Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:00:47,463 --> 00:00:50,213
[hymn playing]
2
00:00:57,213 --> 00:01:01,047
[chorus singing in Latin]
3
00:01:07,255 --> 00:01:10,047
[woman, in German]
This is where it all began for me.
4
00:01:11,005 --> 00:01:12,797
With a dark sky...
5
00:01:13,880 --> 00:01:15,838
and a black bird.
6
00:01:18,380 --> 00:01:22,797
We see the cliffs,
the sea, and these rocks,
7
00:01:22,880 --> 00:01:26,047
shown from above in a long shot,
8
00:01:26,797 --> 00:01:31,047
and Max von Sydow, lying here.
9
00:01:31,380 --> 00:01:35,005
He appears to have just woken
and is looking up at the sky.
10
00:01:36,380 --> 00:01:40,505
Then we see his squire
asleep on the stony beach.
11
00:01:41,338 --> 00:01:43,880
The camera closes in on the horses,
12
00:01:43,963 --> 00:01:47,088
so that we know
they belong to these two people.
13
00:01:47,838 --> 00:01:52,630
Then there's a close-up of Max von Sydow.
14
00:01:53,005 --> 00:01:59,838
He's very pensive and doesn't really know
what's in store for him.
15
00:02:01,255 --> 00:02:04,130
The sun rises. The day begins.
16
00:02:04,630 --> 00:02:10,297
The squire turns over in his sleep.
He clearly doesn't want to wake up.
17
00:02:10,380 --> 00:02:13,880
Max von Sydow walks into the water,
18
00:02:14,547 --> 00:02:18,172
washes his face with the seawater,
19
00:02:18,255 --> 00:02:23,130
as if preparing himself
for the prayer he's about to offer.
20
00:02:23,213 --> 00:02:25,547
Then there's a long shot from above.
21
00:02:25,630 --> 00:02:30,005
He steps out of the water
and kneels down on the stony beach.
22
00:02:30,088 --> 00:02:32,547
This looks like an act of penance.
23
00:02:32,630 --> 00:02:36,672
He tries to pray,
very sincerely at first, but then...
24
00:02:37,713 --> 00:02:39,547
you see that he...
25
00:02:40,922 --> 00:02:45,463
You see that maybe he can't pray
as intensely as he would like to
26
00:02:45,547 --> 00:02:47,338
because he doubts his faith.
27
00:02:47,672 --> 00:02:49,838
We learn this later in the film.
28
00:02:50,797 --> 00:02:54,172
Then he stands up--
we have a long shot again--
29
00:02:54,255 --> 00:02:57,047
and he walks back to this point,
30
00:02:57,130 --> 00:03:00,505
where we've already seen the chessboard.
31
00:03:00,588 --> 00:03:04,297
He goes out of frame
and the camera pans to the chessboard,
32
00:03:04,380 --> 00:03:08,505
with the black rock in the background,
like a warning sign.
33
00:03:08,922 --> 00:03:13,172
The waves wash over the chessboard
in a dissolve,
34
00:03:13,922 --> 00:03:17,713
and then a black figure appears.
35
00:03:20,463 --> 00:03:21,922
[in Swedish] Who are you?
36
00:03:23,005 --> 00:03:24,255
I am Death.
37
00:03:25,213 --> 00:03:28,255
-Have you come to fetch me?
-Are you ready?
38
00:03:28,922 --> 00:03:30,255
My body is,
39
00:03:30,838 --> 00:03:32,213
but I am not.
40
00:03:43,672 --> 00:03:47,338
[woman narrating in German]
In January 1960, I came to Paris.
41
00:03:47,422 --> 00:03:49,963
Paris was gray, rainy, and cold.
42
00:03:50,630 --> 00:03:53,422
The weather would have pleased
Ingmar Bergman.
43
00:03:54,172 --> 00:03:57,255
In Germany,
1d felt like I was suffocating.
44
00:03:57,797 --> 00:04:01,713
Luckily,
I soon met some young French people
45
00:04:01,797 --> 00:04:04,880
who were mad about the nouvelle vague.
46
00:04:05,380 --> 00:04:06,963
In the late 1950s,
47
00:04:07,047 --> 00:04:11,838
critics at Cahiers du Cinéma
had proclaimed a new era--
48
00:04:11,922 --> 00:04:13,713
the auteur film.
49
00:04:13,797 --> 00:04:16,630
Francois Truffaut,
Claude Chabrol, and others
50
00:04:16,713 --> 00:04:18,880
were soon making films themselves.
51
00:04:19,338 --> 00:04:22,797
They discovered Alfred Hitchcock,
the American directors,
52
00:04:22,880 --> 00:04:24,547
and Ingmar Bergman.
53
00:04:26,213 --> 00:04:28,880
My cinephile friends were convinced
54
00:04:28,963 --> 00:04:34,630
that film was the one medium
which could combine all the other arts.
55
00:04:34,713 --> 00:04:38,213
To prove this, they dragged me,
almost against my will,
56
00:04:38,297 --> 00:04:40,880
fo see The Seventh Seal.
57
00:04:41,672 --> 00:04:44,963
I was soon spending more time
at the cinema than at the Sorbonne.
58
00:04:45,338 --> 00:04:48,963
I also saw Sawdust and Tinsel,
Summer with Monika,
59
00:04:49,047 --> 00:04:52,130
Winter Light, and Wild Strawberries.
60
00:04:53,755 --> 00:04:56,713
[in Swedish]
Sometimes I get it into my head
61
00:04:57,380 --> 00:04:59,047
that I'm older than Isak.
62
00:04:59,922 --> 00:05:02,255
Then I feel that he's a child,
63
00:05:02,588 --> 00:05:04,422
although we're the same age.
64
00:05:06,172 --> 00:05:08,422
[man, in Swedish]
I'd like to begin by asking you
65
00:05:08,505 --> 00:05:11,713
how you define the term “film directing.”
66
00:05:11,797 --> 00:05:14,880
Is it possible to define it at all?
67
00:05:19,338 --> 00:05:20,755
Film directing...
68
00:05:25,213 --> 00:05:29,255
Well, one director said
that a film director is someone
69
00:05:30,088 --> 00:05:34,463
who has so many problems to deal with
that he never has time to think.
70
00:05:35,838 --> 00:05:37,963
I think that's the closest
71
00:05:38,838 --> 00:05:41,547
one can get to a definition.
72
00:05:42,797 --> 00:05:45,713
Now let's have the playback and the music.
73
00:05:46,172 --> 00:05:47,963
I mean playback and conversation.
74
00:05:48,047 --> 00:05:49,505
Can we have the playback?
75
00:05:49,588 --> 00:05:52,005
-Get ready!
-[classical music plays]
76
00:05:52,922 --> 00:05:55,338
-[Bergman, indistinct]
-[actors chattering]
77
00:06:02,672 --> 00:06:07,130
[man, in Italian]
...the film The German Sisters...
78
00:06:08,672 --> 00:06:11,422
by Margarethe von Trotta...
79
00:06:12,505 --> 00:06:15,297
Federal Republic of Germany.
80
00:06:18,255 --> 00:06:22,172
[in English] You remember?
That was in Venice, in '81.
81
00:06:22,838 --> 00:06:27,505
1981, when I got the Golden Lion.
82
00:06:27,588 --> 00:06:29,838
But you gave me the award.
83
00:06:29,922 --> 00:06:32,963
That was as if Ingmar, the master of me,
84
00:06:33,047 --> 00:06:35,505
stand behind you and he blessed me,
85
00:06:35,588 --> 00:06:37,838
and you were the messenger for me.
86
00:06:37,922 --> 00:06:41,797
I look like a messenger
because I have faded somewhat.
87
00:06:41,880 --> 00:06:45,963
We look different than these
on the red carpet today.
88
00:06:46,047 --> 00:06:49,172
-They are models, and I think the way--
-Yeah.
89
00:06:49,255 --> 00:06:52,672
We look like two happy girls.
90
00:06:52,755 --> 00:06:54,797
Yeah, absolutely. Happy girls.
91
00:06:55,797 --> 00:06:58,172
But you were only seven years an actress?
92
00:06:58,255 --> 00:07:01,547
Yeah, because it was not my-- my aim.
93
00:07:01,630 --> 00:07:03,547
I wanted to become a director.
94
00:07:04,088 --> 00:07:06,338
[laughter]
95
00:07:09,880 --> 00:07:14,255
I don't know how old I was
when I saw Gycklarnas afton,
96
00:07:14,338 --> 00:07:18,547
but it made
an incredible impression on me.
97
00:07:18,630 --> 00:07:22,588
A group of people, and they happen
to be men, who are sitting there,
98
00:07:23,005 --> 00:07:25,713
on the mountain, watching,
99
00:07:25,797 --> 00:07:28,338
and the women swimming.
100
00:07:28,422 --> 00:07:31,130
No one has done that to me before,
101
00:07:31,838 --> 00:07:35,713
allowing me to see
how easy it is to be in power,
102
00:07:36,130 --> 00:07:39,088
being on top, being in a flock,
103
00:07:39,172 --> 00:07:42,838
and some of them are leaders,
and to be humiliated.
104
00:07:47,213 --> 00:07:48,963
[no audible dialogue]
105
00:07:49,047 --> 00:07:51,005
[Ullmann, in Swedish] Sawdust and Tinsel.
106
00:07:51,088 --> 00:07:53,047
[in English] I understood everything,
107
00:07:53,130 --> 00:07:56,713
and I wondered about the man
who had made it.
108
00:07:56,797 --> 00:07:58,422
[no audible dialogue]
109
00:07:58,505 --> 00:08:03,463
I was doing a movie in '62
with Bibi Andersson.
110
00:08:03,922 --> 00:08:06,547
There was no hotel,
and so where we did the movie--
111
00:08:06,630 --> 00:08:09,338
So Bibi and I, we shared a classroom.
112
00:08:09,422 --> 00:08:13,838
And then she got a letter
from Ingmar Bergman while she was there.
113
00:08:13,922 --> 00:08:16,005
And she talked to me about Ingmar.
114
00:08:16,672 --> 00:08:20,713
She told me about the human being
which was Ingmar.
115
00:08:20,797 --> 00:08:24,172
And I asked and asked,
and she told and told.
116
00:08:24,255 --> 00:08:27,963
I met him on the street.
I visited Bibi in Sweden.
117
00:08:28,505 --> 00:08:30,713
And he stopped and he talked with Bibi.
118
00:08:30,797 --> 00:08:35,630
And he knew who I was, because I had been
an actress and done some films.
119
00:08:35,713 --> 00:08:39,505
-And he talked to her and he looked at me.
-At you... Ah.
120
00:08:39,588 --> 00:08:41,630
-And then he said--
-And that was the beginning.
121
00:08:41,713 --> 00:08:43,880
That was the beginning
because suddenly he said,
122
00:08:43,963 --> 00:08:47,130
“Would you like to be in a movie with me?”
123
00:08:47,213 --> 00:08:48,797
I said, “Yes.”
124
00:08:48,880 --> 00:08:52,338
And he left, and Bibi said,
“I never heard him say that before.”
125
00:08:57,297 --> 00:08:58,963
[von Trotta] When I saw Persona --
126
00:08:59,047 --> 00:09:01,838
You said somewhere
you knew that you were him.
127
00:09:01,922 --> 00:09:06,880
It was like in a mirror. He looked
in a mirror and he saw your face.
128
00:09:08,172 --> 00:09:12,713
[Ullmann] He said he was inspired
by a picture of Bibi and a picture of me
129
00:09:12,797 --> 00:09:14,755
and our alikeness.
