In Dialogue: the Norwegian NFTVF Prize nominated creator-writers Johan Fasting, Silje Storstein & Kristin Grue

The experienced creator and main writer Johan Fasting is nominated for the Nordisk Film & TV Fond Prize 2024 together with the experienced actors and fresh creator-writers Silje Storstein and Kristin Grue, for the script of the Norwegian 6-part series Power Play (Makta).

The winner of the award, which celebrates outstanding Nordic series writing, will be announced in Gothenburg on January 30th, 2024.

The first part of Power Play, the first six episodes, premiered on NRK late October, 2023. The series is directed by Yngvild Sve Flikke, co-directed by Johan Fasting, and produced by Motlys and Novemberfilm. The second part of the series is currently being released, one episode at a time.

Where no respondent is mentioned, the writers have answered the question jointly.

Johan, what was your road to becoming a scriptwriter?

The boring road. I loved films, so I applied to film school.

Why were you inspired to write Power Play with Silje and Kristin?

I was initially sceptical of doing a period piece biopic about a famous prime minister, but Silje and Kristin’s approach to the material was fresher and more youthful than I expected, so we were quickly able to find common ground in what we wanted to relate, and to whom.

Silje and Kristin, could you share some of the insights you had when working on your first script of Power Playwith Johan?

It was both exciting and a bit scary. We were doing something we had never done before, but we soon realised we knew much more about screenwriting than we thought. As actors we have read a bunch of scripts, so we had a sort of gut feeling of how things can be communicated to an audience. But with Johan, we had a safe journey in learning how to build a script. And with his experience and knowledge, it was a great opportunity to also throw in crazy ideas, and sometimes ask: “But does it have to be that way?” Altogether, we made a great team.

What did you learn about politics while writing?

We learned a lot about why politics today look the way they do. So much of what politics have become is beginning to take shape in this era. We have also learned to look twice at what’s been said. I think we have all become much more sceptical.

How did you find the form that breaks the 4th wall and mixes modern locations with a period story?

We wanted the show to be critical of power structures and the rules they impose, and so the form should also be critical of the rules that govern how television looks and feels. Breaking the number one rule of period pieces was a good place to start. Breaking the 4th wall also allows us to expose ourselves as narrators, and encourages the audiences to be critical of what they’re being told. We might have an agenda. All shows do. Even the ones that pretend to be authentic.

What response has surprised and/or delighted you especially?

We like the fact that people can have different reactions to the material and discuss those interpretations among themselves, both at home on the couch and in public. Watching the discussion grow in size week by week as more episodes air, has been a joy.

Would each one of you like to introduce your next project(s)?

Johan: I’ve been working with director Elle Sofe Sara on a Sámi musical called Árru. It starts shooting this spring. I don’t think a film like this has ever been made before, so I’m excited to see how it turns out.

Kristin and Silje: We have just started the process of writing a script for a theatre performance. We’ve never done that before either, so we are really excited.

In the fall of 2023, the drama series industry faced a crisis. Has this affected what is now commissioned, and how?

There’s a lot less being put in development now than a few years back, but still a lot more than ten years ago. It might be a necessary course correction, but we need to make sure we take care of the workers who run out of jobs. As far as I can tell, screenwriters aren’t hit hardest. Production crew and post production staff are suffering in the job market when there are fewer greenlights.

What could help Nordic creators the most in 2024?

To focus less on craft and more on artistic expression. If we don’t want to lose audiences, we need to provide them with something different and personal. More of the same doesn’t cut it. They’ll turn off the TV and (gasp!) stop paying their subscription.

Official trailer:

Read more about Power Play and the other nominees: CLICK HERE.