This tool is beta test, If You got some problem please contact us
# | Start | End | Original | Translated |
---|---|---|---|---|
1 | 00:00:07,520 | 00:00:09,880 | Kudos acquired the rights to "The Bridge". | Kudos acquired the rights to "The Bridge". |
2 | 00:00:10,040 | 00:00:12,120 | It's a Swedish/Danish co-production. | It's a Swedish/Danish co-production. |
3 | 00:00:15,200 | 00:00:19,560 | it's a really good example of Scandinavian thrillers, which have become so popular. | it's a really good example of Scandinavian thrillers, which have become so popular. |
4 | 00:00:19,720 | 00:00:22,440 | It was character-driven and it was exciting. | It was character-driven and it was exciting. |
5 | 00:00:22,600 | 00:00:26,960 | You're always terrified when you do any drama and an adaptation has plenty of challenges, | You're always terrified when you do any drama and an adaptation has plenty of challenges, |
6 | 00:00:27,120 | 00:00:30,800 | cos you know they'll be a hardcore of people going, "It's not as good as the original. | cos you know they'll be a hardcore of people going, "It's not as good as the original. |
7 | 00:00:30,960 | 00:00:32,840 | "Why did they remake it? | "Why did they remake it? |
8 | 00:00:33,000 | 00:00:36,200 | You know you're gonna get that, so you've got to take that on the chin. | You know you're gonna get that, so you've got to take that on the chin. |
9 | 00:00:36,360 | 00:00:38,120 | But the one I'm really confident about is, | But the one I'm really confident about is, |
10 | 00:00:38,280 | 00:00:41,600 | we're not gonna suffer from not having "The Bridge" when we've got "The Tunnel". | we're not gonna suffer from not having "The Bridge" when we've got "The Tunnel". |
11 | 00:00:41,760 | 00:00:44,720 | You know, "The Tunnel" is an extremely exciting place. | You know, "The Tunnel" is an extremely exciting place. |
12 | 00:00:46,120 | 00:00:50,400 | Obviously because it's Britain/France not Denmark/Sweden it's a totally different context, | Obviously because it's Britain/France not Denmark/Sweden it's a totally different context, |
13 | 00:00:50,560 | 00:00:53,160 | and the language differences are greater. | and the language differences are greater. |
14 | 00:00:53,320 | 00:00:56,040 | Arguably the cultural differences are greater. | Arguably the cultural differences are greater. |
15 | 00:00:57,240 | 00:01:00,240 | Saga was very iconic in the original. | Saga was very iconic in the original. |
16 | 00:01:00,640 | 00:01:05,720 | She's so marked by her borderline...it's never named as autism, but it's strongly suggested. | She's so marked by her borderline...it's never named as autism, but it's strongly suggested. |
17 | 00:01:07,480 | 00:01:13,520 | In our version we make a lot more of the fact that Elise is a twin. | In our version we make a lot more of the fact that Elise is a twin. |
18 | 00:01:13,680 | 00:01:19,000 | Perhaps she was always, you know, the quiet and withdrawn and reserved one of the pairing. | Perhaps she was always, you know, the quiet and withdrawn and reserved one of the pairing. |
19 | 00:01:19,800 | 00:01:24,400 | But that her sister's death actually exacerbated that tendency. | But that her sister's death actually exacerbated that tendency. |
20 | 00:01:25,160 | 00:01:28,120 | And Elise is very serious and takes the world very seriously. | And Elise is very serious and takes the world very seriously. |
21 | 00:01:28,280 | 00:01:32,600 | One of the things that I always think with the British which Elise actually says to Karl | One of the things that I always think with the British which Elise actually says to Karl |
22 | 00:01:32,760 | 00:01:35,840 | is the British place an incredibly high emphasis on humor. | is the British place an incredibly high emphasis on humor. |
23 | 00:01:36,000 | 00:01:38,280 | You're not really one for jokes, are you? | You're not really one for jokes, are you? |
24 | 00:01:39,000 | 00:01:40,680 | Sometimes. | Sometimes. |
25 | 00:01:40,840 | 00:01:42,120 | It depends if they're funny. | It depends if they're funny. |
26 | 00:01:42,280 | 00:01:43,560 | Which is great in one sense, | Which is great in one sense, |
27 | 00:01:43,720 | 00:01:49,080 | but can also lead to a kind of annoying facetiousness and cynicism. | but can also lead to a kind of annoying facetiousness and cynicism. |
