#the promised translation of the Manusoverlevering Nationalmuseet Skam juni 2018 video

[teejaysnow]

Translation: Manusoverlevering, part 1

Yeah, so... as promised, here's part 1 of the youtube video translation, from 0:00 to 24:20. (There will be two more parts, but they will probably take a week each.)

Any mistakes are there for your enjoyment - I'm a Swede translating Norwegian into English, which gives me two extra languages to føkk up. Ooops.

Also, there are a lot of starts, stops, pauses and unfinished sentences going on during the panel - I haven't cleaned that up, you're getting it just as it was said. So, yeah. Sorry, not sorry.

Anyway, translation (hopefully...) under the cut because it's looooong...

Presenter: First we’re going to see a video that one of the 181 has made about what it was like to bid on the scripts - that must have been a very exciting situation to be in - which ended on 109 901 NOK. So let’s spin the film and then we’ll meet Christopher Pahle and the rest of the crew. Enjoy.

*a short film about how 181 Skam fans came together to bid on an original script signed by Julie Andem at P3aksjonen 2017 [and ended up with three] is shown. [I began to translate this too - but either the picture quality or my eyesight is too poor so I gave up…]

Christopher Pahle: Hi, everyone. My name is Christopher and I’m going to be the moderator this evening. Um. Before we start, I’m just going to say that I noticed that we have an extra chair here so I hope that it’s okay that we brought an extra guest. So, please welcome Carl Martin Eggesbø, Henrik Holm, Ulrikke Falch, David Sjøholt, and Julie Andem. [the audience applauds] There’s a stair back there. Hello. We found out about an hour ago that Julie caught the flight from Copenhagen so we’re very happy about that. Congratulations on having been entered into the National Library. That's fun. Fun for Ibsen to hang with you. 

Julie Andem: Just to think that we have the kind of fans that make sure that that happens, that’s…

C: You can applaud yourself for that. [audience applaud themselves] I think it’s about one year since the last episode, the last clip. 

Henrik Holm: Sunday, wasn’t it?

C: What was that?

H: On Sunday, wasn’t it?

C: Yeah, I think so. And I was also told that it’s two years today since the trailer for season three was released.

J: Yeah. [audience giggles] Yeah, it’s cool.

C: But it’s been a year, how has it been since, are you getting some distance to everything, or? [he giggles] Well, you’re sitting here…

H: Yeah, we’re still here, aren’t we?

C: Yeah. But has it been hard to get some distance to it?

H: No, things happen in a natural order and it hasn’t been enough time to get a distance to it yet.

C: No. Is there anything you’re missing in particular? Something you’ve thought about?

J: I’m missing all the actors every day. And the team, the Norwegian team.

Ulrikke Falch: It’s been busy.

C: Yeah. We imagine that you’re spending all your time with them when you’re back home, but that’s not the case then?

J: I’m trying, but… I want to, but they all have lives without me, so… 

C: One thing I was wondering about. You… none of you had your own seasons, and you might not have been told everything that was to happen in the season arcs, did you sometimes have to follow the story like us mere mortals via the clips being released?

H: Of course.

C: Yeah?

U: We got the scripts, though, so we knew what was going to happen. But it was always cool to see the recordings. 

H: But we always got them one script at a time.

J: And it wasn’t everyone who actually read the scripts. 

H: No… Me??

J: I was only looking at… I just said “not everyone”, I’m not mentioning any names, I’m not mentioning any names, just that “everyone didn’t do that always”.

H: I didn’t feel targeted by that. I didn’t.

C: I don’t think you should either. But, umm… you knew everything that was going to happen, most of you anyway, so was there something that came as as much of a surprise for you that it did for us?

David Sjøholt: We got the scripts via mail, so it was like…

C: And then you got the full script, not just your own scenes?

D: Yeah. Didn’t we?

J: Yeah. You did. Yeah. But I never released… it was only me and two others who knew the story arcs each season before the seasons began, and one of the reasons for that was to see the reactions I got from the crew and the actors on the scripts, because I thought that it would be about the same reaction that I would get from the audience. I remember that Ulrikke was very good at responding to the scripts, when you liked something in the script or in the story you immediately sent a reply like “oh, that’s cool”, or…

U: Or when I was unhappy, nag nag nag.

J: Yeah, yeah, yeah.

C: Was there something people reacted different to than you’d thought, Julie?

J: No, but there were some reactions that were stronger, like when I wrote episode eight in season three, I was very, like, it’s getting quite dark now. And then I sent it out to the team, and it was met with total silence, and usually it took just about half an hour after I sent out a script before people began to reply “cool script, blah, blah, blah, can we meet, we need a meeting, I have to know…”, but a half hour passed and an hour passed and one and a half hour passed, and then I got a message from my editor where he said “Fuck you”. And I thought… I remember that production meeting, because everyone was afraid because they didn’t know how the season would end, so everyone was very afraid of how the story would end. So everyone was concerned. So I remember I thought, like, wow. I hadn’t expected it to make such a big impression.

C: No, right. And then it’s particularly the scene, or, it’s the Plaza…

J: Yeah, it’s the Plaza…

C: And Sonja and Grønland and that. But it does say in the script, the episode eight one that will be entered today, because you’ve made some notes, and it says that people reacted… that it was heavier in the first draft.

J: Yeah. That it was harsher…

C: And that’s the scene in the street…

J: Yeah, with Sonja.

C: And how was it?

J: Yeah, I don’t know if it was so much harsher, but what I meant was that Sonja was even more convincing so that at the end you just thought that, like, this is just fucked. That you didn’t have even the slightest of hope. So then I added in a couple of elements that made you think that okay, maybe she isn’t telling the truth, so you could cling to that. But in that first draft I remember that it was like, okay there is no hope at all.

C: Okay. It was probably good that you…

J: Yeah…

C: Why do you think people reacted so strongly to that scene?

J: Well, I think that when you’ve identified so strongly with Isak, then you feel really stupid. And the whole dream of who you could be just shatters into a thousand pieces because here he’s been fighting his problems that are his fear of coming out and fear of being with Even, and he’s been thinking that Even has the same fears and that’s why he’s together with Sonja, and then it turns out that there are much bigger and more important things than him that Even is dealing with. So I think that if you’ve really empathised with Isak then you can feel both very stupid and very afraid because it isn’t a given that it will end with Isak and Even at that time. I think.

H: I remember… as I said, we got one episode at a time, and I remember that I sat, when I read the script, I sat and I had never been so shocked after reading a script, like, ever. I think I stood up and read it, really, like… [acts shocked] For me, it was like watching an episode because the images just started to whirr, right? And then it gets to Even running out of the hotel room, and I was like, what…? 

J: Yeah, yeah, yeah.

H: And then you have to read it four time to understand what’s really happened, because it’s so… I don’t know…

C: Yeah, and it’s pretty intensely written and I recommend everyone to look at the scripts and read them, because I have, and that’s an experience in itself. I’ve read a lot of scripts and these were… I knew they were good, but…[Julie makes an “aww, chucks” gesture and the audience laughs and applauds] Um. We’re going to talk a bit about your characters in… in… first and foremost in the episodes that will be incorporated into the collections here now. Um. And… let’s see here, I lost the thread now. Um. Yeah. [Very serious voice] David. [David looks nervous] Um. You are, or, I’ve asked in one of the fan groups on Facebook what people were most curious about and a lot of people were very curious about you.

D: Mmhm.

C: They might not know, or, they might not know a lot about your character and how it evolves, because you really began more like an extra and then you were written into… When did you decide to do that, Julie?

J: Um… weren’t you auditioning for Even? 

D: Umm? [David looks confused]

J: Really, we had, okay, as I remember it anyway, before season three we had a joint audition where we were looking for Even but also looking to extend Isak’s group of friends. And then you were there but I’m not sure if you knew that you really were at an Even audition…

D: No, I think I was… No, I mean, because I knew Tarjei, Isak, we’re best friends, so it would have been weird to, well… [everyone laughs] No, so I think it was for something else than Even.

J: Yeah. Okay. But what’s really funny is that I’ve gotten a lot of questions about who the nine original characters were, and Magnus was one of the characters that I didn’t… that I realised when I was about to create him for season one that I didn’t need him, that he was unnecessary, but then I remembered him when I was writing season three, and then David auditioned, and he has an amazing timing and an amazing comedic talent, and he’s just an exceptionally talented actor, and knew Ta… [David pretends to dry away a tear and everyone giggles and applauds] and knew Tarjei really well, and I have a kind of standard audition that I always use for boys when they come to auditions, setting them up two and two, and I think I’ve seen that scene a thousand times…

H: The youth [at least I think that’s what he’s saying - diction, mate…] dialogue?

J: Yeah. And then David enters and does it in such a new and fresh way, it takes a lot to, like, impress me with that script, but he was totally awesome.

D: Cool.

J: So then he just became Magnus. 

C: But then the character was in place from the beginning, with a, with a character core diamond with a shame and things like that?

J: He really was, I don’t know if I shared it with you, did you get…

D: You sent something, but it was after it was finished. [everyone laughs] It was at the party, the wrap party, that you came and were like *high pitched sound*

J: Yeah, but I’m pretty good at keeping an eye on the logic of a character, so he puts his charm and his comedic talent into the character, which is a gift to me and the series, but I make sure that Magnus stays inside that logic, or inside the character core diamond that you called it. So I remove everything in the clips that goes against that during the impro, or remove it from the script, or, “don’t say that”.

D: Pretty often.

C: I’ve got a question from your future… I almost said partner [I guess Christopher is referring to Tarjei since this was probably filmed around when David, Tarjei and Jakob moved into a flatshare together?] that I feel like I’ve almost got an answer to already, but he’s asking when you’re most yourself in the character, like when Magnus is most like David, that’s something he thinks that you should answer.

D: Most myself?

C: Are there times when you aren’t yourself?

J: It’s a trick question, don’t answer that.

D: I think I’m a bit myself in all the scenes, but… most myself, I don’t know? Maybe when I act with Ulrikke, it gets like…

U: YES!! [everyone laughs and applauds]

H: I think you miss each other.

U: We miss each other so much. But David has got a girlfriend, so…

C: But it isn’t like, you mentioned about impro, because you’ve noted in one of the scripts, I think that might be the script that’s… eh… yeah, I can’t remember if it’s the one donated here or to Skeivt Arkiv [The Norwegian archive for queer history], but either way you’ve written in your comments that “the fact that Magnus and Vilde stand there and flirt was something we thought of there and then, mostly because I think David and Ulle are so good at improvising and we had to use it”, that’s in episode five when they’re on their way into the party.

J: Yeah. Do you remember the door there?

U: Yeah.

C: And you do have [David re-enacts the flirty wave] Yeah, right, it’s that one, and you do have a few of those scenes, and it isn’t always easy to know what’s improvised or not because everything seems very natural, um, what I really wanted… [he laughs]

U: All that…

J: Just go ahead and ask.

C: What I really want to know, um… that meowing…? [he giggles]

J: Yeah, that was in the script.

C: That was in the script?? [both he and Julie laugh] Of course it was.

J: It was!!

C: At the Christmas party at…

J: Yeah. It's because he’s the “cat hooker”.

C: Yeah, of course.

J: So he has, it’s been a running gag that he has a thing for cats. 

D: Where does it come from, I can’t remember, where…

J: When you’re by the Christmas tree, we’re talking about… 

U: The tongue, you improvised…

J: Yeah, that was impro.

D: Yeah, but I mean when we were… you meowed? I don’t remember that?

U: It’s an iconic scene.

D: I don’t remember that.

J: She meows and then you say do it again.

D: Ah. That one, yeah. I remember now.

C: Yeah, that is, that is…

J: That I actually wrote, but what’s actually impro was him saying in the scene where they’re sitting at the cafeteria [no, I’m not even going to try to translate ”apeberget”… Peanut gallery?] at Nissen and eat buns, and Jonas says, like, it was written, “I hooked up with a girl once that didn’t have a clitoris”, and then he says “I hooked up with a girl that had a cat tongue” and then it turned into “cat hooker”, and that was impro.

C: So the whole thing…

J: The whole cat hooker thing, after that ended up in a clip then that was just a thing we continued.

C: Right. It happens sometimes that magic appears during impro and then it turns into a whole thread.

J: Exactly.

C: That’s great. We have another scene too that I was pretty surprised was improvised that we’re going to look at, but I’m sorry that there’s been some tech issues, or, we’ve skipped around a bit so the clip we’re about to show isn’t exactly in the order it was planned, but, like, in the episode where Even meets Isak’s friends for the first time in the corridor, it says, you’ve written, “can't remember why that scene is so sparsely written, I think it’s just because I ran out of time to write so we improvised the scene”.

J: Story of my life.

