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I love working with Netflix, they’re a really nice partner, but I find it very hard to meet their expectations of how fast we can make a TV series, yet have happy workers.”ĭenmark’s film industry started to punch above its weight in the 1990s with the emergence of directors such as Lars von Trier and Thomas Vinterberg, but it was only when the crime series The Killing and the political drama Borgen became surprise international hits in 2012 that Danish TV drew the interest of foreign broadcasters. “But their time schedules have their roots in countries with other working cultures. Many of these streamers coming to Denmark have a huge appetite, which is a wonderful, positive thing,” she continued. Photograph: Per Arnesen/BBC/misofilm & outline filmįor her, it’s a golden age, though. “I have huge problems crewing.”Ĭharlotte Munck and Soren Malling in The Investigation. “I just postponed the production a month because we couldn’t get a production designer,” she said. Meta Louise Foldager Sørensen, the chief executive of SAM Productions, which has produced two Netflix original productions, The Chestnut Man and Ragnarok, and is currently making a new series of the hit political drama Borgen, was forced to delay. “We don’t have it a lot, but I think we are very close to the edge.” “We have situations where production companies are unable to produce because they’re not able to get the skilled labour,” he said. Jørgen Ramskov, chief executive of the Danish Producers’ Association, agreed that the demand from streaming services was pushing the industry to “full capacity”. HBO released its first Danish original series this year, Kamikaze, and Apple, Amazon and Disney are all seeking to commission Danish series. Netflix currently has two new series, Chosen and Elves, in the pipeline from Jannik Tai Mosholt and Christian Potalivo, the makers of the company’s hit apocalyptic miniseries The Rain, and has also wrapped production on the Nordic noir crime series The Chestnut Man and the thriller film Loving Adults.
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It’s like, ‘we’re gonna smash your career, you’re never gonna come back’.” And I understand why they’re scared because they’re being bullied. “I started to get calls and messages from people whispering how good it was that we were doing this. She said that the letter had its origin in a closed Facebook group she had set up for those who felt bullied. People simply have to run faster, and when people are under pressure they start to yell, and it’s not OK to yell.” “We have the streaming companies now in Denmark, we have HBO, we have Netflix, and it’s great that we have this variety, but it creates a situation where the demand for content is constant,” Nordentoft told the Observer.
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The production designer Emilie Nordentoft, who organised the letter together with the actor Dorte Rømer, said that the hunger for content from streaming companies like Netflix, HBO and Amazon was pushing the industry to breaking point. “People who are just doing their jobs should not have to report sick with depression and stress, or leave the industry altogether just because the lemon just needs to be squeezed a little more,” the letter read. Serup’s article came two days after 415 people in the Danish film industry, including several well-known actors, signed an open letter to the country’s production companies warning that the sheer volume of work and stress was leading to “harassment, bullying and threats to smash people’s careers”. It was this summer, after a historical drama she was working on was postponed causing it to clash with another project, that she fell apart.