28 | 00:01:49,240 | 00:01:52,280 | In a way, I wanted to say that she's right sometimes. | In a way, I wanted to say that she's right sometimes. |
29 | 00:01:52,440 | 00:01:55,360 | Cos she prioritizes other things like truth and rigor | Cos she prioritizes other things like truth and rigor |
30 | 00:01:55,520 | 00:02:00,320 | and she actually finds some of those other more trivial things slightly sidetracking. | and she actually finds some of those other more trivial things slightly sidetracking. |
31 | 00:02:00,480 | 00:02:05,360 | Danny? The point is to catch the person who did this to you. Where did you lose your mobile? | Danny? The point is to catch the person who did this to you. Where did you lose your mobile? |
32 | 00:02:05,520 | 00:02:07,640 | I told you, in a bar. Which bar? | I told you, in a bar. Which bar? |
33 | 00:02:09,000 | 00:02:10,040 | Which bar? | Which bar? |
34 | 00:02:10,200 | 00:02:15,000 | Through her relationship with Karl she discovers | Through her relationship with Karl she discovers |
35 | 00:02:15,160 | 00:02:20,240 | an almost different kind of sibling relationship that frees her up a little more | an almost different kind of sibling relationship that frees her up a little more |
36 | 00:02:20,400 | 00:02:25,320 | and allows her to recover from being frozen in the grief caused by the death of her sister. | and allows her to recover from being frozen in the grief caused by the death of her sister. |
37 | 00:02:26,280 | 00:02:30,720 | The character of Karl who in the original was Martin, | The character of Karl who in the original was Martin, |
38 | 00:02:30,880 | 00:02:34,480 | I think has changed quite significantly. | I think has changed quite significantly. |
39 | 00:02:34,760 | 00:02:36,640 | My dad was a die-hard Communist. | My dad was a die-hard Communist. |
40 | 00:02:36,800 | 00:02:40,960 | He was a miner in the coalfields when there used to be coalfields around here. | He was a miner in the coalfields when there used to be coalfields around here. |
41 | 00:02:41,120 | 00:02:44,600 | Did you join the police just to annoy him? Not consciously. | Did you join the police just to annoy him? Not consciously. |
42 | 00:02:45,360 | 00:02:49,760 | Hi, Dad. Well, well. This is a rare treat. | Hi, Dad. Well, well. This is a rare treat. |
43 | 00:02:50,400 | 00:02:55,120 | To look at a police officer who was the son of a politicized Kent miner, | To look at a police officer who was the son of a politicized Kent miner, |
44 | 00:02:55,280 | 00:02:59,000 | who had gone on to university, and the tensions that produced, | who had gone on to university, and the tensions that produced, |
45 | 00:02:59,160 | 00:03:02,440 | there was very little of that kind of back-story in the original. | there was very little of that kind of back-story in the original. |
46 | 00:03:02,600 | 00:03:05,280 | He's deeply proud of his origins. | He's deeply proud of his origins. |
47 | 00:03:05,440 | 00:03:11,120 | And he's incredibly intolerant of people who don't understand them | And he's incredibly intolerant of people who don't understand them |
48 | 00:03:11,280 | 00:03:14,480 | or who he thinks, particularly Danny Hillier the journalist, | or who he thinks, particularly Danny Hillier the journalist, |
49 | 00:03:14,640 | 00:03:18,000 | cheapen and traduce that tradition that he comes from. | cheapen and traduce that tradition that he comes from. |
50 | 00:03:18,920 | 00:03:22,840 | Is she there? Your sister? | Is she there? Your sister? |
51 | 00:03:24,960 | 00:03:27,000 | He can understand Elise. | He can understand Elise. |
52 | 00:03:27,160 | 00:03:29,520 | And he has a sympathy for people who are different, | And he has a sympathy for people who are different, |
53 | 00:03:29,680 | 00:03:31,560 | or people who don't necessarily fit. | or people who don't necessarily fit. |
54 | 00:03:31,720 | 00:03:34,960 | And that's one of the reasons why they click as effectively as they do. | And that's one of the reasons why they click as effectively as they do. |
55 | 00:03:35,120 | 00:03:37,040 | And as they definitely do in "The Bridge" as well. | And as they definitely do in "The Bridge" as well. |