C: And that in the script, all it says is “they greet each other”, but then it turned into a very, very, um, strong and good scene, not in the least in the way the boys react to… Isak is obviously afraid of how people will react, let’s see what it says [the script page is shown on the screen], it says, the stage directions are just “Isak stands on the stairs at school and is saying goodbye to the boys when Even comes by. Isak introduces Even to the boys, the boys jokes about how they got thrown out on Friday, Isak gets embarrassed”. Um, and that’s really that, can we… we have that scene so we’ll take a look at it, and it’s just, um, like, I’m just wondering how the boys’ reactions evolved. But maybe just watch the clip first. [they all turn towards the screen but nothing happens] If it’s set up, that is. And now I got a stern talking to about not being too quick with the transitions. 

*the clip plays*

[teejaysnow]

Translation: Manusoverlevering, part 3

Here's part 3 of the youtube video translation, from 43.28-56.40 (one more part to go.)

Any mistakes are there for your enjoyment - I'm a Swede translating Norwegian into English, which gives me two extra languages to føkk up. Ooops.

Also, there are a lot of starts, stops, pauses and unfinished sentences going on during the panel - I haven't cleaned that up, you're getting it just as it was said. So, yeah. Sorry, not sorry.

Anyway, translation (hopefully...) under the cut... part 1, part 2

Christopher Pahle: I see that the time is running away from us a bit and I’m going to… I would like to talk about the end scene in episode three, the one after the rave pre-party where Isak is cleaning and Even comes into the kitchen and they have that talk, that is something really…

Ulrikke Falch: Christmas pre-party, not rave pre-party.

Julie Andem: No, it’s…

CP: Revue pre-party, rave, Robyn as the soundtrack.

David Sjøholt: The Christmas pre-party is…

UF: Yeah. I didn’t really watch that.

CP: Do you have pictures of what’s after… um… picture number three. There’s a bit of dialogue about Sonja and so on where there are some lies about protheses and things like that. Um. And we see here [reads from the script that is shown on the screen]:

Even smiles. Silence settles between them. Isak lowers his guard. He wants to try and meet Even half way.

Isak [somewhat reluctant]: She’s cute, though.

Even understands what Isak is trying to do. Isak mulls it over and tastes the name.

Isak: Sonja.

Isak looks at Even. Even looks at Isak. There’s silence again. Don’t think the world has ever been this silent before. And the silence is unbearable. Isak keeps his eyes trained on his socks. One of the socks has a tiny hole and he can see the tip of his little toe. Isak thinks that he should make a note of today’s date so that when the day comes that the hole is big enough for his entire toe to stick out, he will be able to calculate how many days it takes for a hole in a sock to reach its final form. Maybe he can use it for something. In a discussion about socks or something. Even looks down at Isak’s feet. He takes a careful step closer. And then he calmly slides one foot over to Isak’s. Their toes meet. Isak’s gaze is locked, Even moves his other foot too, taking a step closer to Isak. Isak finds the courage to lift his head tentatively. Isak looks at Even’s mouth. Even looks at Isak’s mouth. And then there’s a thud from the living room. Like someone drops something heavy on the floor. They both turn towards the sound.

[ends script]

And of course it’s Noora that has returned. Typical Noora. But, um… I’m really fascinated by the way you’ve written the scene. Because all that, or, I mean, how should I put it, nothing that is written in that scene description is something that we actually see, but it’s all there. 

JA: Yes.

CP: And it is a rather unusual way to write scenes. Or that’s my impression anyway. 

JA: I often run very short of time. You have to remember that we film two episodes in three recording days. Which means that the more information, the more I can help the actors beforehand, the better. Like, there are some times when it’s like, I don’t have the time to write a script, I’ll just write that they meet in the corridor and then we’ll think of something while filming. But something like that, when I have to… That scene was hard to write because I had to wrap my head around the scene. I had to imagine what it was like to be Isak and stand there. And then those kinds of images are easier because, where is he looking? He’s looking at his socks, and there’s a hole there, and, like… then you can just write that because maybe it’ll help Tarjei in that scene.

CP: And do you remember, did you talk about it on set? Did he look at his sock?

JA: Yeah, I think he looked at his socks, I’m pretty sure about that. But they didn’t have any holes, as far as I… Did they? Do you remember? If we had made a hole?

Henrik Holm: He often had holes in his socks, but I don’t think he had it then.

JA: I can’t remember if we made a hole in those socks or what we did, or if he just thought about something else, I can’t remember.

HH: No, because you never filmed the socks.

JA: No. No.

HH: It was more that people could almost fantasise about what… 

JA: Yeah.

HH: That you helped Tarjei to actually think about something while he looks down. That it isn’t an empty look down there.

JA: Yeah, yeah, yeah.

HH: So that…

JA: He looks at his socks. Yes, because you see, the camera sees everything they think about, so if they just stand there and think that now I’ll just stand like this until Henrik takes a step closer, then… in those kinds of situations, it’s good to give them something to think about. And if you can give it already in the script then that’s even more effective.

CP: Yeah, and that’s what was a bit of an aha moment for me when I read the script. I understand a bit more where the intensity in these scenes come from. Or, it was really interesting to see that it was there already in the script. And so clearly written in a way. You’re really talented, Julie. [applause] Um… we’ll begin to move on towards the end, and we’re here because there are some very lovely supporters that have collected a lot of money to buy some scripts that they have donated. That is pretty amazing. Um. I thought… it has to be a kind of crazy experience that there are…

JA: It’s fantastic. It is… I began to cry when I read it. I think… I mean, it’s absolutely fantastic, like. I just got a message from someone who just, the script went for one hundred and nine thousand and I just, how is that possible, who could have bought it…

CP: These people here.

JA: And then I understood that… yeah, it was really, really touching.

CP [to the audience]: Do you want to clap a bit for yourselves? [applause] But, what I thought, or, I have, like, a suspicion that the people in the audience know more about Skam than you do. So what I want to do is have a small quiz where we… I thought you could be one team and then I have an agreement with some of the biggest supporters in the script gang who are going to be another team. Do you want to come up, you can go over there and grab microphones, it’s… and now I’ve forgotten your names, it is… Dijana, Stina and Bjørg. Who are the fan team. You can take the microphones over there, maybe? And then you’ll get some questions here, let’s see if it’s possible. We can…

JA: How does it work, how… We don’t even have any buzzers to push.

CP: Do you want a party blower?

JA: Yes. Thank you. [accept the party blower and blows into it]

CP: So. You are one team, uhh… And you are one team. And if you know the answer, then you blow, first come, first served.

JA: I think I’m best, but…

Carl Martin Eggesbø: Who’s best at blowing?

HH: I’m not great at blowing.

CM: You’re not great at blowing.

JA: No, I’m not great at blowing.

HH: I can blow.

CP: The important thing is that I hear a sound, if it doesn’t work then you can just shout.

JA: Okay, okay.

CP: It works, right?

The Fan Team: Yes.

CP: Are you ready then we’ll start. [the blowing continues]

UF [to David]: You’re destroying it. You’re destroying it.

HH: It’s very childish on stage.

DS: If you take it off, then it’s much faster.

HH: It’s like a child’s birthday.

CP: Then let’s play So You Think You Can Skam. The first question is, we’ll start a bit easy… [the cast continues to talk amongst themselves] Are you ready, or?

JA: Yes! You have to foc… hey! 

CP: Are you ready? Ulrikke?

JA: Be ready, Ulle. Be ready.

CP: What is… what is Vilde’s last name? I think it was over there [gestures at the fan team]

TFT: Lien. Hellerud Lien.

CP: Hellerud Lien. That’s correct.

JA: No. No. No.

CP: No?

UF: It’s the other way around. 

JA: It’s Lien Hellerud. [the cast celebrates, audience applause]

CP: But it says, on Skam Wikipedia it says that it’s the other way around? Either way, I assign one point to both teams. Next question. When is Isak’s birthday? [everyone blows their party blowers, Christopher covers his ears with his hands] I missed who was first, who… [to the fan team] it was you, of course it was.

TFT: Shall we say it together? 21 June.

CP: That is correct, and what year?

TFT: 99.

CP: What… 99, of course. Um… Very good. I’ll just… Here. Two points to you, one point to you. Who has to watch when Magnus and Vilde spit coffee in each other’s mouths?

UF [to David]: Do you want to say it?

DS: Umm… Noora and Even.

JA: NO! 

UF: Sana!

JA: David, don’t answer him again.

CP: Question four. Even and Isak’s toast recipe includes among other things bread and sweaty cheese. Name three other ingredients. 

HH [to Ulrikke]: You were first.

UF: No, I just did it so we get to answer.

HH: Pottagaldrar, umm… turmeric, and cardamom. No?

JA: Turmeric was cut.

HH: It was cut? [Henrik and Julie high fives.]

CP: I think I have to give…

HH: I can name more otherwise.

CP: …it over to the other team

TFT: American… umm… Caribbean…

HH: Caribbean jerk?

JA: God. Yes.

TFT: Cinnamon.

HH: Cinnamon.

TFT: And rosemary. 

CP: Yeah, that’s…

TFT: We’re a bit unsure, cardamom, was that really in there?

CP: Caribbean jerk…

JA: No, it…

TFT: It was lacking, Henrik.

CP: The answer is caribbean jerk barbecue, chilli, rosemary, pottagaldrar, cinnamon, pepper, and ketchup - as you see pictured at the end. But, very good.

JA: Because all that talking, that impro talking, about cardamom is really about pancakes or waffles and then we edited it as if it was them talking about…

HH: I remember when I watched the scene, I thought it was really weird, because… and then it became a thing, but… it was funny.

JA: Yes, that’s why I had to include it.

HH: Yeah, it was so funny.

CP: Question five, what does Eskild bring as a hostess gift to Sana’s Eid party?

CM: Hostess gift to Sana’s Eid party? It’s two börek that Eskild found under a stair at the filming location.

CP: Question six. So, the character that I identify with the most, we’ll see.. there. [picture of Noora and a teacher] It isn’t Noora, even if I got Noora in the personality quiz, but it’s Nora’s ‘chronicle’ teacher and what I want to know… or, first of all, why didn’t he get his own season? But what I want to know is, what colour is his hat? 

JA: Oh…

DS: Red.

JA: No, green. Dark green.

HH: I would have guessed red too.

JA: Black!

CP: It’s burgundy. Red. 

JA: Who said it?

UF: We said red. 

DS: I said red.

CP: At least it’s not black. Or dark green.

JA: I’m sorry. I’m sorry.

CP: Someone took over the question and insisted that it was dark green.

JA: I’m sorry. I’m sorry. Let him answer all questions from now on.

HH: It’s good that you weren’t in charge of costumes.

CP: Last question. Um. What is the last sentence that is said in the series? [Ulrikke blows and points to Henrik] Do we need it word for word?

HH: Are you pointing at me? 

UF: No, I just…

HH: I stood so far back that I didn’t even hear it!

DS: It’s Marlon’s speech. 

HH: It’s Marlon’s speech.

UF: Oh, yeah.

JA: Yeah, Fear spreads. But fortunately, love does too.

DS: But fortunately, love does too. Boom.

CP: Right. So that’s that, and it ended with three… and you…

UF: Four.

TFT: Did they win??

CP: It’s completely…

JA: No, in that case we need one more question.

CP: But I would like to disqualify the Vilde… the question about Vilde’s last name.

JA: Yeah, we should, because I got very unsure if that is what it says on a wikipedia page.

UF: No, but it’s you who’ve made it up?

DS: But you have…

JA: Yeah, but I… It's been many, many years since I made it up.

CP: But it’s taken…

JA: But I mean…

CP: It’s taken on a life of its own.

JA: I meant…

DS: Use your mobile to check it?

JA: But how do I check it? It’s in the other room.

DS: Mail?

[audience member shouts that it’s Lien Hellerud on NRKs Skam page]

DS: Lien Hellerud? So it was correct then?

JA: Yeah, then it’s correct. If it says so on Skam, then it’s correct. 

CP: Right. Then you will be awarded the prizes, which are, chilli, rosemary and cinnamon. That’s what they had, the rest was… 

JA: Whooo! Thank you. [hands Henrik one of the spice bottles]

HH: Nice.

[teejaysnow]

Translation: Manusoverlevering, part 2

Here's part 2 of the youtube video translation, from 24:21 to 43:23 (also, there will probably be two more parts, rather than just one - otherwise this will begin to feel too much like work...)

Any mistakes are there for your enjoyment - I'm a Swede translating Norwegian into English, which gives me two extra languages to føkk up. Ooops.

Also, there are a lot of starts, stops, pauses and unfinished sentences going on during the panel - I haven't cleaned that up, you're getting it just as it was said. So, yeah. Sorry, not sorry.

Anyway, translation (hopefully...) under the cut because, once again, it's looooong...