130
00:09:16,547 --> 00:09:19,588
From the first time I came to the studio,
131
00:09:19,672 --> 00:09:24,672
I knew the way he looked at me
that he knew...
132
00:09:25,922 --> 00:09:28,380
-I understood him.
-Him.
133
00:09:28,463 --> 00:09:30,588
I was him in Persona.
134
00:09:30,672 --> 00:09:36,213
I think Max von Sydow
was Ingmar during Hour of the Wolf.
135
00:09:39,338 --> 00:09:42,547
[in Swedish] We have stayed awake
every night now until dawn.
136
00:09:45,755 --> 00:09:47,630
This hour is the worst.
137
00:09:51,213 --> 00:09:53,297
-Do you know what it's called?
-No.
138
00:09:54,338 --> 00:09:56,880
The old people used to call it
“the hour of the wolf.”
139
00:09:58,005 --> 00:10:00,213
It's the hour when most people die,
140
00:10:01,047 --> 00:10:02,880
when most children are born.
141
00:10:03,755 --> 00:10:05,963
It's the hour when nightmares visit us.
142
00:10:07,838 --> 00:10:10,505
-And if we're awake...
-We're afraid.
143
00:10:11,755 --> 00:10:13,172
Yes, we're afraid.
144
00:10:14,047 --> 00:10:17,422
[Ullmann] Max was very much
what Ingmar was struggling with
145
00:10:17,505 --> 00:10:19,130
and getting more free from.
146
00:10:19,213 --> 00:10:20,547
What is it?
147
00:10:21,213 --> 00:10:24,630
Nothing. It just reminded me
of something from my childhood.
148
00:10:25,130 --> 00:10:26,213
[stammers]
149
00:10:27,588 --> 00:10:29,880
It was a kind of punishment.
150
00:10:30,755 --> 00:10:32,963
They pushed me into the wardrobe
151
00:10:33,713 --> 00:10:35,297
and shut the door.
152
00:10:36,005 --> 00:10:37,838
There wasn't a sound,
153
00:10:38,672 --> 00:10:40,922
and it was pitch-dark.
154
00:10:41,005 --> 00:10:44,672
I was crazy with fear.
I pounded and kicked the door.
155
00:10:44,755 --> 00:10:47,797
They'd told me
a little man lived in that wardrobe...
156
00:10:49,547 --> 00:10:53,672
and that he gnawed the toes
off naughty children.
157
00:10:55,963 --> 00:11:01,380
[in German] Isn't art always, to a certain
extent, therapy for the artist?
158
00:11:11,088 --> 00:11:13,255
[Ullmann] Where Ingmar was fantastic--
159
00:11:13,338 --> 00:11:14,963
In every film I did,
160
00:11:15,047 --> 00:11:19,213
he stood so close to the camera--
very, very close--
161
00:11:19,297 --> 00:11:20,963
and he was the best audience.
162
00:11:21,047 --> 00:11:25,380
I never knew what he would have done
or what he was thinking,
163
00:11:25,463 --> 00:11:31,338
but I knew everything I do now
is seen by him.
164
00:11:33,797 --> 00:11:36,630
He says, “I've given you the script.
165
00:11:36,713 --> 00:11:39,755
You read the script.
You have to understand the script.”
166
00:11:39,838 --> 00:11:42,047
And he gave you wonderful blocking.
167
00:11:42,130 --> 00:11:44,547
“You sit for the three sentences,
168
00:11:44,630 --> 00:11:48,130
then you get up
and then you go over to that chair
169
00:11:48,213 --> 00:11:52,088
and you stand by the chair
and then you sit down there.
170
00:11:53,088 --> 00:11:56,213
You have read the script. You, the actor.
171
00:11:56,297 --> 00:11:58,797
You feel it, if you have understood it,
172
00:11:58,880 --> 00:12:03,547
and allow me, the director,
to see that you have understood.”
173
00:12:11,172 --> 00:12:12,505
Andreas!
174
00:12:18,755 --> 00:12:21,505
And then he asked me again
and he asked me again...
175
00:12:21,588 --> 00:12:25,005
I know, I know.
You did ten films with him.
176
00:12:25,088 --> 00:12:27,505
-I think I did 11.
-Oh.
177
00:12:32,380 --> 00:12:34,588
[murmuring]
178
00:12:35,213 --> 00:12:37,213
[in Swedish] And that summer,
179
00:12:37,297 --> 00:12:39,713
we were happy then, weren't we?
180
00:12:41,880 --> 00:12:42,880
No.
181
00:12:46,130 --> 00:12:48,422
-You weren't happy?
-No.
182
00:12:48,838 --> 00:12:51,297
You said you'd never been happier.
183
00:12:53,172 --> 00:12:54,380
Yes.
184
00:12:55,297 --> 00:12:56,797
I didn't want to hurt you.
185
00:12:58,838 --> 00:13:02,380
[Ullmann] When they are adapting
all his movies on the stage,
186
00:13:02,463 --> 00:13:05,922
that would be the best
that ever happened to Ingmar,
187
00:13:06,005 --> 00:13:08,880
because one thing he always wished
188
00:13:08,963 --> 00:13:13,838
was that they would really
regard him highly for being a writer.
189
00:13:21,338 --> 00:13:25,713
[von Trotta] Maybe he came in this house
because Strindberg was living here once,
190
00:13:25,797 --> 00:13:27,713
and he was so fond of Strindberg
191
00:13:27,797 --> 00:13:30,755
that he was fond of the idea
to live in the same house.
192
00:13:30,838 --> 00:13:34,963
Maybe. But Ingmar, he lived
193
00:13:35,047 --> 00:13:38,422
in and around this part of Stockholm.
194
00:13:38,505 --> 00:13:41,047
-Most of his life.
-[von Trotta] Always in the same area?
195
00:13:41,130 --> 00:13:43,130
[Bjorkman] Yes. Um...
196
00:13:44,047 --> 00:13:45,297
After he was born,
197
00:13:45,380 --> 00:13:49,547
he stayed with his parents about six,
seven blocks away from here.
198
00:13:49,630 --> 00:13:50,963
Mm-hmm.
199
00:13:51,047 --> 00:13:53,172
[Bjorkman]
And then they moved close to the church,
200
00:13:53,255 --> 00:13:55,838
where his father was the parson.
201
00:13:55,922 --> 00:13:59,213
[bell chiming]
202
00:14:14,630 --> 00:14:16,463
[chiming continues]
203
00:14:24,672 --> 00:14:28,005
This is the house where Ingmar lived
204
00:14:28,088 --> 00:14:30,505
with his family
and his brother and sister.
205
00:14:54,213 --> 00:14:58,047
-[von Trotta] Where is the Dramaten?
-[Bjérkman] Dramaten is in that direction.
206
00:15:08,672 --> 00:15:12,005
This was Ingmar's favorite restaurant.
207
00:15:12,088 --> 00:15:15,755
He very often went here
because it's very close to the theater
208
00:15:15,838 --> 00:15:20,755
and he could have a meal for himself
or invite somebody--
209
00:15:20,838 --> 00:15:23,005
a friend, an actor, an actress.
210
00:15:23,088 --> 00:15:25,422
He liked it
because he could see the entrance,
211
00:15:25,505 --> 00:15:30,630
and maybe a friend, an actress,
or somebody might come in and...
212
00:15:30,713 --> 00:15:34,838
As Ingmar was very curious,
he wanted to know,
213
00:15:34,922 --> 00:15:37,880
“Are they seeing somebody?
Somebody I don't know?”
214
00:15:37,963 --> 00:15:40,463
And he could check and see.
215
00:15:49,588 --> 00:15:53,338
[woman, in English]
It's absolutely impossible to think...
216
00:15:54,713 --> 00:15:57,963
“What would I have become without him?”
217
00:15:58,047 --> 00:16:01,922
When I met him,
I had started rather strong.
218
00:16:02,797 --> 00:16:05,005
We have so different backgrounds.
219
00:16:05,088 --> 00:16:09,130
I mean, he's the son of a priest
in very high society.
220
00:16:09,213 --> 00:16:11,380
I was working-class and so on.
221
00:16:12,005 --> 00:16:14,630
But he gave me a lot. Really.
222
00:16:17,505 --> 00:16:22,422
Bergman always very carefully pointed out
223
00:16:22,505 --> 00:16:26,047
where is the action, where is the motive,
224
00:16:26,130 --> 00:16:30,005
where-- where should the public look now?
225
00:16:30,672 --> 00:16:32,547
Not on those two persons,
226
00:16:32,630 --> 00:16:37,713
because they are not, now,
telling the story.
227
00:16:37,797 --> 00:16:41,880
Look at that point,
because there it happens.
228
00:16:42,380 --> 00:16:45,172
And that's rather unusual.
229
00:16:45,255 --> 00:16:48,130
Many directors put people on stage
230
00:16:48,213 --> 00:16:50,713
and let the public decide.
231
00:17:02,797 --> 00:17:04,172
[Bjorkman] There was a time
232
00:17:04,255 --> 00:17:07,838
when everything was compared
to Ingmar Bergman,
233
00:17:07,922 --> 00:17:13,422
and you can never reach
that kind of level as Ingmar Bergman.
234
00:17:13,505 --> 00:17:17,963
I mean, we had some
other fantastic film directors,
235
00:17:18,047 --> 00:17:19,547
like Bo Widerberg.
236
00:17:19,630 --> 00:17:22,213
And I think Bergman was a bit jealous
237
00:17:22,297 --> 00:17:24,713
of Bo Widerberg and the attention he got.
238
00:17:25,130 --> 00:17:29,588
It was like Widerberg started
the Swedish nouvelle vague.
239
00:17:29,672 --> 00:17:32,588
The kind of new language
which Bo Widerberg had--
240
00:17:32,672 --> 00:17:38,547
more improvisation,
and he mixed nonactors with actors.
241
00:17:38,630 --> 00:17:42,672
Ingmar was considered
by many of us at that time,
242
00:17:42,755 --> 00:17:46,505
maybe not by me,
but by many of the newcomers,
243
00:17:46,588 --> 00:17:48,213
as “Papas Kino.”
244
00:18:08,380 --> 00:18:12,838
Sjéstrém was, in a way, Ingmar's master,
245
00:18:12,922 --> 00:18:16,922
and he always said,
“At least once every summer,
246
00:18:17,005 --> 00:18:19,338
I see The Phantom Carriage in my cinema.”
247
00:18:19,422 --> 00:18:22,130
So he must have seen it, like, 50 times.
248
00:18:30,547 --> 00:18:35,255
And you can't make a more loving portrait
of somebody you like
249
00:18:35,338 --> 00:18:39,172
as Sjostrém in Wild Strawberries,
where he acted.
250
00:19:11,630 --> 00:19:14,672
Films are dreams. They are in some way.
251
00:19:14,755 --> 00:19:20,047
But he also uses dreams
in so many of-- of his movies.
252
00:19:20,130 --> 00:19:23,130
[water dripping]
253
00:19:25,297 --> 00:19:28,797
Persona is a major work and very brave.
254
00:19:28,880 --> 00:19:33,963
It starts with a young boy
who sits up in a bed
255
00:19:34,047 --> 00:19:36,130
and, with his hands,
256
00:19:36,755 --> 00:19:42,088
he is kind of starting the story.
257
00:19:42,172 --> 00:19:46,380
So it's like the-- a young filmmaker
258
00:19:46,463 --> 00:19:49,297
giving us the story of Persona.
