"But the last day of shooting was much more emotional than I thought it would be it was very intense.
"I feel like I've just stepped off a carousel, but the ground is still moving – so I'm not that formulated about how I feel," she says, tears threatening to spill down her cheeks. She is clearly finding it difficult to say goodbye, and for a moment struggles to control her emotions. This time, I feel there's definitely not going to be a fourth." I didn't have that feeling at the end of season two. "I think there's a great beauty in ending a story," she says. Lund will not be returning after this outing, Gråbøl promises.
WATCH THE KILLING DANISH VERSION PROFESSIONAL
But the detective's unshakeable commitment to finding Nanna Birk Larsen's killer over that first 20-hour season was matched only by the fans' growing fervour for Lund herself.Īnd while plot is inevitably central to a drama that focuses relentlessly on a single crime, it has been Lund's gradual decline – personal and professional – that has made The Killing so gripping even allowing for a second series that sometimes stretched the limits of plausibility.
She is a somewhat unlikely hero: uncommunicative, occasionally bungling, neglectful of close relationships and family life. Admirers of the crime drama – which came to BBC4 early in 2011, with little fanfare, and then crept up the ratings to become a massive hit – may also struggle to let go of Lund. Gråbøl is finding this difficult to come to terms with. (I have to clear a chair of police files to sit down.) Sofie Gråbøl, the actor who plays her, sits on the wrong side of the table, a gregarious, engaging presence, and contemplates Lund's final exit from this police station.įilming on the third and last series of The Killing finished a couple of days ago, and tomorrow the room in which we now sit will be pulled down, along with the rest of the set, with its familiar corridors and haphazard filing. The door bangs firmly shut, a recording device clunks into life and Copenhagen's most famous detective begins her interrogation – only this time Sarah Lund is answering the questions. Outside, the weak Danish sunshine struggles against the beginnings of relentless rain. Beyond is a large, gloomy office filled with desks and office clutter. I am sitting at a bare table in a room with grey walls.
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