[link to part 1]

Christopher Pahle: It’s nice when scenes are so well improvised that it seems like you’ve just been really good at writing them.

Julie Andem: I… Yeah. I remember that scene, or the filming of that scene as really exhausting, it was like at the end of the day and everyone was tired, and I know that there’s a really funny blooper from that scene where we’re running out of time to shoot so I’m trying to communicate during the take, I think it was to Marlon, that he should move, and then the whole group began to move, so they remained standing in a small herd. So it was a lot of not very good stuff we returned home with from that scene too.

Henrik Holm: And a lot of takes.

J: Yeah, there were quite a few takes of it too.

David Sjøholt: And you were… you were doing it after… after another one. We had an earlier recording that day, so it was like…

J: Yeah, it was pretty late in the evening when we did it.

D: Mmm.

J: But, yeah…

C: But, but that reaction where you suddenly realise who Even is is first of all really, really funny, but it’s also nice how it’s played out, how did that come to be?

D [shrugs]: I don’t know. I really don’t know, it’s just like… how improvisation works, it just happens and it just… I remember so well, um… when it happened, you got so flustered that you said ‘Henrik’, you didn’t say that your name was Even.

H: I think we all said our own names in that scene.

J: Marlon says Marlon, doesn’t he?

H: Yeah, he does.

D: That too, but it was, yeah…

J: But you are a bit, like, what’s so great with you is that as soon as you get a bit bored because nothing happens, like I think, if I’d have to guess, what you felt here is that you felt that Tarjei, or, slash Isak, wasn’t mocked enough, or it being embarrassing enough for him…

D: Maybe, I don’t remember… I guess it was… Yeah, that was probably it. It was so little that was happening.

H: But it… I remember very well that we did it so many times. And you’re very good at that because you always dared to do different things because you were the character that you were. I remember that you always played around with, like, how we boys communicated with each other, the comments you threw in were different from scene to scene, right? So it’s like you say, when you said that I got completely flustered and was just like, “uh, Henrik?” 

D: I’m very…

H: So after a while I remember that it became our task, so… in that scene I remember hearing Marlon about to say “Maaaarrrlllo-” and I’m just like [speaks very quickly] “pleased to meet you”.

D: That’s true, and it’s like...

J: You said it in slow mo.

D: But… I shouldn’t sit here and be praised, because that part is really easy to have. It’s you…

H: You should get all the praise.

D: …who should get all the praise because you have all the boundaries, I can pretty much do as like, it’s just like [he shrugs].

H: Yeah, but that’s, like, so subjective. You think it’s easy, but for most people, having that sense of humour, timing, and playfulness… that really did a lot for the boy squad and what kind of mood they were in.

J: Definitely.

[Audience and panel applauds an embarrassed David]

C: Is there anyone of you that doesn’t like to improvise? I have a feeling it’s a condition to be a part of Skam.

J: A bit, yes. Really.

H: It was part of the audition.

J: Yeah, yeah. There was a lot of impro during the audition.

C: Carl Martin, you also like it, right?

Carl Martin Eggesbø: Yeah, I really like to improvise, yeah. It almost became a bit like, when we recorded it was a bit because I, too, failed to learn the script. So then I had to, yeah… mm.

C: Are there any improvised scenes that were left on the floor of the editing room that you’re missing? Where you’ve thought, “Damn that that isn’t in”?

J: There is so much good left on that floor.

C: Is there anything in particular that you can think of? Or the rest of you?

J: No… or can you?

CM: No, nothing spec… or, like, it was really exciting to see when the clips were released what had been selected. Because I just remember, at least for my part, it was… there were so many different clips. So it was really exciting to see what was kept in and what worked and contributed to, well, adding on to the story.

C: Right. How many times did you record the coffee spitting… How many takes for that?

Ulrikke Falch: That was pretty fast, wasn’t it? 

J: Yeah, I think so. It was… you were totally awesome. In the script it just says something like…

U: We’re a couple.

J: …Vilde and Magnus are a couple and in love in an annoying way. I think it says.

D: Spit coffee and…

U: I spit coffee, yeah.

CM: Don’t you remember that?

D: Yeah, I remember it but I just remember that it was kind of different, and…

J: Ulrikke…

U: You liked it.

D: Noooo.

U: It seemed like you were in on it.

D: Yeah, I was, but…

H: You liked it.

U: You opened your mouth.

H: You enjoyed it.

D: It was a lot of fun. Definitely.

J: And Ulrikke is absolutely amazing…

D: Yeah, fucking hell.

J: …at impro, like, she’s made me laugh so much on set that I’ve peed myself a little bit, like it is, it is completely random what comes out, like it’s a party. It’s like I can’t make myself say “cut” even if we’re running out of time because I just want to sit back and watch what comes out, what her next strategy to keep the scene running will be. It’s just so much fun.

C: What is going on in your mind when you’re doing it?

U: It’s images, images appear and I just follow the images. Um.

CM: That is… What does that mean, I can’t…

U: No, I can, I can begin and then I see a light and I think “what else gives off light” and then there are fourteen different alternatives and then I pick one of them and then there are new alternatives there, and…

J: Yeah, there’s that kind of association, you’re really good at association, and it’s just like, “how did you end up here?”

C: Don’t the rest of you have any techniques like that?

H: I don’t recognise myself there. But is it acting in general or is it the character?

U: It’s mostly Vilde, it’s when you know the character.

H: Mmm. Because when you say it like that, then I can really see it. And you do it so brilliantly.

D: That was really wild to listen to. Cool. Wow. A light.

U: There are images.

D: Like, a light.

J: It’s not always a light, though, it’s an image of a light, it’s just an example, it’s not always a light.

U: Yeah, of cou… there’s an improvisation light in the far distance and then I follow it…

D: Whoa… whooooa… light…

U: No, that’s not it.

H: Yeah, but you are so present, that’s what it is. You’re so present that you can just stand there and just pick things from… from… who knows where it comes from, if you understand what I mean? 

U: Yeah, but that’s the thing, that I’m good at improvising on my own but I’m not so good at improvising with others. And I never felt like I was. Julie, can’t you say that I was? No, that wasn’t what I meant.

J: Well, now that you mention it, you really sucked… No, you were really fantastic at it. And I think it’s really a lot of fun, especially in scenes with Lisa. Because Lisa doesn’t really like to improvise, but she’s really good at accepting everything that comes at her in a natural way. That scene where you’re talking about her having chlamydia in her eye. I think it said in the script, “discuss if Eva has chlamydia in her eye”, but when you began, like, “and you’ve touched your foo foo and then you’ve touched yourself there”, and how Lisa manages to keep a straight face in that scene, because I was completely destroyed, so…

H: There were a lot of times that we burst into laughter…

J: Yeah, there were some…

H: …I have to say. There must be some bloopers of that.

J: Yeah.

C: There is something else that is in the script that I think is very funny and interesting. So we can go back to the very first screenshot we planned to show. It’s from the Gabrielle scene, where you’ve written down, “I spent a long time looking for a song that Even would be feeling exhilarated by and it was really totally random that it was Fem Fine Frøkner but I ended up with it because the lyric was on point and Henrik managed to get exhilarated to it”. Have you… there it is, right. What I found interesting there is that what’s in the script is that it is Maroon 5.

[Julie laughs]

H: I never saw that.

J: Okay, but this has to be said, Maroon 5 is, like, my insert for anything daft. So in the script for the first season when William is coming up behind Noora, it also says “Noora puts on Maroon 5” because I just put that in and then I find a song afterwards. But it was never going to be Maroon 5, because it had to be over a minute and we didn’t have the rights, it had to be Norwegian.

C: Yeah, right. So that’s the reason that it says…

J: Yeah.

C: Yeah. Right. It would have become a pretty different scene if it had been Maroon 5.

J: Yeah. I really wanted Roxette, but we didn’t get…

C: Which one?

J: Yeah, what was it, name a title.

C: Joyride? That’s my…

J: Yeah, maybe.

C: …goto karaoke song.

J: Yeah. Maybe it was Joyride. Isn’t that, like, really upbeat so you feel like dancing to it?

C: Yeah, it’s very, like… maybe not dancing to it? I’m not going to sing it.

J: Are you sure?

H: That was what I said when she showed me Fem Fine Frøkner. I am not going to sing this.

J: But you did it, though.

C: You did it. 

H: I did it.

J: Just like Christopher now will sing Roxette, go ahead.

C: Umm…

J [laughs]: I’m just kidding.

C: It’s the one, “Hello, you fool, I love you”...

J: Yeah, yeah, yeah, I think it was that one.

C: Yeah, yeah. [Julie hums a bit of the melody] That would have been something.

J: Because it had to be, yeah, yeah, but that would have worked in that scene. 

C: Yeah, yeah.

J: If we’d had the rights. Which we didn’t.

C: Yeah, because it’s only Norwegian songs that you…

J: That can be over one minute.

C: You’re clear on how lucky you are that you can use so much…

J: Yeah.

C: Um. I just have to rifle through here again. Yeah, uh, here. Carl Martin. It is back to Eskild and episode five which includes your big Pride monologue. Where you get to know some new sides, or more layers to Eskild. What were your thoughts when you got that script?

CM: Umm… There was a bit of a process in the beginning of that because I remember that we talked about how such a monologue, such a text, would come, and it was, like, I thought it was really cool because, like, when I was cast as Eskild, we talked a bit in the beginning that it was important that Eskild didn’t turn into a stereotypical, uuh…

J: Wooden?

CM: Yeah, wooden. Like a typical gay boy that it often becomes, yeah… often on film. And I remember that you asked me what I wanted and what I thought and we went back and forth and you sent me a text and I was a bit, like, I didn’t really know what I felt about the theme in a way? Um. And then I also fretted over doing that monologue because Eskild had been such a funny character all the way. And then he’ll suddenly become someone completely different. And also, during that scene he goes from joke, joke, joke to, like, deeply serious. So that was, like, really tough in a way too, because I felt like it was really strict what I said, that I thought Eskild was really strict with Isak in that … in that scene. Um.

J: I remember that I sent it to you, I have, because it’s been a while since I read that chat, I sent, before I sent the script, I sent just the monologue and wanted your input. And one day passed. And two days passed. And three days passed, and I never got anything back and I thought, like, oh f… he hates it, I’m going to have to rewrite it, and then I messaged you, and you were, like, “Yeah, I’ve read it. Shit…” A bit like you’re talking about it now, like, “I don’t really know, but it’s important…” and then you talked about it both from Eskild’s point of view and from Isak’s point of view. 

CM: Yeah, because it was a bit, like, for me it was a bit, like, what’s the… why is that monologue important, because it’s like, “Oh, gay rights, hallelujah”, in a way? Why is it that Eskild gets so… take it so… gets so serious just because of this? And I felt implicated in a way because I felt like I could just as well have been Isak. At the time that I got the monologue, I didn’t think Isak’s questions and the view that he held, I didn’t think it was that weird in a way? And when I had to act as counterpart to that, I had to take some time to understand it. And that’s why I didn’t answer, because I didn’t know what to say to how I felt about it. Umm. And it’s really not until after that episode was released that I, like, see, like, and I’ve talked to people who this monologue has really hit home with, that I’ve understood what it… what it really… what it really means. Umm. So in a way it was both an acting challenge, but also a challenge for me as a human in a way, that I should jump into it in a way. Because those thoughts that he… that Eskild had… I thought that he was this simple, nice guy, but he… he… suddenly he isn’t, and then I had to… it was also a bit, like, yeah, a bit of a turn.

J: Yeah, we had to do a turn with Eskild’s backstory. And it was, like, Eskild’s backstory was on its way into the script a couple of times but never made it in season three, or any season. Um. But we talked a bit about what he had to, what he probably had experienced to be where he was.

CM: Mmhm.

C: Is it something you can talk about?

J: Um. No, I don’t think, I think we should keep it a secret.

C: We’ll save that to…

J: We’ll save it.

C: …for Eskild’s season.

J [giggles]: Yeah, we’ll save it for Eskild's season.

C: But it is interesting, as you say, that he was, that the perception of Eskild was that he was funny and sarcastic and… sassy, and then suddenly he gets an extra layer, a little like what happens to Vilde in the last episode at home with her mother, although we’ve seen more seriousness in Vilde, but, what do you think that kind of… umm… Does it make it harder to laugh at the characters after you’ve found out those kinds of things, or? Does it add something extra that might…

CM: I think it’s just [cuts himself off because he thinks Ulrikke is about to speak. Ulrikke fakes a yawn instead.] I think it’s just [makes a face at Ulrikke] No, I think that it was really nice and I think it’s, I think Eskild’s had a lot of funny scenes after. So, so I really think, at least for Eskild’s part, I think it was super important and it was also, like we talked about in the beginning when Eskild was created, that even if he’s fussy and sarcastic, that doesn’t mean that you’re a simple person.