259
00:19:49,380 --> 00:19:53,963
And it can be Ingmar Bergman
260
00:19:54,047 --> 00:19:57,255
as a very young person also.
261
00:20:02,713 --> 00:20:04,505
[in Swedish] Film is a...
262
00:20:06,797 --> 00:20:08,963
Film is a channeler.
263
00:20:09,047 --> 00:20:14,255
Film is a distributor of dreamers
and of dreams.
264
00:20:15,005 --> 00:20:18,505
And it brings to life people's dreams,
265
00:20:18,588 --> 00:20:20,880
wishes, and most secret longings.
266
00:20:20,963 --> 00:20:24,797
Film will always be with us.
There's no better medium.
267
00:20:33,338 --> 00:20:36,505
[von Trotta narrating in German] Bergman's
films have been my constant companions.
268
00:20:36,588 --> 00:20:40,547
But when I was asked if I would like
fo make a film about him,
269
00:20:40,630 --> 00:20:42,088
I hesitated.
270
00:20:42,588 --> 00:20:48,088
Until I remembered that one of my films
had been important to him as well.
271
00:20:51,047 --> 00:20:54,713
This is the list that Bergman put together
272
00:20:54,797 --> 00:20:58,047
for the 1994 Goteborg Film Festival.
273
00:20:58,130 --> 00:21:02,672
He'd been asked to make a list
of films that were important to him.
274
00:21:02,755 --> 00:21:05,963
And he came up with a list of 11 films
275
00:21:06,047 --> 00:21:10,463
including my 7he German Sisters,
which pleased me enormously.
276
00:21:10,547 --> 00:21:12,380
I'm the youngest at the top,
277
00:21:12,463 --> 00:21:15,880
followed by Wajda's 7he Conductor,
278
00:21:15,963 --> 00:21:18,380
Andrei Rublev by Tarkovsky,
279
00:21:18,463 --> 00:21:20,630
Raven's End by Bo Widerberg,
280
00:21:20,713 --> 00:21:22,755
La Strada by Fellini.
281
00:21:22,838 --> 00:21:25,130
I can understand that choice.
282
00:21:25,213 --> 00:21:30,005
He made lots of films featuring
the circus and traveling artistes.
283
00:21:31,547 --> 00:21:34,380
Rashomon by Kurosawa,
284
00:21:34,463 --> 00:21:38,422
surely one of the inspirations
for his The Virgin Spring.
285
00:21:39,005 --> 00:21:40,547
Next is
286
00:21:41,338 --> 00:21:45,047
Sunset Boulevard by Billy Wilder.
287
00:21:47,172 --> 00:21:50,880
Port of Shadows by Marcel Carné.
288
00:21:52,005 --> 00:21:55,213
The Passion of Joan of Arc by Dreyer.
289
00:21:55,797 --> 00:21:57,963
The Circus by Chaplin.
290
00:21:58,047 --> 00:22:02,838
And the most important film was
The Phantom Carriage by Sjoéstrém.
291
00:22:02,922 --> 00:22:05,713
It was his all-time favorite film.
292
00:22:05,797 --> 00:22:08,255
That's the oldest, a silent film,
293
00:22:08,338 --> 00:22:12,047
and up till me at the top,
they're all men.
294
00:22:12,505 --> 00:22:15,755
I'm the youngest
and the only one still alive.
295
00:22:15,838 --> 00:22:18,172
They're all dead, including Bergman.
296
00:22:18,672 --> 00:22:22,380
I'm still around and will be
for a little longer, I hope.
297
00:22:23,047 --> 00:22:26,130
[woman singing opera]
298
00:22:44,672 --> 00:22:47,505
-[no audible dialogue]
-[singing continues]
299
00:22:53,547 --> 00:22:55,630
[music ends]
300
00:23:07,505 --> 00:23:10,005
[in French]
Bergman is one of the great phantoms
301
00:23:10,088 --> 00:23:13,588
who shaped the youth of our generation,
302
00:23:13,672 --> 00:23:15,547
who shaped the nouvelle vague.
303
00:23:15,630 --> 00:23:20,172
Even if the nouvelle vague
took the opposite approach to him
304
00:23:20,255 --> 00:23:23,547
and dealt with different themes,
305
00:23:23,630 --> 00:23:28,130
Bergman is one of those
who opened up cinema after the war.
306
00:23:35,380 --> 00:23:40,922
First of all, he created a particular
Nordic or Scandinavian atmosphere,
307
00:23:41,005 --> 00:23:44,463
which recalled Dreyer, the grand master.
308
00:23:44,547 --> 00:23:48,588
He was always preoccupied
309
00:23:48,672 --> 00:23:51,672
with the religious conception of guilt.
310
00:23:52,130 --> 00:23:54,505
But little by little,
311
00:23:54,588 --> 00:23:59,922
Bergman retracted this religious component
to focus purely on humanity.
312
00:24:00,005 --> 00:24:03,672
That is, as Bergman's films progress,
313
00:24:03,755 --> 00:24:05,630
God becomes less present,
314
00:24:05,713 --> 00:24:08,797
and men and women
are left to their own devices.
315
00:24:21,422 --> 00:24:23,755
[bell tolling]
316
00:24:33,130 --> 00:24:35,338
[von Trotta, in French] In the 1960s,
317
00:24:35,422 --> 00:24:39,880
Bergman was already known
through Truffaut and Chabrol.
318
00:24:39,963 --> 00:24:42,213
[man, in French]
Yes, there's the famous photo
319
00:24:42,297 --> 00:24:47,838
of Harriet Andersson
that Léaud steals in 7he 400 Blows.
320
00:24:47,922 --> 00:24:52,213
It was the vehicle for his notoriety,
321
00:24:52,297 --> 00:24:55,297
though it would have made
its presence felt anyway.
322
00:24:58,672 --> 00:25:01,172
Bergman was a forerunner of auteur cinema.
323
00:25:01,255 --> 00:25:04,547
The young cineasts
could see Bergman in Sweden
324
00:25:04,630 --> 00:25:07,713
practicing a contemporary,
modern, free kind of filmmaking,
325
00:25:07,797 --> 00:25:09,630
which was what they aspired to.
326
00:25:10,172 --> 00:25:12,338
This was happening at a time
327
00:25:12,422 --> 00:25:14,463
when it was becoming apparent
328
00:25:14,547 --> 00:25:18,963
that psychoanalysis could serve as a tool
329
00:25:19,047 --> 00:25:20,505
for thinking about cinema,
330
00:25:20,588 --> 00:25:24,463
that cinema could be an aid
to exploring the unconscious.
331
00:25:24,547 --> 00:25:27,463
The way he intimately connected
his own life
332
00:25:28,130 --> 00:25:30,838
with his stories
and his formal innovations
333
00:25:30,922 --> 00:25:37,755
make him perhaps one of
the most fascinating film directors ever.
334
00:25:37,838 --> 00:25:42,547
Bergman's influence on French cinema
is extraordinary.
335
00:25:42,630 --> 00:25:46,922
The model they chose wasn't Truffaut,
it wasn't Godard,
336
00:25:47,005 --> 00:25:48,880
and it wasn't Chabrol.
337
00:25:48,963 --> 00:25:51,463
It was Bergman.
It was Bergman they had in common.
338
00:25:51,547 --> 00:25:54,213
In Bergman, filmmakers found a way
339
00:25:54,297 --> 00:25:58,838
of returning to a way of making films
340
00:25:58,922 --> 00:26:01,880
that revolves around the actor.
341
00:26:01,963 --> 00:26:04,338
Or to be exact, the actress.
342
00:26:04,422 --> 00:26:06,172
Let's talk about the actresses!
343
00:26:06,255 --> 00:26:09,880
He placed so much importance
on women, on actresses,
344
00:26:09,963 --> 00:26:12,672
which was extraordinary at the time.
345
00:26:12,755 --> 00:26:15,672
And the modernity of Bergman's cinema
346
00:26:15,755 --> 00:26:19,047
is evident in the figure
of the liberated woman,
347
00:26:19,130 --> 00:26:22,130
aided by these incredible actresses.
348
00:26:22,213 --> 00:26:24,213
Bergman's work was given its direction
349
00:26:24,297 --> 00:26:28,213
by his leading ladies:
Harriet Andersson, Liv Ullmann,
350
00:26:28,297 --> 00:26:30,047
Ingrid Thulin.
351
00:26:33,922 --> 00:26:37,672
Bergman searches for the light
in his female characters.
352
00:26:38,172 --> 00:26:42,130
And each of these actresses
radiates something brilliant,
353
00:26:42,213 --> 00:26:44,005
and that's what's new.
354
00:26:47,088 --> 00:26:49,380
Cinema stems from reality.
355
00:26:49,463 --> 00:26:54,172
These characters existed
in Swedish society in a way.
356
00:26:54,255 --> 00:26:58,963
But he had the freedom, intelligence,
and sensitivity to see them.
357
00:27:02,880 --> 00:27:04,838
[sighs]
358
00:27:13,880 --> 00:27:16,755
[in French] He admired women a lot,
359
00:27:16,838 --> 00:27:21,797
as he worked
with beautiful, incredible women.
360
00:27:21,880 --> 00:27:25,213
Everyone is in love
with Bergman's actresses.
361
00:27:25,297 --> 00:27:28,463
His choice of actresses
really was impeccable.
362
00:27:28,547 --> 00:27:31,380
His selection process
must have been very rigorous
363
00:27:31,463 --> 00:27:34,713
in order to find such women and lovers.
364
00:27:35,255 --> 00:27:37,005
Each actress is different.
365
00:27:37,088 --> 00:27:40,255
Harriet Andersson, Liv Ullmann, et cetera.
366
00:27:40,338 --> 00:27:42,713
They're strong without being harsh.
367
00:27:42,797 --> 00:27:46,172
They're also sensitive, delicate.
368
00:27:46,255 --> 00:27:51,380
They always maintain this tension,
this difficult balance
369
00:27:51,463 --> 00:27:55,297
between taking a religious position,
370
00:27:55,380 --> 00:27:57,380
an almost mystical position,
371
00:27:57,463 --> 00:28:00,005
and being an object of sexual desire.
372
00:28:02,088 --> 00:28:04,380
[train passing]
373
00:28:08,588 --> 00:28:14,005
There's always a connection
to the invisible, magical, or fantastic
374
00:28:14,088 --> 00:28:17,963
that is palpable
and always close to the surface.
375
00:28:18,047 --> 00:28:22,505
In Fanny and Alexander,
the pastor looks for the children,
376
00:28:22,588 --> 00:28:25,380
who've been hidden in a trunk.
377
00:28:30,547 --> 00:28:32,505
The pastor comes,
378
00:28:33,047 --> 00:28:37,088
the rabbi opens the trunk,
and the children are no longer in it.
379
00:28:37,172 --> 00:28:38,547
[chattering in Swedish]
380
00:28:38,630 --> 00:28:41,755
They're actually in another trunk
on the second floor.
381
00:28:42,213 --> 00:28:47,463
And when I met Bergman to compile
this book of interviews with him,
382
00:28:47,547 --> 00:28:51,505
I said, “Do you believe in magic?
The supernatural?
383
00:28:51,588 --> 00:28:55,088
Because the supernatural
is incredibly present in your films.
384
00:28:55,172 --> 00:28:59,380
It's both wonderful and staggering
and makes the invisible believable.”
385
00:29:00,088 --> 00:29:04,130
He looks at me and says,
“You know, Olivier,
386
00:29:04,213 --> 00:29:07,505
I'm an old filmmaker
with a lot of experience.
