– Avant-garde i Tyskland er normalen i Skandinavia

Forbrytelsen s1

Peter Naderman er for mange bransjeaktører utenfor Norden blitt en slags ambassadør for nordisk tv-drama. Han var lenge leder av ZDF Enterprises, et distribusjonsselskap som er knyttet til den tyske tv-kanalen ZDF. I dag jobber han for den tyske produksjonsselskapet NADCON, der han fortsetter å fokusere på særlig skandinavisk krim. Til Nordisk film- og tv-fond forteller han at han var tidlig ute med å fange opp den “skandinaviske krimbølgen” for 15 år siden da han satset friskt på tv-seriene basert på Henning Mankells bøker.

At that time it was very new and quite difficult to place a Swedish crime series in Germany because nobody knew the actors. It felt like another world. What I can see now is that the evolution in fiction production and distribution have played very much in my favour. Scandinavian drama and feature film have become much more the focus of the international market and what I have always done – high end and a bit edgy content – works better today, even in the US and on cable stations. So I think that in a modern globalized media world, Scandinavian material has an even greater chance to succeed internationally because the quality attached to it is much more appreciated.”

Som så mange tyskere forveksler Naderman iblant “Skandinavia” med “Norden”, men han forholder seg til alle de nordiske landene, selv om Danmark, Sverige og Norge er de mest toneangivende. Han fremhever tre trekk som definerer skandinavisk tv-drama:

«1: Talent. In the music of the 18th century, everything was German with Mozart, Beethoven etc. At the moment we have a lot of talent in Scandinavia, partly thanks to the good film schools.

2: Freedom. There is a lot of freedom that goes with Drama series backed by Scandinavian public broadcasters. This is essential and it is reflected on an international level. The most successful public broadcasters in Scandinavia are the most successful in the world.

SVT, DR, NRK, TV2 Denmark, even TV4 as a commercial channel. What is avant-garde in Germany is normal in Scandinavia. Actors and directors in Germany have to follow formulas, and because of the high competition on the domestic market and high volume of product (we have maybe 50 police series only in German), producers rush into production and talents do not have enough time to be precise ad to reflect on what they want to create. 



3: Budgets. In Scandinavia they are a bit higher than in Germany. For instance on the TV side, budgets are 10-20% higher than in Germany, that means less volume, and more money and quality for each production. Plus working conditions are very good in Scandinavia. When you put all this together it’s not a miracle that Scandinavia drama is of such high quality.»

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– Avant-garde i Tyskland er normalen i Skandinavia

Forbrytelsen s1

Peter Naderman er for mange bransjeaktører utenfor Norden blitt en slags ambassadør for nordisk tv-drama. Han var lenge leder av ZDF Enterprises, et distribusjonsselskap som er knyttet til den tyske tv-kanalen ZDF. I dag jobber han for den tyske produksjonsselskapet NADCON, der han fortsetter å fokusere på særlig skandinavisk krim. Til Nordisk film- og tv-fond forteller han at han var tidlig ute med å fange opp den “skandinaviske krimbølgen” for 15 år siden da han satset friskt på tv-seriene basert på Henning Mankells bøker.

At that time it was very new and quite difficult to place a Swedish crime series in Germany because nobody knew the actors. It felt like another world. What I can see now is that the evolution in fiction production and distribution have played very much in my favour. Scandinavian drama and feature film have become much more the focus of the international market and what I have always done – high end and a bit edgy content – works better today, even in the US and on cable stations. So I think that in a modern globalized media world, Scandinavian material has an even greater chance to succeed internationally because the quality attached to it is much more appreciated.”

Som så mange tyskere forveksler Naderman iblant “Skandinavia” med “Norden”, men han forholder seg til alle de nordiske landene, selv om Danmark, Sverige og Norge er de mest toneangivende. Han fremhever tre trekk som definerer skandinavisk tv-drama:

«1: Talent. In the music of the 18th century, everything was German with Mozart, Beethoven etc. At the moment we have a lot of talent in Scandinavia, partly thanks to the good film schools.

2: Freedom. There is a lot of freedom that goes with Drama series backed by Scandinavian public broadcasters. This is essential and it is reflected on an international level. The most successful public broadcasters in Scandinavia are the most successful in the world.

SVT, DR, NRK, TV2 Denmark, even TV4 as a commercial channel. What is avant-garde in Germany is normal in Scandinavia. Actors and directors in Germany have to follow formulas, and because of the high competition on the domestic market and high volume of product (we have maybe 50 police series only in German), producers rush into production and talents do not have enough time to be precise ad to reflect on what they want to create. 



3: Budgets. In Scandinavia they are a bit higher than in Germany. For instance on the TV side, budgets are 10-20% higher than in Germany, that means less volume, and more money and quality for each production. Plus working conditions are very good in Scandinavia. When you put all this together it’s not a miracle that Scandinavia drama is of such high quality.»

Les hele intervjuet

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