J: No, and also, has everyone forgotten how Eskild was with Noora in season two when she lies in bed and Eskild comes in and tells her that she doesn’t have to do everything on her own? You have actually seen that Eskild has a side that isn’t just silly and when it comes down to it, he can… he will be there. If he has to. He doesn’t really want to be there for long, but… but… but he realise when he has to go there.

C: Right, but… but you can also see in that scene that… you act it with a lot of heat and it is very clear that it is a sorrow in Eskild’s life that you might not have thought a lot… ah, yeah… he’s got… um, happy-go-lucky guy, and then something like that appears, it was a leading question, I think it adds a lot to the character, so that’s… I didn’t mean to set a trap for you, but… it is pretty interesting and pretty… I think… now I’ll just start talking here, but I think that it’s… when it comes, when such a thunderous speech comes from that kind of character, I think it hits a lot harder because you don’t see it coming. 

U: We had, at the beginning, because for me, it’s a lot about telling a story, and you have taught us a lot about that. At least I feel like I’ve learnt a lot about it. In the first season, the comments started flowing in with “Vilde sucks” and “Vilde is a bitch” and “Vilde is annoying”, so me and Julie talked a lot about that. First advice was to not read the comments, but I still felt that it hurt. But then, I think, at one point or another, you made a comment that was like, “I can make everyone love you just via one scene and I can get everyone to hate Noora just via one line”. That there is something with the way a story is told that you have a lot of power over. Yeah.

J: Yeah.

U: Yeah.

J: That’s true. 

[teejaysnow]

Translation: Manusoverlevering, part 4

Here's part 4 of the youtube translation, from 56.41-1.14.25 (the final part - yay!!)

Any mistakes are there for your enjoyment - I'm a Swede translating Norwegian into English, which gives me two extra languages to føkk up. Ooops.

Also, there are a lot of starts, stops, pauses and unfinished sentences going on during the panel - I haven't cleaned that up, you're getting it just as it was said. So, yeah. Sorry, not sorry.

Anyway, translation (hopefully...) under the cut...

part 1, part 2, part 3

Christopher Pahle: We have about ten minutes for questions from the room, so if anyone has any questions? No one has a question? We… we have a… we’re walking around with a microphone so… no one is raising their hand. Are there no questions, should we finish early? Over there is someone, you’re getting a microphone. Yeah. I’ll remove that photo. [shuts the big screen off]

Audience member: Yeah, hello. Henrik. I understand that there’s a lot of impro and so on, but a lot of people are talking about Julie’s method, that she does something or other with the mood the actors are in beforehand to put them in the right mindset. How do you get the actual, well, acting to come out?

Julie Andem: I just yell a lot. [laughs] If they don’t… no, not really. What do I do? I don’t know, like, I think that all actors need different things, that you can’t use the same method for every actor. So it takes some time to, like, break the code for each one of them and understand what makes them better. And someone felt that I didn’t, like, necessarily completely break theirs.

Henrik Holm: That sounds terrible.

JA: Psychologically. So it’s breaking them psychologically and then… No, but, umm, but…

David Sjøholt: Who was it that didn’t…

JA: But I think that, and especially for young people, I’m not sixteen, seventeen, eighteen year old myself, so using them as advisers and make sure to always listen to them if they have input for the script or if they want to say something in a different way or don’t understand why they are saying what they’re saying, that’s a good start. 

CP: The rest of you, do you have any views on what Julie’s method is? Since she can’t explain it herself?

HH [laughs]: I think we all do.

DS: I don’t know. Sorry.

Ulrikke Falch [to David]: You can’t… sorry.

HH: Are we going to sit here and apologise to each other? [said more jokily than harshly if anyone wonders…] No, but it’s exactly like Julie says, that I always felt that she saw each and every one of us. And there wasn’t any yelling or any, like, [deepens his voice] “Listen, you don’t understand what I’m trying to get across here”. There was never that kind of frustration that I’ve experienced with other directors. It was always, “We’re a team, we’re going to try to do this in the best way possible, and for you to understand my vision, I have to understand you and you have to understand me back”. Um. And that was very educational and really inspiring, and I think it was because of that that we got so much out, or you got so much out of all the actors. Because you gave a lot of yourself. And that’s something not all directors have the opportunity to do.

JA: Yeeeeah. [applause]

CP: Other questions? There’s one. You’re getting a microphone. 

Audience member: Hi.

All the cast: Hi.

AM: Um. You were asked, during the first season, I think…

JA: Me?

AM: Yeah. It was someone of, someone of, one of the actors that asked, like, what do you want with this, or, how big do you think this is going to be, and you joked a bit and said “We’re aiming for world domination”. You were right. But when did you understand it in a way, or, when did you think, “Wow…”?

JA: I don’t know, I think, like from mid season two it felt like for each week there was a new record set or some other wild thing that happened, and it was like, “huh?”, like, the Prime Minister calls, or, do you understand what I mean, that it was so… it just escal… and it never ended. So I thought that, like, it’ll soon have to [make a downgoing gesture], now we’ll have to land soon, because… But I think particularly the week when everyone was waiting for an answer from William. Then I thought that people had really lost it. It was, like, Rema1000 came came out with “fish cakes while you wait” and NetCom came out with “If William had had a NetCom subscription then he would have answered” and it was, like, such a… at NRK there were people just sitting and, I heard that people were just sitting and refreshing. And there were sites made where it was, like, “Have William answered yet?”. Like, it was… it was… I just thought that this… Jeez… this…

AM: This works…

JA: People liked this. I thought. Yeah.

AM: I was wondering a bit too about what the rest of you thought. When did it dawn on the rest of you? Just short.

UF: I’ve still not understood it. It.. it’s not like you get there and then you’re like, “Yes, we made it.” I think, like you say, that it’s just a continuous experience of “we’ve made an impact on people” and those stories come dripping in, and everytime they do, we’re reminded that… we took over the world. [applause]

CP: We have a question here. From Kosegruppa DK.

All the cast: Yeeeeeah.

HH: Welcome.

JA: Kosegruppa!

Audience Member: Thank you. Yeah, yeah, I actually have all the Kosegruppa admins with me via our chat, so I have a lot of questions but I’ll just ask two. Um. First for David, how and when did you find out that you got the part, and when did you decide that Jonas was the one to make the speech in the last episode?

DS: Ah, that’s a pretty good story, because I was at the audition, and that whole story we talked about shortly before, with Tarjei, and I was in his class and he said the first day of school that, “yeah, I’m going to be in this series that’ll be called Skam”, and I was like, “fuck, I didn’t get it”, and then it was, like, blah blah blah, and then I pestered Julie a little. Or, a lot. 

JA: And that’s true. He added me on Facebook and just…

DS: And then… What was the question?

UF: When did you get the part?

DS: Yeah. Yes, and then I was at the audition. And then it went to three friends.

JA: Yeah. Maybe. I don’t remember.

DS: Me neither. And then suddenly the phone rang… no, and then you added me on Facebook.

JA: Oh, yeah. Hadn’t we’d been friends all that time and you had been, “yadda yadda”.

DS: No, no, no, no, no. I remember that I was in the bathtub. And then you just added me on Facebook and then I got a bit of butterflies in my belly but I was, like, no, maybe she’s just going to ask me something or other. Uh, and then Tarjei calls me, um, and he’s like [very bad imitation of Tarjei…] “Hello, David, umm, do you fancy a part in Skam, or…?” And then… and then I hung up on him, and then I accepted… Facebook, um… and then…

JA: Yeah, that’s, because he was allowed to call and tell you, that’s how it was.

DS: Yeah, but wasn’t that… you had talked about it, or?

JA: Yeah, he, because I mentioned it to him, and he said, like, [another bad imitation of Tarjei…] “I have to tell him”.

DS: Because we had talked about it a lot, me and Tarjei.

JA: Yeah. 

UF: But… about that, you were an extra all through the first and second season. And I remember you as he, that really annoying friend of Tarjei’s. [laughter] Who always, um, you didn’t even have a part, but when you entered a scene, it was like it was your season. [laughter and applauds, David facepalming] But we had a scene where Vilde was picked up because she’d thrown up, I think it was in season one…

JA: Yeah.

UF: …and Julie had to ask you to calm down, because you were, like, we have to call the police, we have to call for an ambulance, and you acted out…

DS: Yeah, that…

UF: …a whole scene about what you were going to do to save Vilde. So when you got the part, I was, like, fuck, then we’ll have to… and then I was told that you were to be my love interest. And then I was like “fuck” again. Like, I wanted William. And then I just got you.

JA: I don't remember you as annoying.

DS: But I understand what Vild, no, Vil, umm, I understand what you mean because I think I tried to make a mark, or, I don’t know. I wanted to make you…

JA: But you did, you got the part.

DS: Mmm.

CP: Now I’ve forgotten what the other question was, it was to you, Julie…

UF: Why…

JA: When…

CP: Yeah, the last, yeah.

JA: I don’t remember. Sometime during the last season… I honestly don’t remember. I thought about it. It wasn’t decided when I wrote the first… It wasn’t like I thought when I wrote that opening monologue, that I thought “Oh, when I finish the series then I’ll end with that”, because I wasn’t planning on ending the series myself. So, sometime during the fourth season.

CP: I think we have time for one more question. Anyone? Back there, in yellow.

Audience member: May I use english?

HH: Of course.

UF: English.

JA: English. Yes.

AM: Um. And you can answer in norwegian. But, is there any character that you wrote, and you imagined them in a specific way, and then an actor came in and completely changed them, or did you let all of the actors kind of form the characters?

JA: Umm. Vilde as a character is a good example of that, because the others who were in to audition for Vilde were a lot closer to how I had imagined the real Vilde. Like, they were a lot more realistic in a way. And then Ulrikke comes in with a comedic talent that is absolutely amazing. So I realise that, okay, this one is a lot cooler than Vilde, but she really understands who Vilde is, so she can play with the character in a very fun way, umm, which I think added a lot of awesomeness to the character. But she was supposed to be more realistic. And I can also say the same about the character of Noora, that she really, that when I imagined Noora when I first started writing her, I saw her, like, more virtuous. And then I felt every time that I saw that character, because in the final interview rounds I interviewed the character, and I just felt like, ugh, she’s… argh, she becomes, like, too virtuous, too boring, I don’t know if I like her. And then Josefine came in, and she’s just so incredibly charming and funny and playful, and I just thought that there’s how the character of Noora will get an extra layer. So the character has kept… she’s still a character of conscience that fights for, or… her story is about a question of ethics. But she does it in a very charming way. So. Did I answer? All the characters have kept their cores, but they have… I have just used all the resources you brought to the best of my ability. 

CP: Very good questions. I had just… prepared some if it turned out to be completely silent. One was “Have you got an american accent?''. Imagine, like, Texas…

JA: Uh… I thought… I thought…

CP: No, not that you have it now, no, no, you... you speak norwegian very well, Julie.

JA: Thanks. I got, like, I got a bit unsure there just for a second.

CP: No, if you…

JA: Yeah, no, it’s very little, really. I can say a couple of words that are, like, to charm people, like [worst texan accent ever] “yaw”. That’s… that’s it. 

CP: The last question, that I’ve thought about through a lot of the seasons, is Valtersen a name? [laughs] Is it a name?

JA: Isn’t it?

CP: Is it? Do you know anyone with that name?

JA: I don’t know, I haven’t thought about it. Isn’t it possible to be called that? 

CP [giggles]: I don’t… I’ve checked with the office for national statistics and there is no one with that name.

JA: Is that true? [applause] Yeah, but… it’s a name, it sounds like it could be a last name?

CP:  Yeah, it definitely sounds like a name.

JA: I’ve invented a new last name.

CP: Yeah. Congratulations.

JA: Someone ought to be called that.

CP [still giggling]: Yeah, yeah, there’s probably someone that’s called that now.

JA: Yeah, that’s true.

CP: But… I think that’s all we had time for, [to the cast] thank you for coming, [to the audience] thank you for coming. [applause] Have a good summer!

Then I’ll just say a final thank you. It looks like no one wants to leave the scene. [to the cast] Thank you for coming to commemorate this event. [to the audience] Thank you to all of you. And many, many thanks to the script group who has given these two scripts to the National Library, for which we are very, very grateful. And thank you for tonight. [applause]

[teejaysnow]

Manusoverlevering, the cleaned up version

Finally got around to clean this up so that it makes more sense. Most of the stop/starts, pauses and half finished sentences are gone and some words have been added or changed for easier understanding.

Any mistakes are there for your enjoyment - I'm a Swede translating Norwegian into English, which gives me two extra languages to føkk up. Ooops.

Anyway, all the 10 000 words of this youtube video translation is (hopefully...) under the cut. Enjoy.