387
00:29:07,588 --> 00:29:11,297
So if I decide the children
are in the trunk, they're in the trunk,
388
00:29:11,380 --> 00:29:13,797
and if I decide
they're gone from the trunk,
389
00:29:13,880 --> 00:29:16,172
-they're gone from the trunk.”
-[both laughing]
390
00:29:16,255 --> 00:29:17,880
“And the public will accept it.”
391
00:29:18,338 --> 00:29:21,130
Art defines truth.
392
00:29:21,213 --> 00:29:24,130
So when Bergman says something is so,
393
00:29:24,213 --> 00:29:26,797
it doesn't matter
that it might be otherwise.
394
00:29:27,213 --> 00:29:32,047
Each of us creates a form of storytelling
about our own existence.
395
00:29:34,213 --> 00:29:35,505
Whoo!
396
00:29:35,588 --> 00:29:37,672
[chattering in Swedish]
397
00:30:29,838 --> 00:30:33,713
[von Trotta, in English]
I went around here already yesterday
398
00:30:33,797 --> 00:30:36,297
-to know a little bit what it's all about.
-Yeah.
399
00:30:36,380 --> 00:30:38,255
Because it's the first time
that I was here.
400
00:30:38,338 --> 00:30:41,672
-Right.
-And so I looked a little bit around,
401
00:30:41,755 --> 00:30:44,255
what's in these books and so.
402
00:30:44,338 --> 00:30:46,130
-And what did I find?
-Yeah?
403
00:30:46,213 --> 00:30:49,088
Come here. You'll see what I found.
404
00:30:49,422 --> 00:30:50,755
-Look at that.
-Yeah, right!
405
00:30:50,838 --> 00:30:52,672
-And two!
-Yeah.
406
00:30:52,755 --> 00:30:54,672
Well, she has written, I think--
407
00:30:54,755 --> 00:30:57,505
[von Trotta] With a wonderful dedication.
408
00:30:58,588 --> 00:31:01,630
And you are the son;
therefore I was very interested.
409
00:31:01,713 --> 00:31:05,338
And also because I know
that she was a great pianist.
410
00:31:05,422 --> 00:31:06,380
Yeah.
411
00:31:06,463 --> 00:31:10,005
-And she helped him for Autumn Sonata, no?
-Yeah, yeah.
412
00:31:13,922 --> 00:31:15,463
[no audible dialogue]
413
00:31:20,838 --> 00:31:22,755
[chattering in Swedish]
414
00:31:28,213 --> 00:31:31,463
-[Daniel] It was a passion about--
-More about music than about real love?
415
00:31:31,547 --> 00:31:36,672
Yeah, exactly. They were both narcissists
and they were fond of their artistry,
416
00:31:36,755 --> 00:31:38,130
each one of them.
417
00:31:38,213 --> 00:31:40,338
-And so they came up for...
-Yeah, yeah.
418
00:31:41,047 --> 00:31:42,922
With the help of music,
419
00:31:43,005 --> 00:31:45,213
-they started to love each other.
-Yeah, yeah.
420
00:31:45,297 --> 00:31:48,130
-But that's a good reason. Music is...
-[coughing]
421
00:31:48,213 --> 00:31:50,755
[piano]
422
00:31:58,172 --> 00:32:01,505
[Daniel] I think children was a manifest
for the love with a woman.
423
00:32:01,588 --> 00:32:05,422
He said to the ladies
when they were pregnant,
424
00:32:05,505 --> 00:32:08,255
“Now I know you love me.”
And then he left them.
425
00:32:08,338 --> 00:32:11,422
So it was more or less
a way of controlling them.
426
00:32:12,172 --> 00:32:14,672
We sat here at this table,
427
00:32:14,755 --> 00:32:17,547
and I wrote my story
and he wrote his story.
428
00:32:17,630 --> 00:32:19,297
And we had lunch together,
429
00:32:19,380 --> 00:32:21,797
and we talked about what we were writing.
430
00:32:21,880 --> 00:32:26,088
And he said, “There is a story
in 7he Magic Lantern
431
00:32:26,172 --> 00:32:27,505
that could be a film.”
432
00:32:27,588 --> 00:32:29,880
And I said, “Yes, I think so too.
433
00:32:29,963 --> 00:32:32,922
There is this bicycle story
when you go on a tour
434
00:32:33,005 --> 00:32:35,172
with my grandfather to the church.”
435
00:32:35,255 --> 00:32:37,588
[bells pealing]
436
00:32:41,172 --> 00:32:43,172
And he said,
“Exactly. That's what I mean.”
437
00:32:43,255 --> 00:32:45,213
I said, “Yeah, fine.
I think there's a film.
438
00:32:45,297 --> 00:32:48,255
But for me, it's a short film.
I can do it when you're dead.
439
00:32:48,338 --> 00:32:50,963
And I'll do it then.” Uh...
440
00:32:51,047 --> 00:32:53,338
And he said, “No, I have a better idea.
441
00:32:53,422 --> 00:32:57,255
We do it now. We do it together.
I write the script and you direct it.”
442
00:32:57,338 --> 00:33:01,005
There's a red line between
my grandfather, my father, and me.
443
00:33:01,088 --> 00:33:04,005
So I could see the same movements:
444
00:33:04,088 --> 00:33:05,838
aggression, hatred,
445
00:33:05,922 --> 00:33:10,047
love, and contradictions, and...
446
00:33:10,130 --> 00:33:12,963
But it became a conflict
between me and Ingmar also,
447
00:33:13,047 --> 00:33:18,088
because there is a black line in the story
448
00:33:18,172 --> 00:33:22,880
where he tells his father,
when his father is old,
449
00:33:22,963 --> 00:33:25,630
reading the dead wife's diaries
450
00:33:26,213 --> 00:33:29,213
and trying his 50-year-old son
451
00:33:29,630 --> 00:33:35,297
to help-- to help him to understand
things from his life.
452
00:33:35,380 --> 00:33:37,338
He suddenly realizes that--
453
00:33:37,422 --> 00:33:41,755
“I never knew the woman
I was married to for 50 years.
454
00:33:41,838 --> 00:33:44,338
Maybe I have lived wrong,” he says.
455
00:33:44,963 --> 00:33:49,755
And then he's old
and he's vulnerable and he's weak,
456
00:33:50,255 --> 00:33:51,880
and his son just goes,
457
00:33:51,963 --> 00:33:55,755
“I don't come to hear
about emotional blackmail.”
458
00:33:56,755 --> 00:33:59,963
[in Swedish]
I detest all forms of emotional blackmail.
459
00:34:01,338 --> 00:34:03,505
We all have to answer for our mistakes.
460
00:34:08,463 --> 00:34:09,630
Yes.
461
00:34:10,255 --> 00:34:12,130
Father, you understand what I mean?
462
00:34:14,755 --> 00:34:15,838
Yes.
463
00:34:15,922 --> 00:34:19,463
And Ingmar wanted
this scene out already in the script,
464
00:34:19,547 --> 00:34:21,755
and I said,
“No, this scene has to be there.
465
00:34:21,838 --> 00:34:23,672
It's one of the main scenes.”
466
00:34:23,755 --> 00:34:26,213
Then in the editing,
when he saw the first editing,
467
00:34:26,297 --> 00:34:29,797
he said, “The film is just brilliant.
It's just one thing.”
468
00:34:29,880 --> 00:34:31,713
“What is it?”
“This scene must go out.
469
00:34:31,797 --> 00:34:33,588
And you take it out now.”
470
00:34:35,130 --> 00:34:36,755
And we sat at the editing table.
471
00:34:36,838 --> 00:34:39,880
And I said, “No, I don't take it out.
What do you mean?”
472
00:34:39,963 --> 00:34:43,130
“You take it out now. There's nothing
to discuss. You just take it out.
473
00:34:43,213 --> 00:34:45,005
If you don't do it, I take the film.”
474
00:34:45,463 --> 00:34:48,672
And I said, “If you want a war,
you will have a war.”
475
00:34:48,755 --> 00:34:52,297
“What kind of war are you talking about?
What tools do you have for a war?”
476
00:34:52,380 --> 00:34:54,005
“You will be aware,” I said.
477
00:34:55,588 --> 00:34:57,672
And then he suddenly started to cry.
478
00:34:58,297 --> 00:35:00,463
And he lost it completely.
479
00:35:00,547 --> 00:35:03,172
And I started to cry
and I tried to hold him--
480
00:35:03,255 --> 00:35:06,963
-Oh, my God, what a scene!
-...and he pushed me away
481
00:35:07,755 --> 00:35:11,172
because he couldn't stand
emotions in that way.
482
00:35:11,255 --> 00:35:15,338
And then he said,
“Okay, Daniel. In a way, I like this.
483
00:35:15,422 --> 00:35:18,672
You do what you do, and I will
never, ever look at this film again.
484
00:35:18,755 --> 00:35:20,213
I will never see it again.”
485
00:35:22,130 --> 00:35:23,630
[von Trotta] I thought about it,
486
00:35:23,713 --> 00:35:28,505
that he always was much closer to his
own childhood than to his own children.
487
00:35:28,588 --> 00:35:31,213
-Absolutely. Absolutely.
-Because he was so much wanting
488
00:35:31,297 --> 00:35:32,922
to be himself a child,
489
00:35:33,005 --> 00:35:35,463
so he couldn't care so much
about his own children.
490
00:35:35,547 --> 00:35:38,047
He was still a child
during his whole life.
491
00:35:38,130 --> 00:35:41,172
Absolutely. This with the childhood
is interesting because Ingmar also said--
492
00:35:41,255 --> 00:35:46,380
When Ingrid, his last wife,
got cancer and was about to die,
493
00:35:46,463 --> 00:35:48,588
he wrote in his diaries,
494
00:35:48,672 --> 00:35:54,005
“It's amazing that this old man
has to get out of the child chamber now.
495
00:35:54,088 --> 00:35:55,713
I's very cruel.”
496
00:35:55,797 --> 00:35:59,672
He felt pity for himself
that he has to leave the child room.
497
00:35:59,755 --> 00:36:05,088
He has always been playing in his cabinet
with all the tools and just having fun.
498
00:36:05,588 --> 00:36:07,505
[in Swedish] Now switch yours on.
499
00:36:08,922 --> 00:36:10,380
I'm switching it off.
500
00:36:11,255 --> 00:36:12,713
No... [laughs]
501
00:36:13,713 --> 00:36:17,338
And that's what I wonder so much.
Why is it so difficult?
502
00:36:17,422 --> 00:36:20,088
If you have such a good relation
to your own childhood
503
00:36:20,172 --> 00:36:22,422
or understanding for your own childhood,
504
00:36:22,505 --> 00:36:25,088
why can't you understand your own child?
505
00:36:25,922 --> 00:36:28,880
[in Swedish] Daniel's face is to me
506
00:36:29,338 --> 00:36:33,547
the finest and perhaps
the most stimulating thing there is.
507
00:36:34,380 --> 00:36:36,130
Let's see how it turned out.
508
00:36:41,630 --> 00:36:43,838
[Daniel] He did a film called Daniel,
509
00:36:43,922 --> 00:36:45,838
about myself when I was a child.
510
00:36:45,922 --> 00:36:51,672
There's a need to get into, understand
the child, but he didn't reach it.
511
00:36:51,755 --> 00:36:54,297
He can do a film about it,
but he can't reach it himself.
512
00:36:56,547 --> 00:36:58,838
There is a certain kind of love,
513
00:36:58,922 --> 00:37:02,422
but there is also some kind of opposite.
