There are certain moments in history when the world turns on one city. And one of those moments was Vienna in 1908. We know that some of the key people in history were there and were visiting. We know that revolutions were taking place in arts and medicine. All of this seems to be focused on one place, and that's Vienna.

That’s at the same time easy and hard to answer. It has everything good entertainment should have. It has brilliant texts. Steve Thompson is an amazing writer. It has the vision of the old Vienna, which is overwhelming I think. And it has crime and a comic relief also. I think it’s entertainment in the best meaning of the word. For me this season is about Clara focusing on herself and standing her ground. She has learnt that relying on men is not everything, and that there's only space for love when she's at eye level with men and not relying on them. The series started in the year 2005, when the first novel “A Death in Vienna” (this is the American title, it was also published under the name “Mortal Mischief”) was released. The books in this series have been translated into fourteen different languages.I think he finds Max's life amazingly different, and he gets into areas that no one has been over before, let alone Max. It's all very new and he's trying to keep up with it all. But some of it definitely goes above Mendel’s head.

Love of family, I think… our age and sex and that’s about it. I’m Catholic, he’s Jewish. But I think the Jewish church is the mother church. If you enjoy the show it might also be worth reading the books. There are seven in total, opening with Mortal Mischief[called A Death in Vienna in the US. Is there a trailer? 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. When I started writing the Liebermann series in 2003, antisemitism seemed more ‘historical’ than it does today, which is both sad and worrying. Only a few weeks ago, I saw some disturbing images of a protest march in London which was openly antisemitic. The media seemed to respond with alarming complacency. It gives me no joy to say that with respect to antisemitism, the Liebermann books are more relevant in 2021 than they were at the time of writing.Max is very intellectual. He's immersed in his science and the world of crime. But when we see him with his family, it grounds Max in such a joyous way. The Liebermann family have their own little rituals, their own sense of fun, their own sense of humour. This beautiful relationship between Max and his father that the two actors play, this gentle ribbing, this gentle humour that they have - expresses Max's humanity perhaps better than anything else in the show. I think that's critical. Max may be the brain of the show. But when we see him with his family, that's when we understand its heart. For the last 25 years I've never delivered a finished film and put temp music on it and then asked a composer to replace it. That to me is very counter-productive. I like to listen to the music before I start the project. I sit with the composer, Roman Kariolou in this case, and the piano and we talk about the genre. I like to have at least three or four pieces of music before I start shooting. To have them in my ear. I think the bottom line, is they all fundamentally love each other. Leah loves Max, but they have a proper sibling relationship. They love to fight. She loves to tease him but underneath it all is love. Same with the parents. I mean, Leah’s eye rolling at her Mama all the time and she's half sharing a joke with Papa. I think they're like a lovely, functioning dysfunctional family - like all families are. But they genuinely love each other, and I think they're a good unit.

After he and his wife divorced he earned a doctorate in psychology and worked for the British National Health Service for a long time, taught clinical psychology and neuroscience at King's College London, and treated private patients. Tallis has been a full-time writer since the late 2000s [4] and lives in London. This story takes place in a very interesting part of European history. I think we’re in a very interesting period right now, to top it all we were shooting 200 kilometres away from a disgusting war, senseless like most wars are senseless. Our story takes place before the eruption of the First World War with the collapse of the Austro-Hungarian monarchy and a rise of fanatic nationalism. But at the same time a beautiful new era developed in the arts which freed itself from the classical form of music and paintings. To set your story in that period is very fertile for the imagination.My on-screen family are lovely both on and off-screen. I knew of Conleth a bit through mutual friends before we filmed and it was so fun getting to know and work with him. Amelia I’ve always admired as an actress and it was so great to have her as my mum. Charlene was just the bonus cherry on top, and she’s a giggle too. I think we make a really good unit.

It’s very dark. That said, there’s a levity to the show which I don’t think necessarily matches the subject matter all the time, which means it’s just enjoyable to watch because it’s not constant murder! Production Interviews Robert Dornhelm, Director 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!I’d love to write more Liebermann novels, but whether I do or not rather depends on opportunity and time. For the past five years I’ve been otherwise engaged writing psychology books - a clinical memoir, a philosophical book that summarizes what the great psychologists can teach us about coping with life - and I’m currently working on a book called Mortal Secrets: Freud, Vienna And The Discovery Of The Modern Mind. It’s several things: a Freud biography, a book about Freud’s cultural context - and also, a book about how Freud and his Viennese contemporaries influenced how we think and live today.