First we’re going to see a video that one of the 181 has made about what it was like to bid on the scripts - that must have been a very exciting situation to be in - which ended on 109 901 NOK. So let’s spin the film and then we’ll meet Christopher Pahle and the rest of the crew. Enjoy.

*showing a short film about how 181 Skam fans came together to bid on one original script signed by Julie Andem at P3aksjonen 2017 (and ended up with three) [I began to translate this too - but either the picture quality or my eyesight are too wonky so I gave up…]

Christopher Pahle: Hi, everyone. My name is Christopher and I’m going to be the moderator this evening. Before we start, I’m just going to say that I noticed that we have an extra chair here so I hope that it’s okay that we brought an extra guest. So, please welcome Carl Martin Eggesbø, Henrik Holm, Ulrikke Falch, David Sjøholt, and Julie Andem. [the audience applauds] We found out about an hour ago that Julie caught the flight from Copenhagen so we’re very happy about that. Congratulations on having been entered into the National Library. That's fun. Fun for Ibsen to hang out with you. 

Julie Andem: Just to think that we have the kind of fans that make sure that that happens, that’s…

Christopher Pahle [to the audience]: You can applaud yourself for that. [audience applaud themselves] I think it’s about one year since the last episode, the last clip. 

Henrik Holm: Sunday, wasn’t it?

Christopher Pahle: What was that?

Henrik Holm: That was on Sunday, wasn’t it?

Christopher Pahle: Yeah, I think so. And I was also told that it’s two years today since the trailer for season three was released.

Julie Andem: Yeah. [audience giggles] Yeah, it’s cool.

Christopher Pahle: But it’s been a year, so what’s it been like since then, are you getting some distance to everything, or? [he giggles] Well, you’re sitting here…

Henrik Holm: Yeah, we’re still here, aren’t we?

Christopher Pahle: Yeah. But has it been hard to get some distance to it?

Henrik Holm: No, things have happened in a natural order so there hasn’t been enough time to get a distance to it yet.

Christopher Pahle: Is there anything you’re missing in particular? Something you’ve thought about?

Julie Andem: I’m missing all the actors every day. And the team, the norwegian team.

Ulrikke Falch: It’s been busy.

Christopher Pahle: Yeah. We imagine that you’re spending all your time with them when you’re back home, but I guess that’s not the case then?

Julie Andem: I’m trying. I want to, but they all have lives without me, so… [shrugs]

Christopher Pahle: One thing I was wondering about. None of you had your own season, and you might not have been told everything that was to happen in the season arcs, did you sometimes have to follow the story via the clips like us mere mortals?

Henrik Holm: Of course.

Christopher Pahle: Yeah?

Ulrikke Falch: We got the scripts, though, so we knew what was going to happen. But it was always cool to see the clips. 

Henrik Holm: And we always got them one script at a time.

Julie Andem: And it wasn’t everyone who actually read the scripts. 

Henrik Holm: Me??

Julie Andem: I wasn’t looking at anyone in particular, I just said “not everyone”. I’m not mentioning any names, just that “some people didn’t always do that”.

Henrik Holm [tries to sound convincing]: I didn’t feel targeted by that. I didn’t.

Christopher Pahle: I don’t think you should either. But you knew everything that was going to happen - or most of you knew, anyway - so was there something that was as much of a surprise to you as it was for us?

David Sjøholt: We got the scripts via mail, so it was, like…

Christopher Pahle: And then you got the full script, not just your own scenes, right?

David Sjøholt: Yeah. Didn’t we?

Julie Andem: Yeah. You did. But it was only me and two others who knew the story arcs before each season began, and one of the reasons for that was that I wanted to see the crew and actors’ reactions to the scripts, because I thought that those would be about the same reactions that I would get from the audience. I remember that Ulrikke was very good at responding to the scripts. [to Ulrikke] When you liked something in the script or in the story you immediately sent a reply like “oh, that’s cool”, or…

Ulrikke Falch: Or when I was unhappy, then it was, “nag nag nag”.

Julie Andem: Yeah.

Christopher Pahle: Was there something people reacted different to than you had predicted, Julie?

Julie Andem: No, but there were some reactions that were stronger, like when I wrote episode eight of season three, I was very, like, it’s getting quite dark now. And then I sent it out to the team, and it was met with total silence. Usually it took just about half an hour after I sent out a script before people began to reply “cool script, blah, blah, blah, can we meet, we need a meeting, I have to know…”, but a half hour passed and an hour passed and one and a half hour passed, and then I got a message from my editor where he just said, “Fuck you”. And I remember that production meeting, because everyone was nervous since they didn’t know how the season would end. So everyone was concerned. And I remember thinking, like, “Wow”. I hadn’t expected it to make such a big impression.

Christopher Pahle: No, right. And it was particularly that scene, the Plaza…

Julie Andem: Yeah, it’s the Plaza.

Christopher Pahle: …and Sonja and Grønland and that. But you’ve made some notes in the script, the episode eight one that will be entered here today, and you noted that it was even darker in the first draft.

Julie Andem: Yeah. That it was harsher.

Christopher Pahle: And that’s the scene in the street…

Julie Andem: Yeah, with Sonja.

Christopher Pahle: So what was it like?

Julie Andem: I don’t know if it was so much harsher, what I meant was that Sonja was even more convincing so that at the end you just thought that, like, this is just fucked. You didn’t have even the slightest of hope left. So then I added in a couple of elements that made you think that okay, maybe she isn’t telling the truth, so the audience could cling to that. But in that first draft I remember that it was like, okay, there is no hope at all.

Christopher Pahle: Okay. It was probably good that you didn’t…

Julie Andem: Yeah.

Christopher Pahle: Why do you think people reacted so strongly to that scene?

Julie Andem: I think that when you’ve identified so strongly with Isak, then you feel really stupid. And the whole dream of who you could be just shatters into a thousand pieces because here Isak’s been fighting his problems that are his fear of coming out and fear of being with Even, and Isak thought that Even had the same fears and that’s why he’s together with Sonja - and then it turns out that Even is dealing with much bigger and more important problems than those. So I think that if you’ve really empathised with Isak, then you can feel both very stupid and very afraid because it isn’t a given that the season will end with Isak and Even together. I think.

Henrik Holm: I remember… well, as I said, we got one episode at a time, and I remember that I had never been so shocked after reading a script, like, ever. I think I stood up and read it, like… [acts shocked] For me, it was like watching an episode because the images just started to spin in my head, right? And then it gets to Even running out of the hotel room, and I was like, what…? 

Julie Andem: Yeah, yeah, yeah.

Henrik Holm: And then you have to read it four times to understand what’s really happening, because it’s so… I don’t know…

Christopher Pahle: Yeah, and it’s pretty intensely written and I recommend everyone to look at the scripts and read them, because I have and that’s an experience in itself. I’ve read a lot of scripts and these were… I knew they were good, but…[Julie makes an “aww, chucks” gesture and the audience laughs and applauds] Um. We’re going to talk a bit about your characters, and first and foremost about the ones in the episodes that will be incorporated into the collections here. And… let’s see, I lost the thread now. Um. Yes. [Very serious voice] David. [David looks nervous] I asked in one of the fan groups on Facebook what people were the most curious about, and a lot of people were very curious about you.

David Sjøholt: Mmhm.

Christopher Pahle: People might not have known a lot about your character and how it would evolve, because you really began more like an extra and then you were written into the show. When did you decide that, Julie?

Julie Andem: Um… weren’t you auditioning for Even? 

David Sjøholt [looks confused]: Umm? 

Julie Andem: As I remember it, we had a joint audition before season three where we were looking for Even but also looking to extend Isak’s group of friends. And then you were there, but I’m not sure if you knew that you really were at an Even audition?

David Sjøholt: No, I mean, since I knew Tarjei, who plays Isak, and we’re best friends, it would have been weird to, well… [he shrugs and everyone laughs] So I think it was for something else than Even.

Julie Andem: Yeah. Okay. But what’s really funny is that I’ve gotten a lot of questions about who the nine original characters were, and Magnus was one of those characters - but I realised I didn’t need him when I was writing season one. And then I remembered him when I was writing season three, and then David auditioned, and he has an amazing timing and an amazing comedic talent, and he’s just an exceptionally talented actor [David pretends to dry away a tear and everyone giggles and applauds] and he knew Tarjei really well, and I have a kind of standard audition that I always use for boys when they come to auditions where I split them into teams of two, and I think I’ve seen that scene a thousand times…

Henrik Holm: The youth [at least I think that’s what he’s saying - diction, mate…] dialogue?

Julie Andem: Yeah. And then David enters and does it in such a new and fresh way, and it takes a lot to, like, impress me with that script, but he was totally awesome.

David Sjøholt: Cool.

Julie Andem: So then he just became Magnus. 

Christopher Pahle: But the character was in place from the beginning, with its own core values and shame and things like that?

Julie Andem [to David]: I don’t know if I shared it with you?

David Sjøholt: You did send something, but it was after it was finished. [everyone laughs] And at the party, the wrap party, you came up to me and were, like, [David makes a high pitched sound].

Julie Andem: Yeah, but I’m pretty good at keeping an eye on the logic of a character, so David put his charm and his comedic talent into the character, which is a gift to me and the series, but I made sure that Magnus stayed inside that logic, or inside those “core values” that you called them. So I removed everything in the clips that went against those during the impro, or I removed it from the script, or I simply said, “don’t say that”.

David Sjøholt: Which you did pretty often.

Christopher Pahle: I’ve got a question from your future… I almost said partner [I guess Christopher is referring to Tarjei since this was probably filmed around when David, Tarjei and Jakob moved into a flatshare together?] that I feel like I’ve almost got an answer to already, but he’s asking when you’re most yourself as the character. Like, when is Magnus most like David, that’s something he wants you to answer.

David Sjøholt: Most myself?

Christopher Pahle: Are there times when you aren’t yourself?

Julie Andem: It’s a trick question, don’t answer it.

David Sjøholt: I think I’m a bit myself in all the scenes, but… most myself, I don’t know? Maybe when I act with Ulrikke?

Ulrikke Falch: YES!! 

[everyone laughs and applauds]

Henrik Holm: I think you’ve missed each other.

Ulrikke Falch: We’ve missed each other so much. But David has got a girlfriend now, so…

Christopher Pahle: About the impro, you’ve noted in one of the scripts, I think that might be the script that’s… I can’t remember if it’s the one donated here or to Skeivt Arkiv [The Norwegian archive for queer history], but either way, you’ve written in your comments that “the fact that Magnus and Vilde stand there and flirt was something we thought of there and then, mostly because I think David and Ulle are so good at improvising and we had to use it”, that’s in episode five when they’re on their way into the party.

Julie Andem: Yeah. Do you remember the door there?

Ulrikke Falch: Yeah.

Christopher Pahle: And you do have [David reenacts the flirty wave], yeah, right, that one, and you do have a few of those scenes, and it isn’t always easy to know what’s improvised or not because everything seems very natural, but what I really wanted… [laughs]

Julie Andem: Just go ahead and ask.

Christopher Pahle [giggling]: What I really want to know, um… that meowing…?

Julie Andem: Yeah, that was in the script.

Christopher Pahle: That was in the script?? [both he and Julie laugh before he continues in a very unconvinced tone] Of course it was.

Julie Andem: It was!!

Christopher Pahle: At the Christmas party at…

Julie Andem: Yeah. It's because he’s “the cat hooker”. So it’s been a running gag that he has a thing for cats. 

David Sjøholt: Where does it come from, I can’t remember?

Julie Andem: When you’re by the Christmas tree…

Ulrikke Falch: The tongue, you improvised…

Julie Andem [discontinues her answer to agree with Ulrikke]: Yeah, that was impro.

David Sjøholt: Yeah, but I mean when you meowed? I don’t remember that?

Ulrikke Falch: It’s an iconic scene.

David Sjøholt: I don’t remember that.

Julie Andem: She meows and then you say “do it again”.

David Sjøholt: Ah. That one, yeah. Now I remember.

Julie Andem: That's something that I actually wrote. What was impro was the scene where they’re sitting at the cafeteria at Nissen eating buns, and Marlon says, like it was written, “I hooked up with a girl once that didn’t have a clitoris”, and then David says, “I hooked up with a girl that had a cat tongue” and then it turned into him being “the cat hooker”. That was impro.

Christopher Pahle: So the whole cat hooker thing…

Julie Andem: Yeah, because that line ended up in one of the clips, that was just a thing we kept going.

Christopher Pahle: Right. It happens sometimes that magic appears during impro and then it turns into a whole thing.

Julie Andem: Right.

Christopher Pahle: That’s great. And there is another scene that I was pretty surprised was improvised that we’re going to look at now. In the episode where Even meets Isak’s friends for the first time, you’ve written, “can't remember why that scene is so sparsely written, I think it’s just because I ran out of time to write so we improvised the scene”.

