Hello,
I would like to share a glimpse into my current work. After over 30 years in the film industry—both as a freelancer and as a staff member at Sveriges Television (SVT)—I am currently compiling my experiences into the book "Film Production in the Nordics – From Idea to Audience."
In my current role as a vocational college instructor, where I teach project development, production planning, financing, and budgeting, I daily see the need for a handbook focusing on our specific Nordic model. My goal is to create material that serves as a direct bridge between education and professional industry standards.
Attached you will find the book's introduction and the first chapter. The text is a work in progress, but it provides a clear picture of the pedagogical level and visual layout. I am currently finalizing the in-depth chapters regarding financing and budgeting.
I look forward to hearing your thoughts and will gladly be in touch again when the complete work is ready for launch.
Producing film in the Nordics is a craft that requires both artistic courage and administrative precision. This book guides you through the entire journey—from the first lines of a screenplay to meeting the audience in the cinema.
I want to provide a comprehensive view of how film projects grow under the conditions prevalent in our part of the world. Here, practical advice is interspersed with the industry standards applicable to professional production. It is about understanding the unique financing pathways, union agreements, and the creative process from a Northern European perspective.
This book is intended for those studying film, working as newly established producers, or simply wanting to understand the machinery behind Nordic successes. The goal is for you to have a solid toolbox to manage your own projects after reading.
We will cover screenplay design, budgeting, the crucial financing plan, and the logistics of shooting. We conclude with distribution and how to reach an audience.
Film is the art of telling a story through moving images and sound. The foundation can be anything: a notable novel, a true event that touched many, or an original idea born within a creator. For a story to become a film, it must first be codified into a screenplay—a technical working document that governs the entire production.
The script is always written in the present tense. By using the Courier 12 font and strict formatting, a standard is created where one page corresponds to approximately one minute of film.
By standardizing the appearance—from margins to the Courier 12 font—one can quickly make critical calculations. This allows for planning both shooting time and budget.
Dramaturgy is not merely an artistic theory; it is the architecture of film. Its primary function is to organize time, events, and emotions so the audience remains engaged. Well-functioning dramaturgy creates identification and forward momentum.
This model is the standard for the majority of commercial films. It rests on the idea of a linear journey where the character is forced out of their comfort zone.
While the three-act structure focuses on the sequence of events, The Hero's Journey focuses on the character's inner psychological transformation. It is often used in adventure films and grand dramas. The model is built on archetypes and consists of 12 steps, including The Call to Adventure, Meeting the Mentor, and Return with the Elixir.
The story ends where it began. The purpose is often to show that the world remains unchanged, but the observer's (or character's) understanding of it has deepened.
The film consists of several smaller stories linked by a common theme or location rather than a single protagonist's journey (e.g., the films of Roy Andersson).
Regardless of the model, we use the narrative arc to visualize the tension level over time. A good narrative arc ensures the audience never gets bored by constantly raising the stakes.
Consider a character-driven film like A Man Called Ove. Here we see a clear narrative arc guiding the audience through an emotional journey:
Financing film in the Nordics is a unique process based on an interplay between public funds, TV channels, and private investments. A Nordic project is rarely financed by a single actor. Instead, a patchwork of sources is built, including national film institutes, regional resource centers, and broadcasters.
The first budget must rest on a technical foundation: the script breakdown. This is where the words in the script are translated into actual currency.
The first chapter has taken us through the fundamental starting phase of film production. A successful project requires craftsmanship-like precision in how the idea is communicated.
| Dos | Don’ts |
|---|---|
| Write in the present tense and use Courier 12. It signals professionalism immediately. | Do not write in the past tense or with novel-like internal descriptions. |
| Choose a dramaturgical model that serves the story. | Don't wait too long for the inciting incident. |
| Be visually specific in your Pitch Deck. Show your vision. | Do not create a budget based on guesses. Base it on a script breakdown. |
| Identify your audience early. Financiers want to know who the film is for. | Avoid believing that "everyone" is the target audience. It makes financing harder. |