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Vienna Blood: (Vienna Blood 2)

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Having just set up his own private practice, we find Max experimenting with Freud's new talking cure and various psychoanalytic techniques. But he’s also still at the hospital, where he works with patients, more interested in the mind than the body. And he still has a relationship with Oskar that he carries through from the first season. Tonally we are constantly switching between light entertainment and drama. So, making these films is a kind of tightrope act. It's a journey on eggshells. You must be careful. If you lose the drama of the whodunnit and remain only humorous, then people won't find the suspense or care who’s the murderer. At the same time, if you are too serious, then you lose the humanity and the entertainment. And so, we have to keep both genres connected. That's the dance between the naturalistic or realistic police drama and the more poetic or lyrical side of the story. And that’s what interests me.

The first is that Max and Oskar have both moved on in their personal lives. Max has started his own private practice - emulating Freud very much, he’s now taking private clients for psychoanalysis sessions. When we met him in the first series he was just working in the hospital, now he has his own private practice. And that gives us some really good drama because in the first episode of the new series he has his first private patient and it’s his patient who’s involved in the murder. So you can see Max’s world expanding. For me this season is about Clara focusing on herself and standing her ground. She has learnt that relying on men is not everything, and that there's only space for love when she's at eye level with men and not relying on them. For me, setting is everything. First there is the broad, colourful canvas of Freud’s Vienna. Then there is usually some form of ‘closed’ community - anything from a secret society to a fashion house. There is the world - and then smaller worlds nested within the greater world. Once I’ve got a setting, plots arise spontaneously. A setting will suggest specific themes for exploration, and impose helpful limits. The dramatic space in which the characters operate will be clearly defined.Red Arrow Studios International has led the co-financing of the series and is the international distributor. Germany’s ZDF and Austria’s ORF are co-production partners and will premiere the show in their respective territories. Other funding partners include National Film Institute Hungary, Televisionfund Austria & TV-Filmfund Vienna

That’s at the same time easy and hard to answer. It has everything good entertainment should have. It has brilliant texts. Steve Thompson is an amazing writer. It has the vision of the old Vienna, which is overwhelming I think. And it has crime and a comic relief also. I think it’s entertainment in the best meaning of the word. It’s a whole different side of life. And I think any father would worry about his son in this situation. But funnily enough, in these three films, Mendel gets involved a little more in Max and Oskar's work. It's a bit of a departure for him. Filmed in English and on location in Vienna and Budapest, season three is directed by Academy Award® and Emmy® nominee Robert Dornhelm (Anne Frank: The Whole Story) and stars Matthew Beard (The Imitation Game, Dracula, Avenue 5) as Max Liebermann, and Juergen Maurer (Vorstadtweiber, Tatort) as Detective Inspector Oskar Rheinhardt.

All we know up to Season Two is that Oskar had a sad past with his wife and his late daughter. In Season Three, we’ll experience Oskar from another side. I think he's a straightforward, protective man who just wants to be with somebody he can love, adore and protect. He wouldn't go and search for a date, but if it falls into his lap, as we say, I think he would take it. And there might be someone showing up in Season Three which is very exciting for me! Hilary Bevan Jones, Managing Director of Endor Productions, comments: “To have had the pleasure of filming in the magical city of Vienna for a second series was such a treat, a real feast for the eyes, not only for us as programme makers but - we hope - for our viewers too.

Each book in the series takes us to a different side of Vienna. In this second series we get monastic life, a high-class hotel and the world of imperial politics. What elements are you looking for when you decide on the settings of your books? Deadly Communion: (Liebermann Papers 5), Arrow Books, ISBN 978-0099519720; U.S. title: Vienna Twilight, Random House, ISBN 978-0812981001 Part of the process of adapting, in this case, is actually stripping out some really good things, some really rich storylines. There’s quite a job of restructuring the book and throwing away a lot of beautiful details that we are not able to use as we simply can’t fit them in the time. A lot of the restructuring is just focusing on the particular story we want to tell. The restructuring was the biggest part of the rewriting.

Matthew Beard (Max Liebermann)

For the last 25 years I've never delivered a finished film and put temp music on it and then asked a composer to replace it. That to me is very counter-productive. I like to listen to the music before I start the project. I sit with the composer, Roman Kariolou in this case, and the piano and we talk about the genre. I like to have at least three or four pieces of music before I start shooting. To have them in my ear. Love of family, I think… our age and sex and that’s about it. I’m Catholic, he’s Jewish. But I think the Jewish church is the mother church. Largely because the Viennese loved socialising. The coffee houses and salons were places where people from all walks of life (with different interests) gathered to talk and exchange ideas. This proved to be very fruitful. Gustav Klimt, for example, was invited to an autopsy by the professor of anatomy at the medical school. Klimt attended the autopsy so that he could better understand the ‘truths’ behind the superficial appearances of the human form. Darkness Rising: (Liebermann Papers 4), Century, ISBN 978-0099519744; U.S. title: Vienna Secrets, Random House, ISBN 978-0812980998 You’re deceiving her. And you’re deceiving yourself. Is there a name for that in your fancy science books?”

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