56 | 00:03:37,200 | 00:03:39,720 | But he has weaknesses like all human beings do. | But he has weaknesses like all human beings do. |
57 | 00:03:39,880 | 00:03:42,000 | One of his weaknesses is vulnerable women. | One of his weaknesses is vulnerable women. |
58 | 00:03:42,160 | 00:03:45,360 | And it brings a sort of catastrophe on his family life. | And it brings a sort of catastrophe on his family life. |
59 | 00:03:45,520 | 00:03:48,640 | Cos he's not a very good liar either really. He can't be bothered. | Cos he's not a very good liar either really. He can't be bothered. |
60 | 00:03:49,080 | 00:03:51,080 | Did you sleep with her? | Did you sleep with her? |
61 | 00:03:51,720 | 00:03:53,600 | God. | God. |
62 | 00:03:53,760 | 00:03:58,600 | Essentially the story's very simple and that, for me, is the art of good thriller writing. | Essentially the story's very simple and that, for me, is the art of good thriller writing. |
63 | 00:03:58,760 | 00:04:02,480 | A man who, we don't know who he is, | A man who, we don't know who he is, |
64 | 00:04:02,640 | 00:04:09,400 | has suddenly opened this amazing overture of crime to put these bodies in "The Tunnel". | has suddenly opened this amazing overture of crime to put these bodies in "The Tunnel". |
65 | 00:04:09,920 | 00:04:13,680 | And is clearly making some kind of statement, but they don't know what it is. | And is clearly making some kind of statement, but they don't know what it is. |
66 | 00:04:13,840 | 00:04:18,880 | And he then proceeds to reveal what he calls five truths. | And he then proceeds to reveal what he calls five truths. |
67 | 00:04:19,040 | 00:04:24,840 | So each time he chooses a different social or political target group, | So each time he chooses a different social or political target group, |
68 | 00:04:25,000 | 00:04:29,440 | and uses them to illustrate something that he feels about society. | and uses them to illustrate something that he feels about society. |
69 | 00:04:33,680 | 00:04:36,080 | We wanted to change a few of them, to spice things up a bit, | We wanted to change a few of them, to spice things up a bit, |
70 | 00:04:36,240 | 00:04:38,680 | make it different for an audience who'd seen "The Bridge". | make it different for an audience who'd seen "The Bridge". |
71 | 00:04:38,840 | 00:04:42,360 | And also because there were issues that for us that felt more relevant to Europe. | And also because there were issues that for us that felt more relevant to Europe. |
72 | 00:04:42,800 | 00:04:46,520 | Look, she comes apart like the Eurozone. | Look, she comes apart like the Eurozone. |
73 | 00:04:47,160 | 00:04:49,960 | The first truth is inequality before the law. | The first truth is inequality before the law. |
74 | 00:04:50,560 | 00:04:53,040 | The second truth is an attack on the elderly. | The second truth is an attack on the elderly. |
75 | 00:04:54,080 | 00:04:57,840 | Often the paradox of this is he becomes a slight folk hero along the way. | Often the paradox of this is he becomes a slight folk hero along the way. |
76 | 00:04:58,240 | 00:05:01,440 | “2 In France pensioners make up a third of all suicides. | “2 In France pensioners make up a third of all suicides. |
77 | 00:05:02,160 | 00:05:04,880 | And one quarter experience regular abuse. | And one quarter experience regular abuse. |
78 | 00:05:05,360 | 00:05:09,120 | He starts to kill the elderly, but he then turns round and says “Why are you moaning? | He starts to kill the elderly, but he then turns round and says “Why are you moaning? |
79 | 00:05:09,280 | 00:05:11,240 | You let them freeze to death in their houses, | You let them freeze to death in their houses, |
80 | 00:05:11,400 | 00:05:14,400 | and the same number of people have frozen to death in their house | and the same number of people have frozen to death in their house |
81 | 00:05:14,560 | 00:05:17,480 | while I've been carrying this out and yet you do nothing about it". | while I've been carrying this out and yet you do nothing about it". |
82 | 00:05:17,640 | 00:05:22,040 | So he's constantly challenging, and that's what makes him, for me, an interesting serial killer. | So he's constantly challenging, and that's what makes him, for me, an interesting serial killer. |
