00:00Io sono una casa. E' buio al mio interno.
00:08So, first of all, can you tell us something about how you build the balance between history and mystery,
00:14between the thriller aspects of the show and the historical part?
00:18So, first of all, if you're doing a show about Freud, you have to be truthful to his legacy.
00:23Freud for himself, the old Freud, standing with the cigar and looking sinister in the picture,
00:29into the camera, that was the way he wanted the world to see him.
00:33You have to know that he destroyed all the papers he wrote back then when he was a young doctor.
00:42So, this gives us more or less the creative freedom to tell our approach on the young Freud.
00:49But nevertheless, we try to be very truthful to his biography, where he worked, where he lived,
00:59what it means to be a young Jewish doctor in Vienna, where antisemitism was rising.
01:06And we try to create a complex character and confront him with the mystery thriller that was the challenging and
01:17fun thing.
01:18How did you choose this kind of approach on the characters of Freud?
01:23If you've got Sigmund Freud, then there's a whole lot of imagery already in people's heads.
01:29People have a very strong image of Sigmund Freud and they have certain assumptions about what a show about Freud
01:36might probably be about or might be like.
01:38And, of course, we wanted to subvert all those expectations.
01:44Not in an artificial way, of course, because we are showing a young Sigmund Freud, who is sort of not
01:52yet the Sigmund Freud everybody knows.
01:54That was the very intriguing and interesting premise for us.
01:58Did you have models in mind to build the story and the tone of the story?
02:05Not all that explicitly.
02:07I mean, we talked a bit about Peaky, was it Peaky Blinders?
02:11Yeah.
02:13Yeah.
02:13But we tried to find our own way.
02:20For sure it is not a super bright show.
02:24So we are dealing with the dark, also with the dark within.
02:31And I think that was the guideline to create the tone of the show.
02:39But I don't know if you know Vienna.
02:42I don't know if you know the humor of the Viennese people.
02:45So it was also important that it is not just everything is sad or, oh my God, terrible.
02:53So there is also a certain humor and, of course, humanity.
02:59Can you explain the choices you made for the darkest sequences?
03:05Well, that was a great part of it are the nightmarish visions in the show.
03:11And which are all have to do something with hypnosis.
03:17For me, it was very important to experience what hypnosis is.
03:23So I was hypnotized before I did this research.
03:29And although I didn't want to get hypnotized, it worked fantastic on me.
03:34And it was such a frightening feeling for me to lose all the control over me.
03:45To understand that was very inspiring for me to know, to understand what powerful tool Freud had in his hands.
03:54And somehow to feel this vision stuff, which were going on during the hypnosis,
04:02it inspired me in all other horror sequences.
04:05So you made the actors hypnotized too to make their reaction believable?
04:13Yeah.
04:14The actors too?
04:15Yes.
04:18We didn't.
04:18Actually, there was a plan that we get a real hypnotizer on the set and to hypnotize the actors.
04:28But we didn't do it.
04:30But it was a plan.
04:32But Robert and Ella, they get hypnotized as well.
04:39Was it difficult to find the perfect actor to play Freud and the other characters of the show?
04:50We were a little bit involved in the casting, but it was Marvin's task to do this.
04:59Actually, we saw Robert Finster.
05:02He was one of the first castings we watched.
05:06And we loved him from the beginning, as I remember.
05:10I did anyway.
05:12I mean, Marvin cast many, many actors and famous actors for this role.
05:18And Robert Finster, in his casting situation, he did something that no other actor did.
05:26And I think intuitively he understood to sort of ban everything that he knew about Sigmund Freud from his head
05:33before approaching this.
05:35Yeah, and he was that young and fresh Freud we were looking for.
05:40Did you watch other European shows by Netflix?
05:44What do you think of what the platform is doing in Europe in terms of new productions?
05:49There's such a wealth of shows.
05:54Nobody has enough lifetime to watch them all.
06:00But it is absolutely sensational what Netflix is doing and has caused in our art form, basically.
06:13So, I mean, what a miracle that now, from the end of March, the entire world can watch this show
06:24that is so specifically Austrian in a way, but also globally interesting, as we are certain.
06:31Are you a fan of binge watching or do you prefer a more serialized view of a show?
06:39Depends very much on the show.
06:41I think there are shows that really lend themselves to binge watch more and others maybe where you have to
06:49digest one or two episodes before you go on watching.
06:54How did you work on music and sound in the show that is chilling and creates a big atmosphere?
07:03Sound and music are so much important for this genre and it makes like 80% of the power you
07:12can generate.
07:13And I was collaborating with Stefan Will and Marco Drecker.
07:21I worked with them like for eight other movies together.
07:26And we understand each other very well about darkness in sound.
07:32So we have some experience in this area.
07:36Thank you so much.
07:38Thank you.
07:38Thank you.
07:38Thank you.
07:42Thank you.
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