Vienna Blood: (Vienna Blood 2)

£4.995
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Vienna Blood: (Vienna Blood 2)

Vienna Blood: (Vienna Blood 2)

RRP: £9.99
Price: £4.995
£4.995 FREE Shipping

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In the first season there was a conflict between Max and Oskar. Max believes passionately in this very new science of psychoanalysis and has strengthened himself knowing that he's going to face a lot of boundaries in trying to push this science forward. And Oskar is very uninterested in the world of the mind. They’re starkly different at the beginning. Produced by Endor Productions and MR Film for ORF (Austria) and ZDF (Germany), licensed to over 100 territories, including the UK (BBC), US (PBS), France (France 3) and Spain (Movistar), Vienna Blood has been a hit around the world. In the UK, the premiere of the second season was one of BBC Two’s top performing dramas of the year, while in France it was the No.1 show of the night, garnering a 14.6% share for France 3. In Austria, it delivered a huge 25% share for ORF and in Germany posted a market share of 12.3%, with high online viewing figures.

I guess - and I hope I’m not speaking too highly of myself here - her dry sense of humour. Leah is quite wry, fiery and witty… now I’m talking about Leah it sounds like I’m giving myself loads of compliments! Leah is Max’s older sister. When Leah’s husband died she was left to bring up her son alone. But with her son away at boarding school, Leah has plenty of time to devote to her parents and friends. Actors, in general, always put a lot of themselves into the parts they play, so Clara has a lot of me. My whole interpretation of how she behaves in a world where women didn’t have as many rights as they do now, is something that comes from me, Luise. That is also what really makes her character so flirty and fun - because she never behaves like a woman during that time. Clara didn’t grow up with a father; he died very early and she was with her mum. So she never had somebody to give her boundaries, and as a result, she is somehow always a bit ‘too much’ for a woman of that time. I think that’s something I would also do, or how I am also sometimes - I’m a bit too much! It’s a whole different side of life. And I think any father would worry about his son in this situation. But funnily enough, in these three films, Mendel gets involved a little more in Max and Oskar's work. It's a bit of a departure for him.

Frank Tallis’s Max Liebermann books in order:

Having just set up his own private practice, we find Max experimenting with Freud's new talking cure and various psychoanalytic techniques. But he’s also still at the hospital, where he works with patients, more interested in the mind than the body. And he still has a relationship with Oskar that he carries through from the first season. I like to spend my evenings with the Lieberman family because they represent a very wholesome society and you can identify with them. They are the mensch part of our story and they bring humour and entertainment, humanity and wit. It is lovely to paint on a canvas, using oils and having a nice big frame. You can paint more generously and have more colours available than with a docudrama. Colour is not necessarily something good, but to be able to choose the colours and figure out how you want to portray the time that the story takes place is a wonderful luxury that I enjoy. I am, by nature, a minimalist and I don’t like to waste a lot of stuff. To create the strongest effect with the least amount of means is an ambition that I think every artist should have. To have a lot of material available makes life easier, but hopefully the effort is worthwhile and the audience are going to be taken on this wonderful journey to Vienna at the turn of the century.

We are just getting over the scandal of my son getting into trouble in his hospital for treating a patient outside the hospital rules, but apart from that we are doing okay business wise. Max’s engagement has just been broken off to Clara, who was an old family friend, so there are things to be mended by Mendel!

Filmed in English and on location in Vienna and Budapest, season three is directed by Academy Award® and Emmy® nominee Robert Dornhelm (Anne Frank: The Whole Story) and stars Matthew Beard (The Imitation Game, Dracula, Avenue 5) as Max Liebermann, and Juergen Maurer (Vorstadtweiber, Tatort) as Detective Inspector Oskar Rheinhardt. Darkness Rising: (Liebermann Papers 4), Century, ISBN 978-0099519744; U.S. title: Vienna Secrets, Random House, ISBN 978-0812980998

Vienna Blood is a really nice escape from reality into a world of history and beauty. There’s so much feeling in everything. It’s a great drama to disappear into. I'm delighted Leah is working for the family business. Now it's Liebermann and daughter. Max should have done that, but he didn't. It's fantastic because they’ve put years of work into the business, so it's great that Leah's going to continue that. For Rachel, I think it's more about her relationships and family than her abstractly liking women doing well. She wants the people she loves to be doing what they love, and she wants the family business to be strong. Fortunately, Freud’s Vienna was made up of many worlds. I was spoilt for choice! The worlds of the opera house, the military academy, the palace, the hospital, and so on. And they really were like worlds in Freud’s time - not just places. The imperial court, for example, used its own dialect. We think of detective fiction as a genre driven by a big central character. But, in reality, almost all of the great fictional detectives operate in distinctive settings. You need a distinctive setting for a big character to get sufficient traction to move the story forward. Vienna Blood is set in 1900s Vienna: a hotbed of philosophy, science and art, where a clash of cultures and ideas play out in the city’s grand cafes and opera houses. I think it's a sum of all its parts. I don't think there is just one essence. I always think of it as very unconventional. I attribute that to the very European elements to it. Maybe that's my Irish take on the whole thing, I don’t know.

Charlene McKenna (Leah Liebermann)

Clara’s father has passed away and she lives with her mother. A new love interest has emerged in her life in Series Two. Amelia Lydgate, Scientist - Lucy Griffiths In the long term Clara is actually looking for love and somebody that takes her seriously as a human being. It was good because I had someone else’s work to refer to, and used it to inform what I was doing which I liked. Jess played Amelia as quite a reserved character. She held her cards close to her chest. At the same time she was quite independent and confident. One thing that I find quite frustrating is the term psychological thriller, because it suggests that we’re going to read a thriller that’s full of psychology, whereas in reality, many thrillers have some psychology in but it's not terribly authentic, and I think that in the books and in the series, there is an attempt to import authentic psychoanalysis into the detective story. It's always great to reacquaint with the family. We don't always see each other in between filming but when we re-start it's like we never stopped. It's immediately a lot of talking, a lot of joking. There's just a very easy rhythm between us.

Vienna is in the grip of the worst winter for years. Amid the snow and ice, a killer embarks upon a bizarre campaign of murder. Vicious mutilation, a penchant for arcane symbols, and a seemingly random choice of victim are his most distinctive peculiarities. Detective Inspector Oskar Rheinhardt summons a young disciple of Freud - his friend Dr. Max Liebermann - to assist him with the case. A widowed countess dies in an apparent suicide but later it is found she was murdered. She had consulted Max. Why was she so unhappy? [5] The third episode of the new series is based on your novel Darkness Rising and explores religious conflict in different guises particularly antisemitism. Is religious fervour a subject which you’re especially drawn to explore? I suppose to some extent, my own personal experience of coming from essentially an immigrant family seeped into the writing, although that’s something I only realised on reflection. It wasn't something I was necessarily conscious of at the time of writing. My real name is Francesco de Nato Napolitano which doesn't really fit on the side of a book, so I changed it and anglicised it. I don't have an English drop of blood in my body. I’m 100% Southern Italian. And in the third season a new layer of conflict emerges. By this point, Max has written a book about the psychopathy of the criminal mind and a little bit about their adventures. And Oskar now starts to wonder if it isn't just Max's vanity and Max's ego that's making him interested in these murderers. So, there's a new conflict and they try to understand each other on that front.Each book in the series takes us to a different side of Vienna. In this second series we get monastic life, a high-class hotel and the world of imperial politics. What elements are you looking for when you decide on the settings of your books?



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