83 | 00:05:22,720 | 00:05:26,160 | The third truth is cuts to mental health. | The third truth is cuts to mental health. |
84 | 00:05:27,120 | 00:05:28,640 | How the mentally ill are treated. | How the mentally ill are treated. |
85 | 00:05:28,800 | 00:05:33,040 | The use of medication to try and control people, and their behavior, | The use of medication to try and control people, and their behavior, |
86 | 00:05:33,200 | 00:05:38,160 | rather than treat the causes and symptoms of the mental health crisis that's growing worse. | rather than treat the causes and symptoms of the mental health crisis that's growing worse. |
87 | 00:05:38,320 | 00:05:41,320 | Another truth is about the youth of today. | Another truth is about the youth of today. |
88 | 00:05:41,480 | 00:05:44,680 | This was very much one I was interested in after the English riots. | This was very much one I was interested in after the English riots. |
89 | 00:05:44,960 | 00:05:47,600 | We basically want to ignore their presence, | We basically want to ignore their presence, |
90 | 00:05:47,760 | 00:05:52,080 | expect them to put up with a pile of shit that we've delivered as a society | expect them to put up with a pile of shit that we've delivered as a society |
91 | 00:05:52,240 | 00:05:56,560 | and then act incredulous and bemused when they riot and burn stuff down. | and then act incredulous and bemused when they riot and burn stuff down. |
92 | 00:05:56,720 | 00:06:00,360 | And then throw them in prison for long periods of time to make them invisible again, | And then throw them in prison for long periods of time to make them invisible again, |
93 | 00:06:00,520 | 00:06:02,360 | and that's his big campaign on that one. | and that's his big campaign on that one. |
94 | 00:06:02,520 | 00:06:04,440 | He's making the invisible visible. | He's making the invisible visible. |
95 | 00:06:04,600 | 00:06:08,760 | He's showing us sides of our society that we generally don't want to see. | He's showing us sides of our society that we generally don't want to see. |
96 | 00:06:08,920 | 00:06:11,000 | He also looks at the other side of the coin, | He also looks at the other side of the coin, |
97 | 00:06:11,160 | 00:06:13,760 | the relationship between young people and the police. | the relationship between young people and the police. |
98 | 00:06:13,920 | 00:06:18,160 | So he also attacks a police officer who's been involved in the death of a young man | So he also attacks a police officer who's been involved in the death of a young man |
99 | 00:06:18,320 | 00:06:20,320 | in a French estate. | in a French estate. |
100 | 00:06:23,240 | 00:06:25,720 | That's one of my favorite truths, actually. | That's one of my favorite truths, actually. |
101 | 00:06:25,880 | 00:06:28,320 | The last one is about children. | The last one is about children. |
102 | 00:06:28,720 | 00:06:34,800 | And about the way in which we sentimentalize children, as long as they're either ours or like us. | And about the way in which we sentimentalize children, as long as they're either ours or like us. |
103 | 00:06:34,960 | 00:06:40,200 | But really don't pay too much attention to their exploitation and deaths. | But really don't pay too much attention to their exploitation and deaths. |
104 | 00:06:40,360 | 00:06:46,560 | So he delivers a particularly vicious truth at the end on the subject of children. | So he delivers a particularly vicious truth at the end on the subject of children. |
105 | 00:06:47,080 | 00:06:49,520 | This is for you. Hands in the fucking air! | This is for you. Hands in the fucking air! |
106 | 00:06:49,680 | 00:06:53,120 | It then gets personal and there's a kind of bonus truth, | It then gets personal and there's a kind of bonus truth, |
107 | 00:06:53,280 | 00:06:56,960 | and he's coming after, in particular, Karl and his family. | and he's coming after, in particular, Karl and his family. |
108 | 00:06:57,120 | 00:06:59,640 | Oh! Oh, there you are. | Oh! Oh, there you are. |
109 | 00:06:59,800 | 00:07:01,000 | Oh, my babies. | Oh, my babies. |
110 | 00:07:01,160 | 00:07:03,280 | I think here we're making a significant difference. | I think here we're making a significant difference. |