514
00:37:02,505 --> 00:37:04,922
And the strange thing is that,
515
00:37:05,005 --> 00:37:06,547
since he died-- [clears throat]
516
00:37:07,380 --> 00:37:09,963
...I have never felt I miss him.
517
00:37:10,047 --> 00:37:11,880
Not for one single minute.
518
00:37:11,963 --> 00:37:16,338
And I go to the church
and I light a candle on his grave.
519
00:37:20,255 --> 00:37:22,588
And often I think that--
520
00:37:22,672 --> 00:37:24,422
Because my mother is also dead,
521
00:37:24,505 --> 00:37:27,630
and it's so strange
that I don't miss them, you see.
522
00:37:27,713 --> 00:37:29,213
-Nor...?
-No, none of them.
523
00:37:29,297 --> 00:37:32,755
And I never call them
by “Mother” and “Father.”
524
00:37:32,838 --> 00:37:34,213
I call them “Ingmar” and “Kabi.”
525
00:37:35,005 --> 00:37:39,713
And I'm thinking a lot with my own child,
Judith, who is now nine,
526
00:37:39,797 --> 00:37:41,588
what love is, what I feel for her.
527
00:37:41,672 --> 00:37:46,338
And that it would be unbearable
if I felt the same for my parents--
528
00:37:46,422 --> 00:37:49,172
If she would feel the same for me,
it would be terrible.
529
00:37:58,380 --> 00:38:03,422
You should never trust Ingmar's stories
because they were always, uh...
530
00:38:03,505 --> 00:38:06,463
Sometimes they are true
and sometimes not.
531
00:38:06,547 --> 00:38:11,172
One side was true, but the other side
was true too. So you could never...
532
00:38:11,255 --> 00:38:15,713
And in the film Fanny and Alexander,
the pastor versus the child,
533
00:38:15,797 --> 00:38:18,797
he says, “The truth.
You have to tell the truth.
534
00:38:18,880 --> 00:38:21,880
And if you don't tell the truth,
you get a punishment.”
535
00:38:21,963 --> 00:38:24,630
And on the other hand,
the child tells the truth,
536
00:38:24,713 --> 00:38:27,380
but the priest can't stand it.
537
00:38:30,297 --> 00:38:32,380
[in Swedish] The punishment
538
00:38:32,463 --> 00:38:36,380
is supposed to teach you
to love the truth.
539
00:38:38,547 --> 00:38:43,130
I admit it. I made up the story about
you locking up your wife and children.
540
00:38:44,588 --> 00:38:49,297
Just a few years before he died,
one of my sisters sat here on the sofa
541
00:38:49,380 --> 00:38:51,713
and Ingmar sat here.
542
00:38:52,255 --> 00:38:55,255
And he said--
He felt sorry for himself, and he said,
543
00:38:55,338 --> 00:38:58,755
“Well, I miss the actors.
I miss the actors.”
544
00:38:58,838 --> 00:39:04,380
And she went, “How would it be
if you just for one single second said,
545
00:39:04,463 --> 00:39:07,130
‘I miss my children,'
or ‘I miss my grandchildren'?”
546
00:39:07,213 --> 00:39:09,213
-Oh, my God.
-And he looked at her,
547
00:39:09,297 --> 00:39:12,297
-“But I don't.”
-[both laughing]
548
00:39:13,505 --> 00:39:16,880
I don't want to judge them.
They do it as good as they can,
549
00:39:16,963 --> 00:39:20,005
but being a parent and being an artist--
550
00:39:20,088 --> 00:39:25,338
That's what my mother always-- also said
very cleverly in interviews she did.
551
00:39:25,422 --> 00:39:27,505
She said, “Well, it doesn't fit together.”
552
00:39:33,505 --> 00:39:34,755
-[Daniel] Hi.
-Hi.
553
00:39:34,838 --> 00:39:37,088
-You are already there. Okay.
-Already?
554
00:39:37,172 --> 00:39:39,672
[speaking Swedish]
555
00:39:39,755 --> 00:39:41,838
-This is my favorite brother.
-Really?
556
00:39:41,922 --> 00:39:43,297
Yeah, because he was a pilot,
557
00:39:43,380 --> 00:39:44,797
and I was doing films and I...
558
00:39:44,880 --> 00:39:45,755
[laughing]
559
00:39:45,838 --> 00:39:47,922
I felt this is a real job he has.
560
00:39:48,005 --> 00:39:50,713
-Yeah, that is a real one, and--
-He used to...
561
00:39:50,797 --> 00:39:55,713
I didn't meet Daniel first time
until we came here in 1978.
562
00:39:55,797 --> 00:39:58,588
I think that was
the first time we met actually.
563
00:39:58,672 --> 00:40:00,172
Yeah, for the 60th birthday.
564
00:40:04,463 --> 00:40:06,463
[Daniel]
It was the decision from Ingrid that,
565
00:40:06,547 --> 00:40:11,088
“Now when you get 60, you need
to collect all the kids together.”
566
00:40:11,672 --> 00:40:16,005
And I think it was a way for Ingrid
to get also her children to come,
567
00:40:16,088 --> 00:40:17,713
because they were not allowed before.
568
00:40:17,797 --> 00:40:19,463
So what happened was
569
00:40:19,547 --> 00:40:23,505
that loads of sisters and brothers
suddenly appeared here
570
00:40:23,588 --> 00:40:26,547
which I never saw before.
571
00:40:27,130 --> 00:40:28,797
Yeah, same with me.
572
00:41:05,338 --> 00:41:07,505
[woman, in English]
It was the last day of school.
573
00:41:07,588 --> 00:41:12,838
They came in a big car from the studio,
and the driver came out and said,
574
00:41:12,922 --> 00:41:15,088
“Come on. You have to go to the studio.
575
00:41:15,172 --> 00:41:17,547
No lunch.” So I went out
576
00:41:17,630 --> 00:41:20,672
and I met the head of the studio,
577
00:41:20,755 --> 00:41:24,672
and he said, “This year,
you have to work with Ingmar Bergman.”
578
00:41:25,630 --> 00:41:27,672
And I said, “Why me?”
579
00:41:27,755 --> 00:41:30,005
And he said,
“Because nobody else wants to.”
580
00:41:30,838 --> 00:41:35,755
The word was that he threw script girls
and assistant cameramen
581
00:41:35,838 --> 00:41:37,963
out through the door all the time.
582
00:41:38,422 --> 00:41:42,380
And I met him finally
with the head of the studio,
583
00:41:42,463 --> 00:41:44,797
and he said,
“This is your new script girl.”
584
00:41:44,880 --> 00:41:46,172
And they also said to me,
585
00:41:46,255 --> 00:41:51,297
“If he stares at you, stare back.
If he spits at you, spit back.”
586
00:41:51,755 --> 00:41:55,755
So he looked at me and I stared back,
and then he started to laugh
587
00:41:55,838 --> 00:41:58,588
and he said, “It'll be all right.”
And he left.
588
00:41:58,672 --> 00:42:01,297
And then you stuck together for-for--
589
00:42:01,380 --> 00:42:02,922
For 30 years.
590
00:42:03,797 --> 00:42:07,130
He had a method, and that was--
591
00:42:07,213 --> 00:42:10,713
Don't argue with the actors,
don't shout at them,
592
00:42:10,797 --> 00:42:13,547
don't make quarrels with the actors.
593
00:42:13,630 --> 00:42:16,547
And then he took somebody
in the crew instead. [chuckles]
594
00:42:16,630 --> 00:42:20,005
And the script girl
was always sitting by the camera,
595
00:42:20,088 --> 00:42:24,422
so he started to yell at me
very often in the beginning.
596
00:42:24,505 --> 00:42:26,797
And it was difficult
because I didn't understand.
597
00:42:29,547 --> 00:42:32,630
He never thought that he was good enough.
598
00:42:33,713 --> 00:42:37,755
Which is quite interesting.
So he didn't have that big ego.
599
00:42:39,255 --> 00:42:42,255
So in the last films we did...
600
00:42:43,963 --> 00:42:45,463
he came--
601
00:42:45,547 --> 00:42:49,297
I saw the rushes at 7:30 in the morning.
602
00:42:49,380 --> 00:42:51,463
And I came to the studio,
and he was waiting.
603
00:42:51,547 --> 00:42:53,922
With me and Sven Nykvist,
we came together.
604
00:42:54,005 --> 00:42:55,255
“Was it okay? Was it okay?”
605
00:42:55,338 --> 00:42:59,297
It was the time when it was film.
A laboratory took two days.
606
00:42:59,380 --> 00:43:02,588
And, you know, this terrible thing today.
607
00:43:02,672 --> 00:43:06,547
And so then we went up
to his dressing room...
608
00:43:07,755 --> 00:43:09,838
and no lamps, no nothing.
609
00:43:10,380 --> 00:43:14,338
And we were sitting there
for perhaps 20 minutes, half an hour,
610
00:43:14,422 --> 00:43:16,005
holding hands.
611
00:43:17,630 --> 00:43:21,880
Not saying much
or perhaps, some days, nothing.
612
00:43:22,880 --> 00:43:25,255
And at 8:30,
I looked at the watch and said,
613
00:43:25,338 --> 00:43:27,797
“Ingmar, you have to go down now.”
614
00:43:27,880 --> 00:43:30,005
[sighs deeply] ...he said,
615
00:43:30,088 --> 00:43:33,755
put on his slippers
and went down to the studio.
616
00:43:36,672 --> 00:43:41,963
We were having a production meeting
with Gunnel Lindblom, for a film.
617
00:43:42,047 --> 00:43:46,797
It was the day before we went on location.
It was the last meeting here in Stockholm.
618
00:43:47,505 --> 00:43:52,255
In the morning of that day,
Ingmar called me and said,
619
00:43:52,338 --> 00:43:54,880
“I want you to know I'm leaving today,
620
00:43:55,713 --> 00:43:58,922
and I want you to know that
before the evening papers come out.”
621
00:43:59,005 --> 00:44:00,630
BERGMAN HAS LEFT SWEDEN!
622
00:44:00,713 --> 00:44:02,088
So he left.
623
00:44:02,172 --> 00:44:06,213
And I had to tell the crew and Gunnel,
“That's it. We'll do it ourselves.”
624
00:44:06,297 --> 00:44:08,463
COLLEAGUES ABOUT TAX RAID:
WITCH HUNT
625
00:44:08,547 --> 00:44:10,338
INGMAR BERGMAN ARRESTED BY POLICE
AT DRAMATEN
626
00:44:10,422 --> 00:44:12,880
[Bergman, in English] We rehearsed
at the Royal Dramatic Theater.
627
00:44:12,963 --> 00:44:14,672
We were in the big rehearsal room,
628
00:44:14,755 --> 00:44:16,880
and then
suddenly somebody come to me and said,
629
00:44:16,963 --> 00:44:19,755
“The police is downstairs
and want to talk to you.”
630
00:44:19,838 --> 00:44:23,630
And I said... Um...
631
00:44:23,713 --> 00:44:25,547
I didn't-- I couldn't imagine.
632
00:44:25,630 --> 00:44:27,047
So I said,
633
00:44:27,130 --> 00:44:31,130
“Can't they wait until the lunch break?
It's 20 minutes.”
634
00:44:31,213 --> 00:44:35,213
And then the man said,
“It's impossible. They won't go away.”
635
00:44:35,297 --> 00:44:38,547
Then I went down
to the room of my secretary.
636
00:44:38,630 --> 00:44:43,130
There were a policeman who said,
“We have to take you to the station.”
