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Vienna Blood: (Vienna Blood 2)

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There are probably two overarching themes to the series. The first is, anti-Semitism and the rise of a particular kind of German nationalism that eventually metamorphosed into the horrors of Nazism. There were lots of nationalists around in Freud's Vienna and lots of cults with some rather odd beliefs that actually Hitler was exposed to when he was down and out in Vienna and absorbed and eventually incorporated into his pernicious Nazi ideology. That's one of the overarching themes. One of the things I love about the show, and I love about the novels, is that it is a melting pot of so many themes. And that reflects the fact that Vienna was a place of so many different cultures and so many different worlds. Since 2005, Tallis has been writing crime novels, published under the rubric of the Liebermann Papers and set in Vienna around the beginning of the 20th century. The two main characters are Vienna police inspector Oskar Reinhardt and his friend and adviser, psychiatrist Max Liebermann, a student of Sigmund Freud and a regular guest at Freud's apartment at Berggasse 19, now the Sigmund Freud Museum in Vienna. Vienna Blood (3 x 90”) is directed by Academy Award and Emmy nominee Robert Dornhelm (Anne Frank: The Whole Story). The producers are Hilary Bevan Jones and Jez Swimer for Endor Productions and Andreas Kamm and Oliver Auspitz for MR Film. Executive Producers are Steve Thompson, Klaus Lintschinger (ORF), Wolfgang Feindt (ZDF) and Carlo Dusi and Rodrigo Herrera Ibarguengoytia (Red Arrow Studios International). 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

With our makeup designer, Michaela Payer, we have moved with the years. My hair went from being worn down, to more up, to more liberated. That's also because of the period and women being freer in their looks, I would say.” All three films are so totally different. One is set in the world of high fashion and questions the friendship of our two main characters because Oscar starts to be very suspicious of his friend's interest in the murder case. The second film is about guilt and paying the price for having behaved morally unacceptably once in life. That ghost will never leave you. And the third one is about politics, accusation, manipulation and blame. It is a very interesting situation, because nationalism is something we all hate, or I do at least. Our suspect is a nationalist but is very sympathetic and turns out to be friendly towards our protagonists. He's so friendly, good looking and a smooth operator that you forgive him. The banality of evil. Vienna Blood is a British-Austrian procedural drama television series set in Vienna, Austria, in the 1900s. Based on the Liebermann novels by Frank Tallis, the series follows Max Liebermann ( Matthew Beard), a doctor and student of Sigmund Freud, as he assists Police Detective Oskar Rheinhardt ( Juergen Maurer). By providing psychological insights into the subjects’ motives, they investigate disturbing murders with success. A continuing sub-theme is the growing anti-Semitism against the Liebermann family. Max is a member of a liberal Jewish family in Leopoldstadt, a traditional Jewish district, while Oskar, a lapsed Catholic, is based at that district's police precinct.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. Vienna Blood season 3 begins on BBC2 on Wednesday 14 December at 9 pm. It will also be available to watch on BBC iPlayer. 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. I think the most wonderful thing about Vienna Blood is returning to work with the same colleagues again. So, for example, the relationship I have with Juergen who plays Oskar, I've never had with any actor, ever in my life. Because I've never worked with someone for that long. We've known each other for four years and that allows you to build both an off-screen relationship and an on-screen relationship that you can't really get other than through spending so much time together. We work together so in sync now. It's that classic ‘finish each other’s sentences off’ thing.

She adores Max, and even though he gives her problems, basically she’ll go with it if it’s Max, because she’s got a massive soft spot for him. Max is up to things that she doesn’t really approve of but I think she’s fascinated and maybe even a little bit proud of his unusualness: it’s part of his intelligence. I suppose to some extent, my own personal experience of coming from essentially an immigrant family seeped into the writing, although that’s something I only realised on reflection. It wasn't something I was necessarily conscious of at the time of writing. My real name is Francesco de Nato Napolitano which doesn't really fit on the side of a book, so I changed it and anglicised it. I don't have an English drop of blood in my body. I’m 100% Southern Italian. I would say Clara has quite a long development across the two seasons. From this young girl who is looking for something that makes her happy and she is not so sure what it is she needs - is it marriage? Is it Max? Either way, she becomes a woman in the first season - she becomes more grown up. I think what really makes her character in the show is the woman who tries to be somebody and is not so sure who she is. Amelia is a forensic scientist who has moved from London to Vienna to pursue her work because she thinks it will be an environment that’s a bit more conducive to her progressing. Amelia assists Max and Oskar with their detective-ing!Traumatic memories are pathogenic - they create disease. They don’t vanish, they remain an invisible force, affecting our behaviour.”

I don't think Rachel is preoccupied with feminism at all. She's a woman of her time. I think her ambition would have been to make a good marriage and have healthy, successful, prosperous children. And she's got those things and for her I think that's fine. As for the next generation of women, I think she's probably happy for them to work. But I don't think she craves more than she has. If she does, it's never mentioned. Thomas Oláh designs the costumes for Clara and it always feels like Christmas when I get invited to try them on. In Season One, Clara was kind of flirty, girlyish, the princess in the show. And then after what happened in the first season, we decided to make her a bit more grounded, a bit more like a woman. And in this season Clara has become more sophisticated. Clara now has costumes she can move in and work in and that helps people take her more seriously. But she always has a twist in her costumes. For example, a suit is blue but the cuffs are purple.

Frank Tallis’s Max Liebermann books in order:

A crime story is a puzzle but while you're watching a thriller there's this wonderful vicarious thrill of watching somebody solve the puzzle, but at the same time, experiencing the threat and the danger through somebody else's point of view. I think that's what makes crime drama universally popular. In the drama we make one or two decisions which are different from the original novels. When we first meet Max and Oskar in the first novel written by Frank, they’re old friends and they’ve been friends for a long time. I was interested in their first meeting because Oskar, immersed in the world of police investigations and crime, was not necessarily going to meet Max that easily. I was interested to find out how they had met and I wanted to write about that.

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