Julie Andem: Story of my life.

Christopher Pahle: And in the script, all it says is “they greet each other”, but then it turned into a very powerful scene, not in the least in the way the boys react. Isak is obviously afraid of how people will react, so let’s see what it says. [the script page is shown on the screen] So the stage directions are just “Isak stands on the stairs at school and is saying goodbye to the boys when Even comes by. Isak introduces Even to the boys, the boys jokes about how they got thrown out on Friday, Isak gets embarrassed”. And that’s really all. We have that scene so we’ll take a look at it, and I’m just wondering how the boys’ reactions developed? But maybe we’ll just watch the clip first. [they turn towards the screen but nothing happens] If it’s set up, that is. And now I got a stern talking to about not being too quick with the transitions. 

*the clip plays*

Christopher Pahle: It’s nice when scenes are so well improvised that it seems like you’ve just been really good at writing them.

Julie Andem: Yeah, and as I recall, filming that scene was really exhausting. It was at the end of the day and everyone were tired, and I know that there’s a really funny blooper from that scene where we’re running out of time to shoot so I’m trying to tell, I think it was Marlon, during the take that he should move - and then the whole group began to move with him, so they remained standing in this small herd. So it was a lot of not very good stuff we returned home with from that scene too.

Henrik Holm: And a lot of takes.

Julie Andem: Yeah, there were quite a few takes of it.

David Sjøholt: And we were doing it after another shoot, we’d filmed earlier that day too.

Julie Andem: Yeah, it was pretty late in the evening when we filmed it.

David Sjøholt: Mmm.

Christopher Pahle: But that reaction where you suddenly realise who Even is? First of all it’s really, really funny, but it’s also nice how it’s played out, how did that happen?

David Sjøholt [shrugs]: I don’t know. I really don’t know, it’s just like how improvisation works, it just happens and it just… [he turns to Henrik] I remember so well that when it happened, you got so flustered that you said ‘Henrik’, you didn’t say that your name was Even.

Henrik Holm: I think we all said our own names in that scene.

Julie Andem: Marlon says Marlon, doesn’t he?

Henrik Holm: Yeah, he does.

Julie Andem [to David]: But what’s so great with you is that you get a bit bored when nothing happens - like, if I’d have to guess what you felt here, it’s that you felt that Tarjei/Isak, wasn’t mocked enough, or that it wasn’t being embarrassing enough for him.

David Sjøholt: Maybe, I don’t remember. But yeah, that was probably it. There was so little that was actually happening in the scene.

Henrik Holm: I remember that we did it so many times. And you are very good at that, because you always dare to do different things, especially since you played the character that you did. I remember that you always played around with, like, how we boys communicated with each other and the comments you threw in were different from take to take. So it’s like you say, I got completely flustered in that take and was just like, “uh, Henrik?” And after a while I remember that it became our task to help each other out, so in that scene I remember noticing Marlon about to say [speaks very slowly] “Marlo-” and I’m just like [speaks very quickly] “pleased to meet you”.

David Sjøholt: That’s true.

Julie Andem [to Henrik]: You said “Marlon” in slow mo.

David Sjøholt: But, I shouldn’t sit here and be praised, because Magnus is a really great character to play. It’s you…

Henrik Holm: No, you should get all the praise.

David Sjøholt: …who should get all the praise because your characters have all the limitations, I can pretty much do as I like, and it’s just, like, “it’s Magnus”.

Henrik Holm: Yeah, but that’s, like, so subjective. You think it’s easy, but for most people, having that sense of humour, timing, and playfulness? That really did a lot for the boy squad and the kind of mood they were in.

Julie Andem: Definitely.

[Audience and panel applauds an embarrassed David]

Christopher Pahle: Is there anyone of you that doesn’t like to improvise? Because I have a feeling it’s a condition to be a part of Skam.

Julie Andem: A bit, yes. Really.

Henrik Holm: It was part of the audition.

Julie Andem: Yeah, yeah. There was a lot of impro during the audition.

Christopher Pahle: Carl Martin, you like it too, right?

Carl Martin Eggesbø: Yeah, I really like to improvise, yeah. It almost became a bit like, when we filmed, it was partly because I, too, failed to learn the script. So then I had to, um… [shrugs]

Christopher Pahle [to Julie]: Are there any improvised scenes that were left on the floor of the editing room that you’re missing? Where you’ve thought, “Damn, I should have used that scene too”?

Julie Andem: There was so much good stuff left on that floor.

Christopher Pahle: Is there anything specific that you can think of?

Julie Andem: No. [turns to the cast] Can you?

Carl Martin Eggesbø: No, nothing specific, but it was really exciting to see what had been selected every time a new clip was released. Because I just remember that, at least for my part, there were so many different takes. So it was really exciting to see what was kept in and added to the story.

Christopher Pahle: Right. So, the coffee spitting, how many times did you do that, how many takes for that?

Ulrikke Falch: That was pretty quick, wasn’t it? 

Julie Andem: Yeah, I think so. You two were totally awesome. In the script it just says something like…

Ulrikke Falch: We’re a couple.

Julie Andem: …“Vilde and Magnus are a couple and in love in an annoying way,” I think it says.

David Sjøholt: They spit coffee and…

Ulrikke Falch: I spat coffee, yeah.

Carl Martin Eggesbø: Don’t you remember that?

David Sjøholt: Yeah, I remember it but I just remember it a bit differently, and…

Ulrikke Falch: You liked it.

David Sjøholt: Noooo!

Ulrikke Falch: It seemed like you were into it.

David Sjøholt: Yeah, I was, but…

Henrik Holm: You liked it.

Ulrikke Falch: You opened your mouth.

Henrik Holm: You enjoyed it.

David Sjøholt: It was a lot of fun. Definitely.

Julie Andem: And Ulrikke is absolutely amazing…

David Sjøholt: Yeah, fucking hell.

Julie Andem: …at impro, she’s made me laugh so much on set that I’ve peed myself a little sometimes. It is completely random what comes out of her, it’s like a feast. I can’t make myself say “cut” even if we’re running out of time because I just want to sit back and watch what comes out, what her next strategy to keep the scene running will be. It’s just so much fun.

Christopher Pahle: What is going on in your mind when you’re doing it?

Ulrikke Falch: It’s images. Images just appear and I follow them. 

Carl Martin Eggesbø: What does that mean, I don’t…

Ulrikke Falch: It’s like I begin and then I see a light and I think “what else gives off light” and then there are fourteen different alternatives and then I pick one of them and then there are new alternatives there, and…

Julie Andem: Yeah, there’s that kind of association, you’re really good at association, and it’s just like, “but how did you end up there?”

Christopher Pahle: Don’t the rest of you have any techniques like that?

Henrik Holm: I don’t recognise myself in that. But is it acting in general or is it acting as Vilde?

Ulrikke Falch: It’s mostly Vilde, it’s when you really know the character.

Henrik Holm: Mmm. Because when you say it like that, then I can understand it. And you do it so brilliantly.

David Sjøholt: That was really wild to listen to. Cool. Wow. A light.

Ulrikke Falch: There are images.

David Sjøholt: Like, a light.

Julie Andem: It’s not always a light, though, it’s an image of a light, it’s just an example, it’s not always a light.

Ulrikke Falch [jokingly]: Yeah, there’s this improvisation light in the far distance and then I follow it…

David Sjøholt: Whoa… whooooa… light…

Ulrikke Falch: No, not really.

Henrik Holm: Yeah, but you are so present, that’s what it is. You’re so present that you can just stand there and just pick things from… well, who knows where it comes from, if you understand what I mean? 

Ulrikke Falch: Yeah, but that’s the thing, I’m good at improvising on my own but I’m not very good at improvising with others. And I never felt like I was. Julie, can’t you say that I was? No, I’m just kidding.

Julie Andem: Well, now that you mention it, you really sucked… No, you were really fantastic at it. And I think it’s really a lot of fun, especially in scenes with Lisa. Because Lisa doesn’t really like to improvise, but she’s really good at accepting everything that comes at her in a natural way. That scene where you’re talking about her having chlamydia in her eye. I think it said in the script, “discuss if Eva has chlamydia in her eye”, but then you began, like, “and you’ve touched your foo foo and then you’ve touched yourself there”. I just can’t understand how Lisa managed to keep a straight face, because I was completely destroyed.

Henrik Holm: There were a lot of times that we burst into laughter, there must be a lot of bloopers of that.

Julie Andem: Yeah.

Christopher Pahle: There is something else that is in the script that I think is very funny and interesting. So let’s go back to the very first screenshot we planned to show. It’s from the Gabrielle scene, where you’ve written down, “I spent a long time looking for a song that Even would be feeling exhilarated by and it was really totally random that it was Fem Fine Frøkner but I ended up with it because the lyric was on point and Henrik managed to get exhilarated to it”. What I found interesting there is that what’s in the script is that it is Maroon 5.

[Julie laughs]

Henrik Holm: I never saw that.

Julie Andem: Okay, but this has to be said, Maroon 5 is, like, my insert for anything daft. So in the script for the first season when William is coming up behind Noora, it also says “Noora puts on Maroon 5” because I just put that as a placeholder and then I look for a song afterwards. But it was never going to be Maroon 5 because the song had to play for more than a minute and since we didn’t have the rights, it had to be Norwegian.

Christopher Pahle: Yeah, right. So that’s the reason that it says…

Julie Andem: Yeah.

Christopher Pahle: Yeah. Right. It would have become a pretty different scene if it had been Maroon 5.

Julie Andem: Yeah. I really wanted Roxette, but we didn’t get the rights.

Christopher Pahle: Which one?

Julie Andem: Uh, what was it, name a title.

Christopher Pahle: Joyride?

Julie Andem: Yeah, maybe.

Christopher Pahle: That’s my goto karaoke song.

Julie Andem: Yeah, maybe it was Joyride. Isn’t that, like, really upbeat so you feel like dancing to it?

Christopher Pahle: Yeah, well, maybe not dancing to it? And I’m not going to sing it.

Julie Andem: Are you sure?

Henrik Holm: That's what I said when she showed me Fem Fine Frøkner, “I am not going to sing this”.

Julie Andem: But you did, though.

Christopher Pahle: You did. 

Henrik Holm: I did.

Julie Andem: Just like Christopher will now sing Roxette, go ahead.

Christopher Pahle: Umm…

Julie Andem [laughs]: I’m just kidding.

Christopher Pahle: It’s the one that starts, “Hello, you fool, I love you”.

Julie Andem: Yeah, yeah, yeah, I think it was that one.

Christopher Pahle: Yeah, yeah. [Julie hums a bit of the melody] That would have been something.

Julie Andem: That would have worked in that scene. If we’d had the rights. Which we didn’t.

Christopher Pahle: Yeah, because it’s only Norwegian songs that…

Julie Andem: That can be over one minute.

Christopher Pahle: Right. Now, Carl Martin. It is back to Eskild and episode five which includes your big Pride monologue where we get to know some new sides, some more layers, to Eskild. What were your thoughts when you got that script?

Carl Martin Eggesbø: Um. There was a bit of a process in the beginning of that series because I remember that we talked about how that kind of monologue would come up, and I thought it was really cool because when I was cast as Eskild, we talked a bit in the beginning about how important it was that Eskild didn’t turn into a stereotypical, uuh…

Julie Andem: Wooden?

Carl Martin Eggesbø: Yeah, wooden character. Like, this typical gay boy, which is something that often happens on screen. And I remember that you asked me what I wanted and what I thought, and we went back and forth and then you sent me the monologue and I didn’t really know how I felt about the theme in a way? And then I also fretted about doing that monologue because Eskild had been such a funny character all the way, and then he’ll suddenly become someone completely different. And also, during that scene he goes from joking, joking, joking to, like, deeply serious. So that was really tough in a way too, because I felt like it was too stern what I said, I thought Eskild was too stern with Isak in that scene.

Julie Andem: I remember that I sent it to you, I sent just the monologue and asked for your input. And then one day passed. And two days passed. And three days passed, and I never got anything back and I thought, like, oh f… he hates it, I’m going to have to rewrite it. And then I messaged you, and you were, like, “Yeah, I’ve read it. Shit…”, a bit like you’re talking about it now, like, “I don’t really know, but it’s important…” and then you talked about it both from Eskild’s point of view and from Isak’s point of view. 

Carl Martin Eggesbø: Yeah, for me it was, like, why is that monologue so important, because it felt a bit, like, “Oooh, gay rights, hallelujah”, in a way? Why is it that Eskild gets so serious just because of this? And I felt implicated in a way because I felt like I could just as well have been Isak. At the time that I got the monologue, I didn’t think Isak’s questions and the view that he held were that weird in a way? And when I had to act as a counterpart to that, I had to take some time to understand it. And that’s why I didn’t answer, because I didn’t know how to express how I felt about it. And it’s really not until after that episode was released and I’ve talked to people who this monologue has really hit home with that I’ve understood what it really means. So in a way it was both an acting challenge, but also a challenge for me as a human in a way. Because those thoughts that Eskild had? I saw him as this simple, nice guy, and then suddenly he wasn't, and then I had to… well, it took a bit of a turn.