637
00:44:43,213 --> 00:44:48,005
And I said, “Why?” And he said,
“It's about your tax-- your taxes.”
638
00:44:48,088 --> 00:44:51,005
And I said,
“What happens? What has happened?”
639
00:44:51,088 --> 00:44:53,047
I was completely confused.
640
00:44:53,130 --> 00:44:56,838
I didn't-- hadn't the slightest idea
641
00:44:56,922 --> 00:44:59,672
about what they asked me about.
642
00:45:10,797 --> 00:45:13,088
[elevator chimes]
643
00:45:15,213 --> 00:45:16,213
[buzzes]
644
00:45:16,297 --> 00:45:18,922
-[indistinct]
-But it's like in a prison here.
645
00:45:23,213 --> 00:45:27,213
[man] He really did feel
that he was cast out of Sweden.
646
00:45:30,047 --> 00:45:31,338
Having voted
647
00:45:31,422 --> 00:45:35,213
for the Swedish Social Democratic Party
for a long time,
648
00:45:35,297 --> 00:45:37,963
he now felt that they had betrayed him.
649
00:45:40,838 --> 00:45:44,422
This is a shooting script
for Das Schlangenei.
650
00:45:45,213 --> 00:45:47,880
[von Trotta, in German]
“Proclamation to the German people!”
651
00:45:53,547 --> 00:45:56,005
[in English]
And that is the sign that a scene is done?
652
00:45:56,088 --> 00:45:57,213
[Holmberg] The scene is shot.
653
00:45:57,297 --> 00:46:02,380
This is also interesting, I think,
that he has a motto by Blichner.
654
00:46:02,463 --> 00:46:04,213
[von Trotta] “Man is an abyss”...
655
00:46:04,297 --> 00:46:06,130
[in German] “Man is an abyss,
656
00:46:06,213 --> 00:46:09,005
and I turn giddy
when I look down into it.”
657
00:46:09,088 --> 00:46:12,255
“Man is an abyss.” You can say that again.
658
00:46:12,338 --> 00:46:17,005
[Holmberg, in English] Bergman,
he very seldom used research materials,
659
00:46:17,088 --> 00:46:19,172
but in this film, he did.
660
00:46:19,255 --> 00:46:22,297
So there are other pictures as well.
661
00:46:25,672 --> 00:46:28,463
[von Trotta] And this street
they tried then to reproduce.
662
00:46:28,547 --> 00:46:30,505
Also Fassbinder, he used it.
663
00:46:31,047 --> 00:46:32,630
Right. In Berlin Alexanderplatz, yes.
664
00:46:32,713 --> 00:46:34,880
And it's called Bergmannstralde, isn't it?
665
00:46:34,963 --> 00:46:38,422
Yes, yes, it was called Bergmannstrale
for a long time.
666
00:46:41,172 --> 00:46:44,630
[man, in English]
Yes, here we have our street,
667
00:46:44,713 --> 00:46:48,338
our Berlin streets, you remember...
668
00:46:53,297 --> 00:46:55,338
[indistinct]
669
00:46:57,713 --> 00:47:02,047
[chorus singing in German]
670
00:47:02,130 --> 00:47:05,672
[von Trotta]
The fear people could have in this time,
671
00:47:05,755 --> 00:47:10,880
because Hitler was already trying to make
a revolt, and that it was turned down.
672
00:47:10,963 --> 00:47:15,797
But it goes from-- from the beginning,
he wanted to get the power,
673
00:47:15,880 --> 00:47:18,838
and in the end of the film it breaks down.
674
00:47:18,922 --> 00:47:23,380
So we have still ten years
of “non-Hitler time.”
675
00:47:23,463 --> 00:47:24,963
Right, right.
676
00:47:25,047 --> 00:47:27,547
But that was a time where
677
00:47:28,422 --> 00:47:31,422
everything could happen,
and every violence could happen.
678
00:47:31,505 --> 00:47:33,713
[all shouting]
679
00:47:36,005 --> 00:47:39,213
When you see the situation
of the main character,
680
00:47:39,297 --> 00:47:40,630
who is followed always,
681
00:47:40,713 --> 00:47:43,755
and he's going around
in this police station,
682
00:47:43,838 --> 00:47:45,255
-he's like a prisoner.
-Yeah.
683
00:47:45,338 --> 00:47:47,838
And he's going always behind the bars,
684
00:47:47,922 --> 00:47:52,838
and you have this feeling
that somebody is-- [gasps] is on the run.
685
00:47:52,922 --> 00:47:57,005
He pointed out that very strongly
in the film, this situation.
686
00:47:57,088 --> 00:47:59,213
And this was his own situation
at this moment.
687
00:47:59,297 --> 00:48:02,797
Yes, exactly. Yes.
This was a moment of deep crisis for him.
688
00:48:02,880 --> 00:48:05,338
He had a psychological breakdown,
689
00:48:05,422 --> 00:48:09,005
and he was admitted to a psychiatric ward.
690
00:48:09,088 --> 00:48:13,130
He was heavily medicated.
He contemplated suicide.
691
00:48:13,213 --> 00:48:17,088
It was much more than just
a legal case for him. He was--
692
00:48:17,172 --> 00:48:19,672
-Humiliated.
-Yes, extremely humiliated.
693
00:48:19,755 --> 00:48:23,588
And humiliation for him was
a main theme also in his films, no?
694
00:48:23,672 --> 00:48:28,422
Yes. And I think when he felt betrayed,
I mean, right or wrong,
695
00:48:28,505 --> 00:48:33,213
but he did feel betrayed by the Swedish
government and his home country,
696
00:48:33,297 --> 00:48:38,463
he felt it as if he was deserted
by his father, as it were.
697
00:48:38,547 --> 00:48:41,963
Oh, yeah, his fatherland.
We say also “fatherland.” So, yeah.
698
00:48:42,047 --> 00:48:44,463
And I'm certainly not comparing him
699
00:48:44,547 --> 00:48:48,297
to refugees who are running from--
for their lives,
700
00:48:48,380 --> 00:48:51,922
uh, but he did feel it like that, yes.
701
00:48:52,005 --> 00:48:53,172
Yes, yes.
702
00:48:53,255 --> 00:48:55,505
And of course calling it 7he Serpent's Egg
703
00:48:55,588 --> 00:48:58,380
had something to do with another...
704
00:48:59,088 --> 00:49:02,630
I hesitate to use the word,
but in a way, a father figure,
705
00:49:02,713 --> 00:49:05,088
uh, namely Adolf Hitler.
706
00:49:05,172 --> 00:49:08,005
Ingmar Bergman had, as a young boy,
707
00:49:08,088 --> 00:49:12,630
felt that Hitler
was some kind of a savior,
708
00:49:12,713 --> 00:49:16,672
and this was years before the war,
so many people felt like this,
709
00:49:16,755 --> 00:49:18,380
and Ingmar Bergman was one of them.
710
00:49:18,463 --> 00:49:21,588
-Many people in Sweden also.
-Yes, yes. Absolutely. Yes.
711
00:49:21,672 --> 00:49:26,505
I hesitate to say that he would look up
to Hitler as a father figure,
712
00:49:26,588 --> 00:49:30,755
but, still,
there is this notion of strong men
713
00:49:30,838 --> 00:49:34,338
in Bergman's way of thinking.
714
00:49:34,422 --> 00:49:37,880
And they are not necessarily all evil,
715
00:49:37,963 --> 00:49:41,880
but they certainly
have a capacity for evil.
716
00:49:54,505 --> 00:49:57,588
At his absolute lowest, in 1976,
717
00:49:57,672 --> 00:50:00,297
when the tax affair is most acute,
718
00:50:00,380 --> 00:50:02,922
in his work diary, suddenly he writes,
719
00:50:03,505 --> 00:50:06,297
“Wait a minute,
I should be able to use this.
720
00:50:06,380 --> 00:50:10,255
This is exactly what Abel, my character,
should be feeling.
721
00:50:10,338 --> 00:50:14,963
So I can take my own emotions now
and try to write them down.”
722
00:50:15,547 --> 00:50:18,172
Whether he feels happy or depressed,
723
00:50:18,255 --> 00:50:20,380
he can use that emotion
724
00:50:20,463 --> 00:50:25,672
and, uh, and turn it into the emotions
of one of his fictional characters.
725
00:50:27,047 --> 00:50:29,588
[in German] I cannot work,
726
00:50:29,672 --> 00:50:32,047
and thus not live
727
00:50:32,130 --> 00:50:33,755
in a country
728
00:50:34,297 --> 00:50:37,630
where representatives of our bureaucracy
729
00:50:37,713 --> 00:50:42,713
have publicly and unjustifiably
offended my pride.
730
00:50:45,088 --> 00:50:49,463
This is the workbook from 1976,
and it says here,
731
00:50:49,547 --> 00:50:52,047
“Kéanslorna.” “The emotions.”
732
00:50:52,422 --> 00:50:56,380
And it ends up with him saying that,
733
00:50:56,463 --> 00:50:59,255
“My confusion just has to stop.
734
00:50:59,338 --> 00:51:01,838
If someone would come to me and say,
735
00:51:01,922 --> 00:51:05,505
‘Now, Ingmar Bergman, we are taking
from you everything you own,'
736
00:51:05,588 --> 00:51:08,422
I would welcome this
and feel it as a comfort.
737
00:51:08,505 --> 00:51:13,005
In any case,
a new period of my life is starting.
738
00:51:13,088 --> 00:51:17,130
Where I'm going, I don't know.
The next couple of months, we will see.”
739
00:51:17,213 --> 00:51:21,547
And then, what he did do
was to go to Los Angeles.
740
00:51:21,630 --> 00:51:26,922
But he says here,
in the second of July, 1976,
741
00:51:27,005 --> 00:51:30,047
that he has gone back to Faré, because,
742
00:51:30,130 --> 00:51:32,130
“I couldn't stay in Los Angeles.
743
00:51:32,213 --> 00:51:35,463
I felt terrible there. It was all a mess.”
744
00:51:35,547 --> 00:51:38,838
And then he decided to go to Munich.
745
00:51:44,880 --> 00:51:48,463
[in German] Volker Schléndorff and I
lived up there on the third floor.
746
00:51:48,547 --> 00:51:53,672
And there was a room with a bay window
with a big round table in it.
747
00:51:54,088 --> 00:51:57,797
When Ingmar visited us,
we sat around the table,
748
00:51:57,880 --> 00:52:00,630
with us on his right and left.
749
00:52:00,713 --> 00:52:04,755
And he held both our hands tight
during the entire conversation.
750
00:52:04,838 --> 00:52:06,588
He never let go once.
751
00:52:29,547 --> 00:52:31,797
[man, in German] Bergman was led in here.
752
00:52:31,880 --> 00:52:34,630
It was bright, white, and beautiful.
753
00:52:34,713 --> 00:52:37,338
We loved this room.
754
00:52:37,422 --> 00:52:39,963
But Bergman said, “It's awful.
755
00:52:40,047 --> 00:52:42,088
You can't concentrate here.
756
00:52:42,172 --> 00:52:46,463
The actors will look out of the window.
I won't rehearse here.”
757
00:52:46,547 --> 00:52:49,547
He used the rehearsal room
at the Residenztheater.
758
00:52:49,630 --> 00:52:51,672
They put up curtains
759
00:52:51,755 --> 00:52:55,005
because he wanted darkness
during rehearsals.
760
00:52:55,088 --> 00:52:59,630
We opened the curtains and windows
to air the room during the breaks.