111 | 00:07:03,440 | 00:07:08,800 | In "The Bridge" it was all a smoke screen for him to go after the character of Martin. | In "The Bridge" it was all a smoke screen for him to go after the character of Martin. |
112 | 00:07:10,000 | 00:07:11,200 | I didn't want to do that. | I didn't want to do that. |
113 | 00:07:11,360 | 00:07:14,520 | I wanted it to say he does have a personal grudge against Karl, | I wanted it to say he does have a personal grudge against Karl, |
114 | 00:07:14,680 | 00:07:19,840 | but all the things that he'd done before his five truths were properly held by him as beliefs. | but all the things that he'd done before his five truths were properly held by him as beliefs. |
115 | 00:07:20,000 | 00:07:22,200 | He really is the Truth Terrorist. | He really is the Truth Terrorist. |
116 | 00:07:22,360 | 00:07:25,920 | We gave him a very different back-story, how he arrived where he did. | We gave him a very different back-story, how he arrived where he did. |
117 | 00:07:26,080 | 00:07:31,480 | And also brought in a shady, covert inter-Europe spy operation | And also brought in a shady, covert inter-Europe spy operation |
118 | 00:07:31,640 | 00:07:33,040 | which was nicknamed Peloton. | which was nicknamed Peloton. |
119 | 00:07:38,200 | 00:07:40,040 | It was around the time of the Olympics. | It was around the time of the Olympics. |
120 | 00:07:40,200 | 00:07:42,680 | 80 I was looking for handy words. | 80 I was looking for handy words. |
121 | 00:07:43,400 | 00:07:45,800 | During the Cold War there was such operations | During the Cold War there was such operations |
122 | 00:07:45,960 | 00:07:50,160 | to cope with the potential fallout of social and economic crisis in Europe. | to cope with the potential fallout of social and economic crisis in Europe. |
123 | 00:07:50,320 | 00:07:54,200 | And when we started this the financial crisis was really raging fully. | And when we started this the financial crisis was really raging fully. |
124 | 00:07:54,360 | 00:07:59,800 | And it didn't seem to me to be an unreasonable thing or an unreasonable suggestion, at least, | And it didn't seem to me to be an unreasonable thing or an unreasonable suggestion, at least, |
125 | 00:07:59,960 | 00:08:02,000 | that there would be some covert planning. | that there would be some covert planning. |
126 | 00:08:02,160 | 00:08:04,560 | What happens if the cash machines stop giving out money? | What happens if the cash machines stop giving out money? |
127 | 00:08:04,720 | 00:08:08,280 | What happens if a country defaults? What happens if the Euro collapses? | What happens if a country defaults? What happens if the Euro collapses? |
128 | 00:08:08,440 | 00:08:11,240 | And I've always been interested, from my time on Spooks onwards | And I've always been interested, from my time on Spooks onwards |
129 | 00:08:11,400 | 00:08:14,920 | of covert operations that go rogue or go maverick | of covert operations that go rogue or go maverick |
130 | 00:08:15,080 | 00:08:17,640 | or whether operatives involved develop their own agendas, | or whether operatives involved develop their own agendas, |
131 | 00:08:17,800 | 00:08:20,680 | that take them way outside their original remit. | that take them way outside their original remit. |
132 | 00:08:20,880 | 00:08:22,760 | He's known all along. | He's known all along. |
133 | 00:08:22,920 | 00:08:25,640 | His final truth, his bonus truth, so to speak, | His final truth, his bonus truth, so to speak, |
134 | 00:08:25,800 | 00:08:28,440 | is that Karl has betrayed him... | is that Karl has betrayed him... |
135 | 00:08:29,400 | 00:08:31,040 | on a personal level. | on a personal level. |
136 | 00:08:31,200 | 00:08:33,240 | I was looking after him on an undercover operation, | I was looking after him on an undercover operation, |
137 | 00:08:33,400 | 00:08:35,280 | er...investigating human trafficking. | er...investigating human trafficking. |
138 | 00:08:35,440 | 00:08:37,040 | Karl. Anyway... | Karl. Anyway... |
139 | 00:08:37,200 | 00:08:38,840 | I slept with his wife. | I slept with his wife. |
140 | 00:08:39,240 | 00:08:41,680 | Er...when they were still married. | Er...when they were still married. |
141 | 00:08:41,840 | 00:08:45,000 | And his final truth is "trust nobody". | And his final truth is "trust nobody". |
