‘1899’: Another amazing journey from the creators of ‘Dark’ on Netflix

After the success of the first season Netflix signed the creators, screenwriter Jantje Friese and director Baran bo Odar to create special series and projects. First result of the deal ‘1899’ (Thursday 17th), like its predecessor, can blow heads while breaking hearts. We could describe it as the camera version of ‘Dark’: almost all of its action takes place on the fringes of a steamship, the Kerberos (start guessing the name) transporting European immigrants from London to New York. 19th century. Behind The reappearance of a ship that disappeared months ago, diverts its course into obscurity..

“Maybe it’s true that the action is more intimate because of the scenery, an enclosed space where people cannot escape“, Friese says in an interview via video call. His partner next to him talks about influences like “Alien: the eighth passenger” or “The Shining: Lose your mind”. They also talk about an “anti-impact”: “Titanic”. “We didn’t want anyone to think about that movie, about romance and genius. That’s why we decided on a black ship like this. If The Cure had a ship, this would be it! [risas]”.

‘lost’ on a ship

Of the nearly two thousand people traveling on Kerberos, 16 of them really concern Odar and Friese. Two in particular: British doctor Maura Franklin (Emily Beecham), followed closely by the ship’s tortured captain Eyk (Andreas Pietschmann, ‘The Stranger from the Dark). But they also care about the fate of a lieutenant’s (Jonas Bloquet) upset wife (Mathilde Ollivier) or that priest (José Pimentão) with an unmarried brother (Miguel Bernardeau of Valencia, revealed in ‘Elite’). Each episode explores a character’s specific pastWhat are they running from and where do they want to go?

Characters who run away from themselves and find their bones in a mysterious cage: ‘1899’ is also Marine version of ‘Lost’. Odar and Friese celebrate comparison. The first says: “For us, Damon Lindelof and everyone involved is a master. We were also spectators trying to get down to mythology and symbols; secrets were hidden everywhere.” As in the ABC classic, the characters that matter in the end are: “We can touch on unconventional concepts, but we’re interested in the authenticity of our creations, keeping a close eye on how they experience it,” says Friese.

There is something very real at the root of it all: “The refugee crisis in which Europe lives, where every nation works differently, and where we are witnessing the rapid disintegration of the Europe we know,” says Friese. Thanks to the fantastic adventure they wonder what unites and separates usor lament the division created by fear.

Another starting point was a photograph that was in the research phase: a man standing on the deck of a ship, hammer at hand, white shirt stained with blood. “We had no idea where the image came from or who shot it,” Friese says. “We asked him questions that gave birth to history: How did that man get there? What happened on that boat? Why was he covered in blood? What was he running from? Where was he going? This was the beginning of the world.” It’s a process that takes us to a completely different place than we imagined”.

production limitations

The series was announced in November 2018, a year before the first news about the pandemic. The plan was to shoot in as many real locations as possible, replicating the ship at least partially, and using a water tank. “Then the virus came,” Friese recalls. “And for a short while we thought there would be no drama. It was impossible to make a pan-European drama in the middle of a pandemic“.

In technology known as volume, they found a difficult but efficient solution: the combination of a wall of LED screens with real scenes; these are in the ‘1899’ example, all elevated on a rotating base to accommodate recording from different angles. The method popularized by ‘The Mandalorian’, whose filming cannot be visited, is: The United States had closed the borders to flights from Europe and they had to be content with listening to the podcast of the series. “It took us quite some time to master the technique,” ​​Friese admits. Adds Odar, “But after three seasons of ‘Dark’, it wouldn’t be exciting to do the same thing again. We wanted to learn something new. Not knowing what to expect actually filled us with energy.”

‘The future of 1899 now depends on the favor of the people. “The first season ends with questions, some answers, but also questions,” Friese advises with a smile. “Our plan is to do three seasons. Moving a mystery beyond that is always complicated.” Season three: exactly Lindelof’s original plan for ‘Lost’.