761
00:52:59,713 --> 00:53:03,922
His preferred room temperature
was 54 degrees Fahrenheit,
762
00:53:04,005 --> 00:53:06,672
which was tough on the actors.
763
00:53:06,755 --> 00:53:09,005
Fifty-four degrees and dark.
764
00:53:14,130 --> 00:53:17,755
It felt like a place of banishment here.
765
00:53:17,838 --> 00:53:20,047
You see this when you watch the films.
766
00:53:20,130 --> 00:53:23,380
The Serpent's Egg and
From the Life of the Marionettes
767
00:53:23,463 --> 00:53:27,130
are very dark, violent films.
768
00:53:27,672 --> 00:53:31,963
He had a kind of home here,
at least for a few hours,
769
00:53:32,047 --> 00:53:34,588
at least that's how he described it.
770
00:53:34,672 --> 00:53:37,963
He would wake up at 3:00 or 4:00 a.m.,
771
00:53:38,047 --> 00:53:41,838
feeling completely alien and desolate.
772
00:53:41,922 --> 00:53:46,422
It took him hours
to regain the feeling within himself
773
00:53:46,505 --> 00:53:48,422
that he could enjoy life,
774
00:53:48,505 --> 00:53:52,047
that he could work productively
with actors.
775
00:53:52,672 --> 00:53:57,213
During rehearsals, we had the feeling
that he was very at ease.
776
00:53:57,297 --> 00:53:59,630
[chattering in German]
777
00:54:00,880 --> 00:54:05,672
Although he always took great care
not to lose control over anything.
778
00:54:05,755 --> 00:54:11,838
He was a director who arrived
at rehearsals half an hour early.
779
00:54:11,922 --> 00:54:15,172
That was great.
He set the atmosphere beforehand.
780
00:54:15,255 --> 00:54:19,047
The assistant was there,
and the actors arrived gradually.
781
00:54:19,838 --> 00:54:23,505
And in that way, he dominated
everything right from the start.
782
00:54:25,338 --> 00:54:27,880
[woman, in German]
I don't recall him asking me
783
00:54:27,963 --> 00:54:30,297
to be in Scenes from a Marriage.
784
00:54:30,380 --> 00:54:33,463
We had long rehearsals
where we read mostly on our own.
785
00:54:33,547 --> 00:54:37,297
He couldn't stand it if we got stuck
786
00:54:37,380 --> 00:54:40,672
or tried to remember the next line.
787
00:54:40,755 --> 00:54:45,588
He really wanted us
to derive the answers from the others,
788
00:54:45,672 --> 00:54:50,505
to have the courage to let go
and listen to the other person.
789
00:54:50,588 --> 00:54:54,213
This way,
the answers would come automatically.
790
00:54:54,297 --> 00:54:56,422
And we only reached that point
791
00:54:56,505 --> 00:55:01,255
by walking around with the script
and reading it for at least three weeks.
792
00:55:01,338 --> 00:55:05,213
It ruined us forever
because you suddenly notice
793
00:55:05,297 --> 00:55:09,922
how damaging it is to memorize
your lines at home on your own.
794
00:55:12,255 --> 00:55:15,172
[Kaetzler]
He had a clear concept of movement.
795
00:55:15,255 --> 00:55:19,922
He expected the actors to learn
the choreography in five days.
796
00:55:20,005 --> 00:55:22,963
They then practiced it without him.
797
00:55:23,380 --> 00:55:26,963
When he came back,
the actors still had their scripts,
798
00:55:27,047 --> 00:55:29,963
and there was furniture but no props yet.
799
00:55:30,047 --> 00:55:33,088
And then the actors
had to put the script aside.
800
00:55:33,672 --> 00:55:39,213
But because the actors had already
practiced their movements in detail,
801
00:55:39,297 --> 00:55:43,380
they were now able to fully focus
on another dimension.
802
00:55:47,213 --> 00:55:51,922
I expected him to be all serious,
but he was cheerful.
803
00:55:52,005 --> 00:55:56,463
He kept laughing, saying he couldn't
stand hearing his own script,
804
00:55:56,547 --> 00:56:01,005
what a drag it was to hear
his own lines over and over again.
805
00:56:01,547 --> 00:56:04,172
He was really interested in me.
We exchanged ideas.
806
00:56:04,255 --> 00:56:09,505
He said that's how things started
on vacation with Liv Ullmann.
807
00:56:09,588 --> 00:56:12,297
They'd all spoken about their marriages,
808
00:56:12,380 --> 00:56:16,130
about women's feelings towards men,
809
00:56:16,213 --> 00:56:21,005
about what bothered women about men
or what made them feel patronized.
810
00:56:21,088 --> 00:56:25,088
“...to think about things myself
and understand them.”
811
00:56:27,380 --> 00:56:29,088
-Yeah.
-Oh!
812
00:56:30,088 --> 00:56:32,838
...that I went through all that
and started a new life
813
00:56:32,922 --> 00:56:38,255
just to look after you and make sure
you don't go to the dogs?
814
00:56:38,338 --> 00:56:42,130
[scoffs] If I really thought you were
so pathetic, I'd laugh at you.
815
00:56:42,713 --> 00:56:46,963
[Kaetzler] I saw Bergman
shortly after the final applause
816
00:56:47,047 --> 00:56:49,130
for this big three-part project:
817
00:56:49,213 --> 00:56:52,380
Miss Julie, Nora,
and Scenes from a Marriage.
818
00:56:52,463 --> 00:56:57,963
The audience didn't really react
in the way he'd expected them to.
819
00:56:58,047 --> 00:56:59,380
Quite the opposite.
820
00:56:59,463 --> 00:57:02,547
Scenes from a Marriage
was Bergman's first attempt
821
00:57:02,630 --> 00:57:05,838
to adapt one of his own works
for the stage.
822
00:57:05,922 --> 00:57:09,880
I think he took quite a risk
in order to do this.
823
00:57:09,963 --> 00:57:12,255
I don't think he would have dared
824
00:57:12,338 --> 00:57:16,630
to produce Scenes from a Marriage
as a solo play.
825
00:57:16,713 --> 00:57:19,005
He would have exposed himself hugely,
826
00:57:19,088 --> 00:57:24,630
and he was also afraid
of ensconcing himself as a playwright.
827
00:57:24,713 --> 00:57:27,922
But his secret desire must have been
828
00:57:28,005 --> 00:57:31,630
to be able to hold his ground
as a playwright
829
00:57:31,713 --> 00:57:34,130
alongside Ibsen and Strindberg.
830
00:57:34,213 --> 00:57:38,213
[sobbing] I must think about things myself
831
00:57:38,297 --> 00:57:39,922
and understand them.
832
00:57:40,005 --> 00:57:42,880
That's childish.
You don't understand society.
833
00:57:42,963 --> 00:57:45,630
No! I want to learn about things.
834
00:57:45,713 --> 00:57:48,630
I want to know who's right--
society or me!
835
00:57:51,088 --> 00:57:55,047
[Dohm] He told me about the demons
that visited him at night,
836
00:57:55,130 --> 00:57:57,963
about how he would wake up frightened.
837
00:57:58,047 --> 00:58:02,005
He said, “At night,
the hour of the wolf comes.”
838
00:58:16,463 --> 00:58:21,338
At one point, he had the option
of doing intensive therapy,
839
00:58:21,422 --> 00:58:23,338
a course of primal therapy.
840
00:58:23,422 --> 00:58:25,505
It had been offered to him,
841
00:58:25,588 --> 00:58:30,797
however, with the proviso that
he might end up losing his creativity.
842
00:58:30,880 --> 00:58:34,797
That is, he would grow up
but wouldn't be creative anymore.
843
00:58:34,880 --> 00:58:39,588
So he backed out and said
he didn't want to do the therapy.
844
00:58:46,172 --> 00:58:49,213
[Dohm]
I do think he felt like a stranger here.
845
00:58:49,297 --> 00:58:50,547
He spoke perfect German,
846
00:58:50,630 --> 00:58:55,130
but he often said he missed
the spontaneity he had in Swedish
847
00:58:55,213 --> 00:58:58,547
that allowed him to intervene instantly.
848
00:58:58,630 --> 00:59:02,297
Whereas here, he had to formulate
a sentence in his head first
849
00:59:02,380 --> 00:59:08,255
rather than following his instinct
about what to say in order to intervene.
850
00:59:08,338 --> 00:59:11,963
He generally spoke a lot
about vocal ranges,
851
00:59:12,047 --> 00:59:15,047
something he felt was a pity about German.
852
00:59:15,130 --> 00:59:19,422
He felt that Swedish speakers
have a more melodic way of speaking,
853
00:59:19,505 --> 00:59:22,797
that they have more highs and lows,
854
00:59:22,880 --> 00:59:25,213
modulate their voices much more.
855
00:59:28,422 --> 00:59:30,255
[in Swedish]
Aren't you going to set the alarm?
856
00:59:30,338 --> 00:59:31,922
I have it right here.
857
00:59:38,588 --> 00:59:40,963
You can make love to me now, if you like.
858
00:59:42,463 --> 00:59:45,213
Thanks for the offer, but I'm too tired.
859
00:59:45,297 --> 00:59:46,505
Okay.
860
00:59:51,713 --> 00:59:56,255
[Dohm] If you write something in Swedish
and suddenly hear it in German,
861
00:59:56,338 --> 00:59:58,963
maybe the language sounded harsh to him.
862
00:59:59,047 --> 01:00:02,547
He once said that in the film version
863
01:00:02,630 --> 01:00:05,463
the characters often sounded more tender,
864
01:00:05,547 --> 01:00:08,255
and that German is more aggressive.
865
01:00:08,755 --> 01:00:11,963
But that's also due to our language,
of course.
866
01:00:15,838 --> 01:00:17,213
Katarina,
867
01:00:17,963 --> 01:00:19,422
look at me.
868
01:00:23,713 --> 01:00:25,672
Take my hand, please.
869
01:00:30,672 --> 01:00:33,047
Put it gently on your cheek.
870
01:00:39,005 --> 01:00:40,838
Can you feel my hand?
871
01:00:42,297 --> 01:00:43,713
[in Swedish] Thank you.
872
01:00:44,630 --> 01:00:47,005
-A reverse angle now.
-[man] Right.
873
01:00:47,088 --> 01:00:50,422
-[in German] Right, coffee! At last!
-[chattering]
874
01:00:50,505 --> 01:00:54,255
[Kaetzler] He was more tense
on the film set than in the theater.
875
01:00:54,338 --> 01:00:57,130
I really understood why he'd say,
876
01:00:57,213 --> 01:01:01,505
“After this film,
I'm only going to do theater.
877
01:01:01,963 --> 01:01:04,297
Theater is my wife, film my mistress.”
878
01:01:04,380 --> 01:01:06,755
But the mistress was extremely demanding.
879
01:01:06,838 --> 01:01:09,380
[chattering]
880
01:01:20,338 --> 01:01:22,422
[man, in German] It felt good like that.
881
01:01:24,297 --> 01:01:26,463
[man, in English]
From the Life of the Marioneftes--
882
01:01:26,547 --> 01:01:29,630
It's a little bit a forgotten film of Ingmar.
883
01:01:29,713 --> 01:01:32,797
And I think it's one of his most interesting
884
01:01:32,880 --> 01:01:34,838
and brave films.
885
01:01:34,922 --> 01:01:37,672
It's very experimental.
886
01:01:44,922 --> 01:01:47,088
It's a kind of dream sequence
887
01:01:47,172 --> 01:01:50,963
where they are in a white light,
the two main characters,
888
01:01:51,047 --> 01:01:54,505
and it's a very long, very sensual scene.
