’t…

U: No, I can, I can begin and then I see a light and I think “what else gives off light” and then there are fourteen different alternatives and then I pick one of them and then there are new alternatives there, and…

J: Yeah, there’s that kind of association, you’re really good at association, and it’s just like, “how did you end up here?”

C: Don’t the rest of you have any techniques like that?

H: I don’t recognise myself there. But is it acting in general or is it the character?

U: It’s mostly Vilde, it’s when you know the character.

H: Mmm. Because when you say it like that, then I can really see it. And you do it so brilliantly.

D: That was really wild to listen to. Cool. Wow. A light.

U: There are images.

D: Like, a light.

J: It’s not always a light, though, it’s an image of a light, it’s just an example, it’s not always a light.

U: Yeah, of cou… there’s an improvisation light in the far distance and then I follow it…

D: Whoa… whooooa… light…

U: No, that’s not it.

H: Yeah, but you are so present, that’s what it is. You’re so present that you can just stand there and just pick things from… from… who knows where it comes from, if you understand what I mean?

U: Yeah, but that’s the thing, that I’m good at improvising on my own but I’m not so good at improvising with others. And I never felt like I was. Julie, can’t you say that I was? No, that wasn’t what I meant.

J: Well, now that you mention it, you really sucked… No, you were really fantastic at it. And I think it’s really a lot of fun, especially in scenes with Lisa. Because Lisa doesn’t really like to improvise, but she’s really good at accepting everything that comes at her in a natural way. That scene where you’re talking about her having chlamydia in her eye. I think it said in the script, “discuss if Eva has chlamydia in her eye”, but when you began, like, “and you’ve touched your foo foo and then you’ve touched yourself there”, and how Lisa manages to keep a straight face in that scene, because I was completely destroyed, so…

H: There were a lot of times that we burst into laughter…

J: Yeah, there were some…

H: …I have to say. There must be some bloopers of that.

J: Yeah.

C: There is something else that is in the script that I think is very funny and interesting. So we can go back to the very first screenshot we planned to show. It’s from the Gabrielle scene, where you’ve written down, “I spent a long time looking for a song that Even would be feeling exhilarated by and it was really totally random that it was Fem Fine Frøkner but I ended up with it because the lyric was on point and Henrik managed to get exhilarated to it”. Have you… there it is, right. What I found interesting there is that what’s in the script is that it is Maroon 5.

[Julie laughs]

H: I never saw that.

J: Okay, but this has to be said, Maroon 5 is, like, my insert for anything daft. So in the script for the first season when William is coming up behind Noora, it also says “Noora puts on Maroon 5” because I just put that in and then I find a song afterwards. But it was never going to be Maroon 5, because it had to be over a minute and we didn’t have the rights, it had to be Norwegian.

C: Yeah, right. So that’s the reason that it says…

J: Yeah.

C: Yeah. Right. It would have become a pretty different scene if it had been Maroon 5.

J: Yeah. I really wanted Roxette, but we didn’t get…

C: Which one?

J: Yeah, what was it, name a title.

C: Joyride? That’s my…

J: Yeah, maybe.

C: …goto karaoke song.

J: Yeah. Maybe it was Joyride. Isn’t that, like, really upbeat so you feel like dancing to it?

C: Yeah, it’s very, like… maybe not dancing to it? I’m not going to sing it.

J: Are you sure?

H: That was what I said when she showed me Fem Fine Frøkner. I am not going to sing this.

J: But you did it, though.

C: You did it.

H: I did it.

J: Just like Christopher now will sing Roxette, go ahead.

C: Umm…

J [laughs]: I’m just kidding.

C: It’s the one, “Hello, you fool, I love you”...

J: Yeah, yeah, yeah, I think it was that one.

C: Yeah, yeah. [Julie hums a bit of the melody] That would have been something.

J: Because it had to be, yeah, yeah, but that would have worked in that scene.

C: Yeah, yeah.

J: If we’d had the rights. Which we didn’t.

C: Yeah, because it’s only Norwegian songs that you…

J: That can be over one minute.

C: You’re clear on how lucky you are that you can use so much…

J: Yeah.

C: Um. I just have to rifle through here again. Yeah, uh, here. Carl Martin. It is back to Eskild and episode five which includes your big Pride monologue. Where you get to know some new sides, or more layers to Eskild. What were your thoughts when you got that script?

CM: Umm… There was a bit of a process in the beginning of that because I remember that we talked about how such a monologue, such a text, would come, and it was, like, I thought it was really cool because, like, when I was cast as Eskild, we talked a bit in the beginning that it was important that Eskild didn’t turn into a stereotypical, uuh…

J: Wooden?