142 | 00:08:48,080 | 00:08:51,200 | Kari and his son have a very fraught and difficult relationship. | Kari and his son have a very fraught and difficult relationship. |
143 | 00:08:51,360 | 00:08:56,280 | And what he does rather brilliantly, is he organizes a kind of reconciliation, | And what he does rather brilliantly, is he organizes a kind of reconciliation, |
144 | 00:08:56,440 | 00:09:00,160 | between them online, by posing as somebody else. | between them online, by posing as somebody else. |
145 | 00:09:00,880 | 00:09:04,120 | He's gives the son advice to effect a reconciliation, | He's gives the son advice to effect a reconciliation, |
146 | 00:09:04,280 | 00:09:08,480 | only to make the pain of separating them again even more acute for Karl. | only to make the pain of separating them again even more acute for Karl. |
147 | 00:09:09,120 | 00:09:11,400 | You didn't make me love my dad again. | You didn't make me love my dad again. |
148 | 00:09:13,800 | 00:09:15,800 | I always loved him. | I always loved him. |
149 | 00:09:16,560 | 00:09:20,360 | And it all comes to a final denouement at the entrance to "The Tunnel"... | And it all comes to a final denouement at the entrance to "The Tunnel"... |
150 | 00:09:21,360 | 00:09:24,480 | in what I think is the best moment of "The Bridge" in the original, | in what I think is the best moment of "The Bridge" in the original, |
151 | 00:09:24,640 | 00:09:29,080 | when Saga can't lie to him because it's all about the truth in the end. | when Saga can't lie to him because it's all about the truth in the end. |
152 | 00:09:29,320 | 00:09:32,320 | And we've really preserved that moment because it's so good. | And we've really preserved that moment because it's so good. |
153 | 00:09:32,480 | 00:09:34,480 | Is my son alive, Elise? | Is my son alive, Elise? |
154 | 00:09:36,160 | 00:09:38,920 | For me, I wanted to make much more of that moral moment. | For me, I wanted to make much more of that moral moment. |
155 | 00:09:39,080 | 00:09:43,560 | We all fantasize about, I think, about hurting the people who hurt our children. | We all fantasize about, I think, about hurting the people who hurt our children. |
156 | 00:09:44,160 | 00:09:47,880 | And that is something that I find really interesting. | And that is something that I find really interesting. |
157 | 00:09:48,040 | 00:09:52,880 | Whether or not people do it, and whether it is a commendable thing. | Whether or not people do it, and whether it is a commendable thing. |
158 | 00:09:53,040 | 00:09:55,280 | Don't shoot. Will you fucking...get back! | Don't shoot. Will you fucking...get back! |
159 | 00:09:55,440 | 00:09:57,360 | Step away! They'll shoot you. | Step away! They'll shoot you. |
160 | 00:09:57,520 | 00:09:59,000 | On your fucking knees. | On your fucking knees. |
161 | 00:09:59,160 | 00:10:03,680 | Or whether as a civilized society we should prevent people from doing it. | Or whether as a civilized society we should prevent people from doing it. |
162 | 00:10:03,840 | 00:10:08,400 | And exercising personal revenge is, for me, the moral heart of the show, or should be. | And exercising personal revenge is, for me, the moral heart of the show, or should be. |
163 | 00:10:09,080 | 00:10:12,920 | Because, after all, if Karl even under the most extreme provocation | Because, after all, if Karl even under the most extreme provocation |
164 | 00:10:13,080 | 00:10:18,520 | with a man basically goading him and taunting him that he's killed his son | with a man basically goading him and taunting him that he's killed his son |
165 | 00:10:18,680 | 00:10:22,640 | takes personal revenge on him in that moment by shooting him, | takes personal revenge on him in that moment by shooting him, |
166 | 00:10:22,800 | 00:10:27,320 | which I think a small part of us would all be cheering for him, hoping he would do... | which I think a small part of us would all be cheering for him, hoping he would do... |
167 | 00:10:27,480 | 00:10:29,480 | Argh! Argh! | Argh! Argh! |
168 | 00:10:32,400 | 00:10:38,800 | And in some way he's achieved a victory over us. | And in some way he's achieved a victory over us. |
168 | 00:10:32,400 | 00:10:38,800 | And in some way he's achieved a victory over us. | And in some way he's achieved a victory over us. |