Julie Andem: Yeah, we had to take a turn with Eskild’s backstory. And it was, like, Eskild’s backstory was on its way into the script a couple of times but it never made it into season three, or any other season. But we talked a bit about what he probably had experienced to be where he was.

Carl Martin Eggesbø: Mmhm.

Christopher Pahle: Is it something you can talk about now?

Julie Andem: Um. No, I don’t think so, I think we should keep it a secret.

Christopher Pahle: We’ll save that for Eskild’s season.

Julie Andem [giggles]: Yeah, we’ll save it for Eskild's season.

Christopher Pahle: But it is interesting, as you say, that the perception of Eskild was that he was funny and sarcastic and sassy, and then suddenly he gets this extra layer, a little like what happens to Vilde in the last episode where she’s at home with her mother - although we’d seen more seriousness in Vilde before that. But does it make it harder to laugh at the characters after you’ve found out those kinds of things? Does it add something extra?

Carl Martin Eggesbø: I think it’s just… [cuts himself off because he thinks Ulrikke is about to speak. Ulrikke fakes a yawn instead] No, I think that it was really nice and Eskild did have a lot of funny scenes after it. So I really think, at least for Eskild’s part, that it was super important. And also, like we talked about when Eskild was created, even if he’s fussy and sarcastic, that doesn’t mean that he’s a one dimensional person.

Julie Andem: No, and also, has everyone forgotten how Eskild was with Noora in season two when she lies in bed and Eskild comes in and tells her that she doesn’t have to do everything on her own? You have actually already seen that Eskild has a side that isn’t just silly, and when push comes to shove, he will be there. If he has to. He doesn’t really want to be there for long, but he knows when he has to go there.

Christopher Pahle: Right, but you can also see in that scene that… you act it with a lot of heat and it is very clear that it is a sorrow in Eskild’s life that you might not have thought a lot about. He’s a happy-go-lucky guy, and then something like that happens. This was a leading question by the way, but I think it adds a lot to the character. I didn’t mean to set a trap for you, but it’s pretty interesting and, I think… I’ll just give my opinion here, I think that when such a powerful speech comes from that kind of character, I think it hits a lot harder because you don’t see it coming. 

Ulrikke Falch: For me, it’s a lot about telling a story, and you have taught us a lot about that. Or at least I feel like I’ve learnt a lot about it. And in the first season, the comments started flowing in with “Vilde sucks” and “Vilde is a bitch” and “Vilde is annoying”, so me and Julie talked a lot about that. Her first advice was not to read the comments, but I still felt hurt by them. But then, at one point or another, she made a comment that was like, “I can make everyone love you just through one scene and I can get everyone to hate Noora just through one sentence”. How there is something with the way a story is told that you have a lot of power over. Yeah.

Julie Andem: Yeah. That is true. 

Christopher Pahle: I see that the time is running away from us a bit and I’m going to… I would like to talk about the end scene in episode three, the one after the rave pre-party where Isak is cleaning and Even comes into the kitchen and they have that talk, that is something really…

Ulrikke Falch [misinterpreting which scene he’s talking about]: Christmas pre-party, not rave pre-party.

Julie Andem: No, it’s…

Christopher Pahle: Revue pre-party, rave, Robyn as the soundtrack.

David Sjøholt: The Christmas pre-party is…

Ulrikke Falch: Right. I didn’t really watch that.

Christopher Pahle: There’s a bit of dialogue about Sonja and so on where there are some lies about protheses and things like that. [the scripted scene is shown on the screen] Um. And we see here:

Even smiles. Silence settles between them. Isak lowers his guard. He wants to try and meet Even half way.

Isak [somewhat reluctant]: She’s cute, though.

Even understands what Isak is trying to do. Isak mulls it over and tastes the name.

Isak: Sonja.

Isak looks at Even. Even looks at Isak. There’s silence again. Don’t think the world has ever been this silent before. And the silence is unbearable. Isak keeps his eyes trained on his socks. One of the socks has a tiny hole and he can see the tip of his little toe. Isak thinks that he should make a note of today’s date so that when the day comes that the hole is big enough for his entire toe to stick out, he will be able to calculate how many days it takes for a hole in a sock to reach its final form. Maybe he can use it for something. In a discussion about socks or something. Even looks down at Isak’s feet. He takes a careful step closer. And then he calmly slides one foot over to Isak’s. Their toes meet. Isak’s gaze is locked, Even moves his other foot too, taking a step closer to Isak. Isak finds the courage to lift his head tentatively. Isak looks at Even’s mouth. Even looks at Isak’s mouth. And then there’s a thud from the living room. Like someone drops something heavy on the floor. They both turn towards the sound.

And of course it’s Noora that has returned. Typical Noora. But I’m really fascinated by the way you’ve written that scene. Because all that, or, how should I put it, nothing that is written in that scene description is something that we actually see, but it’s all there. 

Julie Andem: Yes.

Christopher Pahle: And it is a rather unusual way to write scenes. Or that’s my impression anyway. 

Julie Andem: I often run very short of time. You have to remember that we filmed two episodes in three recording days. Which means that the more information, the more I can help the actors beforehand, the better. Like, there are some times when I don’t really have the time to write a script, I’ll just write that they meet in the corridor and then we’ll think of something while filming. But something like that? That scene was hard to write because I really had to wrap my head around it. I had to imagine what it was like to be Isak and stand there. And then those kinds of images make it easier, because, where is he looking? He’s looking at his socks, and there’s a hole there, and, like… then you can just write that down because maybe it’ll help Tarjei in that scene.

Christopher Pahle: And do you remember, did you talk about it on set? Did he look at his socks?

Julie Andem: Yeah, I think he looked at his socks, I’m pretty sure about that. But they didn’t have any holes, as far as I… [to Henrik] Did they? Do you remember? If we had made a hole?

Henrik Holm: He often had holes in his socks, but I don’t think he had it that time.

Julie Andem: I can’t remember if we made a hole in those socks or if he just thought about something else. I can’t remember.

Henrik Holm: No, because you never filmed the socks.

Julie Andem: No. No.

Henrik Holm: It was more that he could imagine it.

Julie Andem: Yeah.

Henrik Holm: You helped Tarjei to actually think about something while he looked down. So that it wasn’t just an empty look.

Julie Andem: Yeah, yeah, yeah. He looks at his socks. Because the camera sees everything you think about, so if you just stand there and think that “now I’ll just stand like this until Henrik takes a step closer”, then that will show in the clip. So in those kinds of situations, it’s good to give the actor something to think about. And if you can give it already in the script then that’s even more effective.

Christopher Pahle: Yeah, that’s what was a bit of an aha moment for me when I read the script. I understand a bit more now where the intensity in these scenes come from. And it was really interesting to see that it was there already in the script. And so clearly written, too. You’re really talented, Julie. [applause] Um. We’re nearing the end of this panel, and the reason that we’re all here is because there are some very lovely fans that collected a lot of money to buy some scripts that they then have donated. That is pretty amazing. It has to be a kind of crazy experience.

Julie Andem: I began to cry when I heard about it. I mean, it’s absolutely fantastic. I got a message from someone who told me that the script went for one hundred and nine thousand and I was just, like, how is that possible, who could have bought it?

Christopher Pahle: These people here.

Julie Andem: And when I understood that? Yeah, it was really, really touching.

Christopher Pahle [to the audience]: Do you want to clap a bit for yourselves? [applause] And I have a suspicion that the people in the audience know more about Skam than you do. So what I want to do is have a small quiz where I thought you could be one team and then I have an agreement with some of the biggest fans in the script gang who are going to be another team. Do you want to come up, you can go over there and grab microphones, it’s… And now I’ve forgotten your names. It’s… Dijana, Stina and Bjørg who will make up the fan team.

Julie Andem: How does this work, we don’t even have any buzzers to push.

Christopher Pahle: Do you want a party blower?

Julie Andem: Yes. Thank you. [accepts the party blower and blows into it]

Christopher Pahle: So. [to the cast] You are one team. [to the three fans] And you are one team. And if you know the answer, then you blow, first come, first served.

Carl Martin Eggesbø: Who’s best at blowing?

Henrik Holm: I’m not great at blowing.

Carl Martin Eggesbø: You’re not great at blowing?

Julie Andem: I’m not great at blowing.

Henrik Holm: I can blow.

[The rest of the cast now have party blowers and starts blowing into them]

Christopher Pahle: The important thing is that I hear a sound, if the party blower doesn’t work then you can just shout.

Julie Andem: Okay, okay.

Christopher Pahle: That works, right?

The Fan Team: Yes.

Christopher Pahle: If you’re ready, then we’ll start. [the blowing continues]

Ulrikke Falch [to David]: You’re destroying it. You’re destroying it.

Henrik Holm: It’s very childish on stage right now.

David Sjøholt [trying to demolish his party blower]: If you take the top off, then it’ll be much faster.

Henrik Holm: It’s like a child’s birthday.

Christopher Pahle: Then let’s play So You Think You Can Skam. The first question is, we’ll start a bit easy… [the cast continues to talk amongst themselves] Are you ready, or?

Julie Andem: Yes! [to the cast] Focus!

Christopher Pahle: Are you ready? Ulrikke?

Julie Andem: Be ready, Ulle. Be ready.

Christopher Pahle: What is Vilde’s last name? [lots of party blowers going off] I think it was over there [gestures at the fan team]

The Fan Team: Lien. Hellerud Lien.

Christopher Pahle: Hellerud Lien. That’s correct.

Julie Andem: No. No. No.

Christopher Pahle: No?

Ulrikke Falch: It’s the other way around.

Julie Andem: It’s Lien Hellerud. [the cast celebrates, audience applause]

Christopher Pahle: But on Skam Wikipedia it says that it’s Hellerud Lien? Either way, I’m assigning both teams a point. Next question. When is Isak’s birthday? [everyone blows their party blowers, Christopher covers his ears with his hands] I missed who was first, who…? [is told it was the fan team] It was you. Of course it was.

The Fan Team: Shall we say it together? 21 June.

Christopher Pahle: That is correct, and what year?

The Fan Team: 99.

Christopher Pahle: 99. Of course. Very good. Two points to the fan team, one point to the Skam cast. Who has to watch when Magnus and Vilde spit coffee in each other’s mouths?

Ulrikke Falch [blows first and turns to David]: Do you want to say it?

David Sjøholt: Umm… Noora and Even.

Julie Andem: NO! 

Ulrikke Falch: Sana!

Julie Andem: David, never answer him again.

Christopher Pahle: Question four. Even and Isak’s toast recipe includes among other things bread and sweaty cheese. Name three other ingredients. 

[Ulrikke is the fastest to blow]

Henrik Holm [to Ulrikke]: You were first.

Ulrikke Falch: No, I just did it so we get to answer.

Henrik Holm: Pottagaldrar, umm… turmeric, and cardamom. No?

Julie Andem [pokerfaced]: Turmeric was cut.

Henrik Holm [with innocent surprise]: It was cut? [Henrik and Julie high fives]

Christopher Pahle: I think I have to give…

Henrik Holm: I can name more otherwise.

Christopher Pahle: …it over to the other team

The Fan Team: American… umm… Caribbean…

Henrik Holm: Caribbean jerk?

Julie Andem: God. Yes!

The Fan Team: Cinnamon.

Henrik Holm: Cinnamon.

The Fan Team: And rosemary. Also, we’re a bit unsure, cardamom, was that really in there?

Christopher Pahle: Caribbean jerk…

Julie Andem: No, it…

The Fan Team: It was lacking cardamom, Henrik.

Christopher Pahle: The answer is caribbean jerk barbecue, chilli, rosemary, pottagaldrar, cinnamon, pepper, and ketchup. But, very good.

Julie Andem: And all that talking, that improvised talking about cardamom was really about pancakes or waffles and then we edited it as if it was them talking about the toast.

Henrik Holm: I remember when I watched the scene, I thought that was really weird - and then it became a thing, but… it was really funny.

Julie Andem: Yes, that’s why I had to include it.

Henrik Holm: Yeah, it was so funny.

Christopher Pahle: Question five, what does Eskild bring as a hostess gift to Sana’s Eid party?

Carl Martin Eggesbø: Hostess gift to Sana’s Eid party? It was two börek that Eskild found under a stair at the filming location.