CM: Yeah, wooden. Like a typical gay boy that it often becomes, yeah… often on film. And I remember that you asked me what I wanted and what I thought and we went back and forth and you sent me a text and I was a bit, like, I didn’t really know what I felt about the theme in a way? Um. And then I also fretted over doing that monologue because Eskild had been such a funny character all the way. And then he’ll suddenly become someone completely different. And also, during that scene he goes from joke, joke, joke to, like, deeply serious. So that was, like, really tough in a way too, because I felt like it was really strict what I said, that I thought Eskild was really strict with Isak in that … in that scene. Um.

J: I remember that I sent it to you, I have, because it’s been a while since I read that chat, I sent, before I sent the script, I sent just the monologue and wanted your input. And one day passed. And two days passed. And three days passed, and I never got anything back and I thought, like, oh f… he hates it, I’m going to have to rewrite it, and then I messaged you, and you were, like, “Yeah, I’ve read it. Shit…” A bit like you’re talking about it now, like, “I don’t really know, but it’s important…” and then you talked about it both from Eskild’s point of view and from Isak’s point of view.

CM: Yeah, because it was a bit, like, for me it was a bit, like, what’s the… why is that monologue important, because it’s like, “Oh, gay rights, hallelujah”, in a way? Why is it that Eskild gets so… take it so… gets so serious just because of this? And I felt implicated in a way because I felt like I could just as well have been Isak. At the time that I got the monologue, I didn’t think Isak’s questions and the view that he held, I didn’t think it was that weird in a way? And when I had to act as counterpart to that, I had to take some time to understand it. And that’s why I didn’t answer, because I didn’t know what to say to how I felt about it. Umm. And it’s really not until after that episode was released that I, like, see, like, and I’ve talked to people who this monologue has really hit home with, that I’ve understood what it… what it really… what it really means. Umm. So in a way it was both an acting challenge, but also a challenge for me as a human in a way, that I should jump into it in a way. Because those thoughts that he… that Eskild had… I thought that he was this simple, nice guy, but he… he… suddenly he isn’t, and then I had to… it was also a bit, like, yeah, a bit of a turn.

J: Yeah, we had to do a turn with Eskild’s backstory. And it was, like, Eskild’s backstory was on its way into the script a couple of times but never made it in season three, or any season. Um. But we talked a bit about what he had to, what he probably had experienced to be where he was.

CM: Mmhm.

C: Is it something you can talk about?

J: Um. No, I don’t think, I think we should keep it a secret.

C: We’ll save that to…

J: We’ll save it.

C: …for Eskild’s season.

J [giggles]: Yeah, we’ll save it for Eskild's season.

C: But it is interesting, as you say, that he was, that the perception of Eskild was that he was funny and sarcastic and… sassy, and then suddenly he gets an extra layer, a little like what happens to Vilde in the last episode at home with her mother, although we’ve seen more seriousness in Vilde, but, what do you think that kind of… umm… Does it make it harder to laugh at the characters after you’ve found out those kinds of things, or? Does it add something extra that might…

CM: I think it’s just [cuts himself off because he thinks Ulrikke is about to speak. Ulrikke fakes a yawn instead.] I think it’s just [makes a face at Ulrikke] No, I think that it was really nice and I think it’s, I think Eskild’s had a lot of funny scenes after. So, so I really think, at least for Eskild’s part, I think it was super important and it was also, like we talked about in the beginning when Eskild was created, that even if he’s fussy and sarcastic, that doesn’t mean that you’re a simple person.

J: No, and also, has everyone forgotten how Eskild was with Noora in season two when she lies in bed and Eskild comes in and tells her that she doesn’t have to do everything on her own? You have actually seen that Eskild has a side that isn’t just silly and when it comes down to it, he can… he will be there. If he has to. He doesn’t really want to be there for long, but… but… but he realise when he has to go there.

C: Right, but… but you can also see in that scene that… you act it with a lot of heat and it is very clear that it is a sorrow in Eskild’s life that you might not have thought a lot… ah, yeah… he’s got… um, happy-go-lucky guy, and then something like that appears, it was a leading question, I think it adds a lot to the character, so that’s… I didn’t mean to set a trap for you, but… it is pretty interesting and pretty… I think… now I’ll just start talking here, but I think that it’s… when it comes, when such a thunderous speech comes from that kind of character, I think it hits a lot harder because you don’t see it coming.

U: We had, at the beginning, because for me, it’s a lot about telling a story, and you have taught us a lot about that. At least I feel like I’ve learnt a lot about it. In the first season, the comments started flowing in with “Vilde sucks” and “Vilde is a bitch” and “Vilde is annoying”, so me and Julie talked a lot about that. First advice was to not read the comments, but I still felt that it hurt. But then, I think, at one point or another, you made a comment that was like, “I can make everyone love you just via one scene and I can get everyone to hate Noora just via one line”. That there is something with the way a story is told that you have a lot of power over. Yeah.

J: Yeah.

U: Yeah.

J: That’s true.

#here it is #the promised translation of the manusoverlevering nationalmuseet skam juni 2018 video #well the second part of it anyway #i am not a natural translator #for the anon(s?) asking for it #my shit #my translations

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