Christopher Pahle: Question six. So, the character that I identify with the most is… [a picture of Noora and a teacher is shown on the screen] No, it isn’t Noora - even if I got Noora in the personality quiz - but it’s Nora’s creative writing teacher, and what I want to know… well, first of all, why didn’t he get his own season? But what I really want to know is, what colour is his hat? 

Julie Andem: Oh…

David Sjøholt: Red.

Julie Andem: No, green. Dark green.

Henrik Holm: I would have guessed red too.

Julie Andem: Black!

Christopher Pahle: It’s burgundy. Red. 

Julie Andem: Who said it?

Ulrikke Falch: We said red. 

David Sjøholt: I said red.

Christopher Pahle: At least it’s not black. Or dark green.

Julie Andem: I’m sorry. I’m sorry.

Christopher Pahle: I mean, someone took over the answering and insisted that it was dark green.

Julie Andem: I’m sorry. I’m sorry. Let David answer all questions from now on.

Henrik Holm: It’s good that you weren’t in charge of costumes.

Christopher Pahle: Last question. What is the last sentence that is said in the series? [Ulrikke blows and points to Henrik.]

Henrik Holm: Are you pointing at me? 

Ulrikke Falch: No, I just…

Henrik Holm: I was so far in the back that I didn’t even hear it!

David Sjøholt: It’s Marlon’s speech. 

Henrik Holm [agrees]: It’s Marlon’s speech.

Ulrikke Falch: Oh, yeah.

Julie Andem: Yeah. Fear spreads. But fortunately, love does too.

David Sjøholt: But fortunately, love does too. Boom.

Christopher Pahle: Right. So that’s that, and it ended in [checks the fan team] three. And you? [checks with the Skam cast]

Ulrikke Falch: Four.

The Fan Team: Did they win??

Julie Andem: No, in that case we need one more question.

Christopher Pahle: But I would like to disqualify the question about Vilde’s last name.

Julie Andem: Yeah, we should, because I got very unsure since that is what it says on the wikipedia page.

Ulrikke Falch: But it was you who made it up?

Julie Andem: Yeah, but… it’s been many, many years since I made it up.

Christopher Pahle: And it’s taken on a life of its own.

David Sjøholt: Use your mobile to check it?

Julie Andem: But how do I check it? It’s in the other room.

David Sjøholt: Mail?

[an audience member shouts that it says Lien Hellerud on NRKs Skam page]

David Sjøholt: Lien Hellerud? So we were right then?

Julie Andem: Yeah, we were right. If it says so on the NRK page, then that’s correct. 

Christopher Pahle: Right. Then you will be awarded the prizes, chilli, rosemary and cinnamon. That’s all that was available at the store.

Julie Andem: Woohoo! Thank you. [hands Henrik one of the spice bottles]

Henrik Holm: Nice.

Christopher Pahle: We have about ten minutes for questions from the audience, so if anyone has any questions? Anyone? No one is raising their hand. So if there are no questions, should we just finish early? No, over there is someone, you’re getting a microphone.

Audience member 1: Yeah, hello. I understand that there was a lot of impro and so on, but a lot of people are talking about Julie’s method, how she does something to change the mood the actors are in to put them in the right mindset. How do you get the actual “acting” to come out?

Julie Andem: I just yell a lot. [laughs] If they don’t do as I… no, not really. What do I do, though? I don’t know, I think that every actor needs something different, you can’t use the same method for every actor. So it will take time to, like, break the code for each and every one of them and understand what makes them better. And there was someone who felt like I didn’t completely break theirs.

Henrik Holm: That sounds terrifying.

Julie Andem: So it’s breaking them psychologically and then…no, just kidding.

David Sjøholt: Who was it that felt like…

Julie Andem: But I think that, especially for young people, since I’m not sixteen, seventeen, eighteen year old myself, using them as advisers and making sure to always listen to them if they have input on the script or if they want to say something in a different way or don’t understand why they are saying what they’re saying? That’s a good start. 

Christopher Pahle: And the rest of you, do you have any views on what Julie’s method is? Since she doesn't know?

Henrik Holm [laughs]: I think we all do.

David Sjøholt: I don’t know. Sorry.

Henrik Holm: No, but it’s exactly like Julie says, I always felt that she saw each and every one of us. And there wasn’t any yelling or any, like, [deepens his voice] “Listen, you don’t understand what I’m trying to get across here”. There was never that kind of frustration that I’ve experienced with other directors. It was always, “We’re a team, we’re going to try to do this in the best way possible, and for you to understand my vision, I have to understand you and you have to understand me back”. And that was very educational and really inspiring, and I think that’s how you got so much out of all the actors. Because you gave a lot of yourself. And that’s something not all directors does.

Julie Andem: Yeeeeah. [applause]

Christopher Pahle: More questions? There’s one. You’re getting a microphone. 

Audience member 2: Hi.

All the cast: Hi.

Audience Member 2: You were asked, I think it was during the first season…

Julie Andem: Me?

Audience Member 2: Yeah. It was one of the actors who asked how big you thought Skam was going to be, and you joked a bit and said “We’re aiming for world domination”. And you were right. But when did you begin to understand, when did you think, “Wow…”?

Julie Andem: I don’t know. But from mid season two it felt like for every passing week there was a new record set or some other wild thing that happened, and I was like, “huh?”. Like, the Prime Minister called, you know what I mean? It just escalated and it never ended and I kept thinking that we’d have to crash soon. But I think, particularly the week when everyone was waiting for an answer from William, that’s when I thought that people had really lost it. I mean, Rema1000 came out with “fish cakes while you wait” and NetCom came out with “If William had had a NetCom subscription then he would have answered” and it was, like, such a… I heard that people were just sitting and refreshing the NRK page. And there were internet sites made where the only topic was, “Have William answered yet?”. And I just thought that this… jeez, this… [shrugs]

Audience Member 2: This works.

Julie Andem: Yeah. People like this, was what I thought.

Audience Member 2: I was wondering a bit too about what the rest of you thought. When did it dawn on the rest of you?

Ulrikke Falch: I’ve still not understood it. It’s not like you finish and then you’re like, “Yes, we made it.” I think, like you say, that it’s just a continuous experience of “We’ve made an impact on people” and these stories still come trickling in, and everytime they do, we’re reminded that… that we took over the world. [applause]

Christopher Pahle: We have a question over here. From Kosegruppa DK.

All the cast: Yeeeeeah.

Henrik Holm: Welcome.

Julie Andem: Kosegruppa!

Audience Member 3: Thank you. Yeah, yeah, I actually have all the Kosegruppa admins with me via our chat so I have a lot of questions, but I’ll just ask two of them. First for David, how and when did you find out that you got the part, and then for Julie, when did you decide that Jonas was the one to make the speech in the last episode?

David Sjøholt: Ah, that’s a pretty good story. I was at the audition with Tarjei, and I was in his class and on the first day of school he said, “yeah, I’m going to be in this series that’ll be called Skam”, and I was like, “fuck, I didn’t get it”, and then it was, like, blah blah blah, and then I pestered Julie a little. Or, a lot. 

Julie Andem: That’s true. He added me on Facebook and just went on and on.

David Sjøholt: And then… what was the question?

Ulrikke Falch: When did you get the part?

David Sjøholt: Yeah. Yes, and then I was at another audition. And then those parts went to three of my friends.

Julie Andem: Yeah. Maybe. I don’t remember.

David Sjøholt: Me neither. And then suddenly the phone rang - no, and then you added me on Facebook.

Julie Andem: Oh, yeah. But hadn’t we been friends all that time and you had been all, “yadda yadda”.

David Sjøholt: No, no, no, no, no. I remember that I was in the bathtub. And then you just added me on Facebook and then I got a bit of butterflies but I was, like, no, maybe she’s just going to ask me something. And then Tarjei calls me, and he’s like [very bad imitation of Tarjei…] “Hello, David, do you fancy a part in Skam, or?” And then… then I hung up on him and accepted your Facebook request.

Julie Andem: Yeah, he was allowed to call and tell you, that’s true.

David Sjøholt: Yeah, but you had talked about it, right?

Julie Andem: Yeah, because I mentioned it to him, and he said, like, [another bad imitation of Tarjei…] “I have to tell him”.

David Sjøholt: Because we had talked about it a lot, me and Tarjei.

Julie Andem: Yeah. 

Ulrikke Falch: About that, you were an extra all through the first and second season. And I remember you as that really annoying friend of Tarjei’s. [laughter] And you didn’t even have a credited part, but every time you entered a scene, it was like it was your season. [laughter and applauds, David facepalming] There was this scene where Vilde was picked up because she’d thrown up, I think it was in season one…

Julie Andem: Yeah.

Ulrikke Falch: …and Julie had to ask you to calm down, because you were, like, “we have to call the police”, “we have to call for an ambulance”, and you acted out…

David Sjøholt [sheepishly]: Yeah, that…

Ulrikke Falch: …a whole scene about what you were going to do to save Vilde. So when you got the part of Magnus, I was, like, fuck. And then I was told that you were to be my love interest, so then I was like fuck again. Like, I wanted William. And then they gave me you.

Julie Andem [to David]: I don't remember you as annoying.

David Sjøholt: But I understand what Vilde, or, I understand what you mean because I think I tried to make a mark, or, I don’t know. I wanted to make you…

Julie Andem: But you did make a mark, you got the part.

David Sjøholt: Mmm.

Christopher Pahle: Now I’ve forgotten what the other question was, but it was to you, Julie.

Julie Andem: Right. I don’t really remember, but sometimes during the last season? I honestly don’t remember. I’ve thought about it and it wasn’t like while writing the opening monologue, I thought, “Oh, when I finish the series then I’ll end with that”, because I wasn’t planning on still being the show runner when the series ended. So… sometime during the fourth season.

Christopher Pahle: I think we have time for one more question. Anyone? Back there, in yellow.

Audience member 4: May I speak english?

Henrik Holm: Of course.

Ulrikke Falch: English.

Julie Andem: English. Yes.

Audience Member: And you can still answer in norwegian. But is there a character that you’ve written, who you imagined in a very specific way, and then an actor came in and completely changed that, or did you let the actors kind of form their characters themselves?

Julie Andem: Um. Vilde as a character is a good example of that, because the others who were in to audition for Vilde were a lot closer to how I had imagined the real Vilde. Like, they were a lot more realistic in a way. And then Ulrikke comes in with a comedic talent that is absolutely amazing. So I realised that, okay, this one is a lot cooler than Vilde, but she really understands who Vilde is, so she can play with the character in a very fun way, which I think added a lot of awesomeness. But she was originally supposed to be more realistic. And I could say the same about Noora, because when I first started writing her, I imagined her as more prissy. And then, every time I saw her - because in the final interview rounds I interviewed the actors as their characters - I just felt like, ugh, she’s too prissy, too boring, I don’t know if I even like her. And then Josefine came in, and she’s so incredibly charming and funny and playful, and I just thought that there’s how the Noora will get that extra layer. So Noora’s story is still very much a question of ethics and she is still this character of conscience who fights for her beliefs. But she does it in a very charming way. Was that an answer? All the characters have kept their cores, but they have… I have just used all the resources the actors brought to the best of my ability. 

Christopher Pahle: Those were very good questions. I had also prepared some if it turned out to be completely silent. One was “Have you gotten an American accent yet?''. I was thinking, like, a Texas one.

Julie Andem: Uh… I don’t… 

Christopher Pahle: No, not that you have it now, you speak Norwegian very well, Julie.

Julie Andem: Thanks. I felt a bit unsure there just for a second. And no,. I can maybe say a couple of words to try and charm people, like [worst Texan accent ever] “yaw”. That’s… that’s about it. 

Christopher Pahle: The last question, and I’ve thought about this through a lot of the seasons - is Valtersen really a name? [laughs] 

Julie Andem: Isn’t it?

Christopher Pahle: Do you know anyone with that name?

Julie Andem: I don’t know, I haven’t thought about it. Isn’t it possible to be called that? 

Christopher Pahle [giggles]: I have checked with the office for national statistics and there is no one with that name.

Julie Andem: Is that true? [applause] Yeah, but… it’s a name? At least it sounds like it could be a last name?

Christopher Pahle: Yeah, it definitely sounds like a last name.

Julie Andem [surprised]: I’ve invented a new last name.

Christopher Pahle: Yeah. Congratulations.

Julie Andem: Someone really should be called that.

Christopher Pahle [still giggling]: Yeah, well someone probably is by now.

Julie Andem: Yeah, that’s true.

Christopher Pahle: Anyway, I think that was all we had time for. [to the cast] Thank you for coming, [to the audience] Thank you for coming. [applause] Have a good summer!

Then I’ll just say a final thank you. It looks like no one wants to leave the scene. [to the cast] Thank you for coming to commemorate this event. [to the audience] Thank you to all of you. And many, many thanks to the script group who has given these two scripts to the National Library, for which we are very, very grateful. And thank you for tonight. [applause]