889
01:01:54,588 --> 01:01:59,838
So he experimented with
a black-and-white film also very much.
890
01:02:04,380 --> 01:02:08,422
Then the rest of the film
is like interrogations
891
01:02:08,505 --> 01:02:10,172
with the different persons,
892
01:02:10,255 --> 01:02:13,297
and it's also in chapters,
which is interesting.
893
01:02:13,380 --> 01:02:15,922
So we see the same story
894
01:02:16,005 --> 01:02:20,713
through many different eyes
and perspectives.
895
01:02:24,505 --> 01:02:29,713
It's very seldom that Ingmar
has had a gay person in his films.
896
01:02:29,797 --> 01:02:31,422
[speaking German]
897
01:02:31,505 --> 01:02:34,880
And here he is
one of the principal characters.
898
01:02:34,963 --> 01:02:39,047
He is showing this person Tim in a very,
899
01:02:39,588 --> 01:02:44,422
uh, both sensitive and, um, delicate way.
900
01:02:45,005 --> 01:02:49,505
[in German] I close my eyes,
and I feel like a ten-year-old.
901
01:02:49,588 --> 01:02:51,588
I mean physically as well.
902
01:02:51,672 --> 01:02:53,755
Then I open my eyes again...
903
01:02:55,172 --> 01:02:57,088
and look in the mirror...
904
01:02:59,005 --> 01:03:01,130
and there I see a little old codger.
905
01:03:02,505 --> 01:03:04,338
An infantile old codger.
906
01:03:04,755 --> 01:03:06,422
Isn't that strange?
907
01:03:07,422 --> 01:03:10,172
An infantile old codger, that's all.
908
01:03:12,213 --> 01:03:15,047
No, there's something else.
909
01:03:18,588 --> 01:03:23,880
Everybody says that Bergman
was fantastic with his actresses
910
01:03:23,963 --> 01:03:29,130
and that he made
so many beautiful portraits of women
911
01:03:29,213 --> 01:03:30,838
in so many of his films.
912
01:03:30,922 --> 01:03:33,338
And this image of Tim
913
01:03:33,422 --> 01:03:37,172
has the same qualities
as Bergman's portraits of women.
914
01:03:43,755 --> 01:03:46,505
You have the double face like always.
915
01:03:46,588 --> 01:03:48,255
And when you look into the mirror,
916
01:03:48,338 --> 01:03:51,088
you're another person
than you are yourself, so...
917
01:03:51,172 --> 01:03:53,797
It's always this double face.
918
01:03:56,713 --> 01:04:01,713
So the heritage might be
that a filmmaker who,
919
01:04:02,547 --> 01:04:08,797
over the years,
can, uh, change in attitudes,
920
01:04:08,880 --> 01:04:11,755
in technique, in whatever,
921
01:04:11,838 --> 01:04:14,922
and to experiment with a medium.
922
01:04:15,005 --> 01:04:20,922
That's maybe
one of his most important heritage.
923
01:04:21,005 --> 01:04:22,922
[typing]
924
01:04:24,755 --> 01:04:27,922
[in English] You have to watch
one of my favorite YouTube clips.
925
01:04:28,505 --> 01:04:33,797
It's a taxi driver that by accident
ends up in a BBC news program.
926
01:04:33,880 --> 01:04:38,380
The journalist thinks that this cabdriver
is an expert on Internet rights.
927
01:04:38,797 --> 01:04:40,422
And when she's introducing him,
928
01:04:40,505 --> 01:04:43,297
the taxi driver realizes
this is a horrible mistake.
929
01:04:43,380 --> 01:04:45,255
[woman] ... the site News Wireless.
930
01:04:45,338 --> 01:04:47,338
-Hello, good morning fo you.
-Good morning.
931
01:04:47,422 --> 01:04:50,463
-[man, von Trotta laughing]
- Were you surprised by this verdict today?
932
01:04:50,547 --> 01:04:55,588
I'm very surprised fo see...
this verdict fo come on me, because...
933
01:04:55,672 --> 01:04:58,088
[laughing]
934
01:04:58,547 --> 01:05:00,922
And I've tried so many--
in all of my movies
935
01:05:01,005 --> 01:05:04,088
to capture that moment when someone
is trying to avoid losing face.
936
01:05:04,172 --> 01:05:05,755
Mm-hmm.
937
01:05:05,838 --> 01:05:08,463
And I have never managed to do it
in this strong way.
938
01:05:08,547 --> 01:05:09,380
Yeah.
939
01:05:09,463 --> 01:05:11,672
Bergman
was still alive when I was in the university,
940
01:05:11,755 --> 01:05:15,255
so it was, like,
a little bit that he had to die
941
01:05:15,338 --> 01:05:17,588
before we started
to watch his films a little bit.
942
01:05:17,672 --> 01:05:18,505
Oh, yes.
943
01:05:18,588 --> 01:05:21,547
But there's also a difference
between the film school in Gothenburg
944
01:05:21,630 --> 01:05:23,213
and the one that is in Stockholm.
945
01:05:23,297 --> 01:05:25,672
The one in Stockholm
is more connected with Bergman.
946
01:05:25,755 --> 01:05:28,838
The Gothenburg school
was connected with Bo Widerberg,
947
01:05:28,922 --> 01:05:31,838
and Bo Widerberg was an antagonist
to Bergman in Sweden.
948
01:05:31,922 --> 01:05:33,088
[von Trotta] Ah. Yeah.
949
01:05:33,172 --> 01:05:36,088
So if Bo Widerberg
had anything to do with you,
950
01:05:36,172 --> 01:05:39,172
then you were on the opposite side
of the industry than Bergman.
951
01:05:39,255 --> 01:05:41,297
Of course, we watched many of his films.
952
01:05:41,380 --> 01:05:46,838
But I think that, you know,
since I'm brought up during the "70s,
953
01:05:46,922 --> 01:05:49,630
I'm a director also
that is on the paradigm change
954
01:05:49,713 --> 01:05:54,588
of when film was analog
to becoming digital.
955
01:05:54,672 --> 01:05:56,838
And when it became digital,
956
01:05:56,922 --> 01:06:00,172
like, this whole movement
that happened in the industry
957
01:06:00,255 --> 01:06:04,047
that also have happened with Internet
and YouTube and so on...
958
01:06:04,130 --> 01:06:07,880
I must say, if you look
at the strongest images, moving images,
959
01:06:07,963 --> 01:06:11,797
uh, for me the last 15 years,
it's definitely on YouTube.
960
01:06:11,880 --> 01:06:15,505
[chattering in Swedish]
961
01:06:15,588 --> 01:06:17,047
[man] We've finished with the girls.
962
01:06:17,130 --> 01:06:19,713
You've been so good!
963
01:06:19,797 --> 01:06:20,880
Bye-bye!
964
01:06:20,963 --> 01:06:23,255
They were good as gold. Bye!
965
01:06:23,338 --> 01:06:27,463
-How about some shots of the parents?
-Yes, let's do that!
966
01:06:27,547 --> 01:06:31,172
One thing that's a little bit inspiring
with him was that he...
967
01:06:31,713 --> 01:06:33,838
For example,
when he did Scenes from a Marriage,
968
01:06:33,922 --> 01:06:38,005
that he was inspired of Dallas,
you know, this TV soap series.
969
01:06:38,088 --> 01:06:42,005
And that he had a way of combining,
like, the art house cinema
970
01:06:42,088 --> 01:06:46,088
with very commercial, American industry.
971
01:06:46,172 --> 01:06:48,005
And he didn't see any problem with that.
972
01:06:48,088 --> 01:06:52,297
He loved both of these sides
of the moviemaking industry.
973
01:06:58,797 --> 01:07:02,422
That is something that is maybe
a little bit lacking today, you know,
974
01:07:02,505 --> 01:07:07,463
that either you're very, very art house
or you're moneymaking movie industry.
975
01:07:07,547 --> 01:07:12,213
And in order to create,
like, the new cinema that is exciting,
976
01:07:12,297 --> 01:07:16,547
but at the same time is dealing with,
like, a very important society topic,
977
01:07:16,630 --> 01:07:18,797
I think we also have to learn
something about that,
978
01:07:18,880 --> 01:07:21,672
to not make genre art house movies.
979
01:07:21,755 --> 01:07:24,088
Actually, step up, break free from that.
980
01:07:24,630 --> 01:07:28,630
[sighs] You're quite a riot actually.
981
01:07:28,713 --> 01:07:29,963
Okay.
982
01:07:31,880 --> 01:07:34,463
Then why aren't you laughing?
983
01:07:36,005 --> 01:07:37,922
You look scared to me.
984
01:07:38,838 --> 01:07:41,922
Let me at least cancel the cab...
985
01:07:46,005 --> 01:07:47,297
What for?
986
01:07:48,213 --> 01:07:50,422
[Ostlund] He was trusting
his own instrument in a way
987
01:07:50,505 --> 01:07:52,338
and what he said to himself,
988
01:07:52,422 --> 01:07:55,880
“This is a very important topic,
and now I will go straight into it.”
989
01:07:55,963 --> 01:07:57,797
And being as honest as possible.
990
01:07:57,880 --> 01:08:00,963
Because I think he managed to do that
with Scenes from a Marriage.
991
01:08:01,047 --> 01:08:06,505
It's, like, really, really showing sides
of himself that he's not proud of at all,
992
01:08:06,588 --> 01:08:10,797
and that he dares to go there
and actually can separate
993
01:08:10,880 --> 01:08:14,547
what he's writing
and what he's filming from himself
994
01:08:14,630 --> 01:08:18,588
at the same time that being so honest
to his own experiences.
995
01:08:19,213 --> 01:08:20,880
Shut your mouth!
996
01:08:23,422 --> 01:08:24,963
I'm not afraid.
997
01:08:26,422 --> 01:08:30,422
I couldn't care less what you do.
998
01:08:31,422 --> 01:08:34,380
-Shut up, I said!
-You maniac!
999
01:08:47,380 --> 01:08:49,422
[woman, in German]
It was sheer coincidence.
1000
01:08:49,505 --> 01:08:51,172
An apartment became available,
1001
01:08:51,255 --> 01:08:54,755
and I was told
that Bergman lived in this block.
1002
01:08:54,838 --> 01:08:58,005
I thought, “If he finds out,
he'll try to prevent it.”
1003
01:08:58,088 --> 01:09:00,255
[Russek, von Trotta laughing]
1004
01:09:00,338 --> 01:09:02,088
[von Trotta]
And you became such close friends.
1005
01:09:02,172 --> 01:09:04,672
[Russek] He was a bit shocked at first.
1006
01:09:04,755 --> 01:09:07,005
“Which floor do you live on?”
1007
01:09:07,088 --> 01:09:10,088
I lived on the sixth,
and he was on the ninth--
1008
01:09:10,172 --> 01:09:11,755
[von Trotta] So it was okay.
1009
01:09:18,005 --> 01:09:22,630
He suddenly pulled out a script and said,
“I'm going to make a film.
1010
01:09:22,713 --> 01:09:25,838
Can you read it,
and do you want to play Ka?”
1011
01:09:25,922 --> 01:09:28,588
“Uh-huh. A film.
1012
01:09:28,672 --> 01:09:33,547
Maybe appearing in a Bergman film
wouldn't be such a crazy idea.”
1013
01:09:41,088 --> 01:09:45,005
It was in the cards
that everyone would turn down the part
1014
01:09:45,088 --> 01:09:47,963
once they knew the character was naked.
1015
01:09:48,047 --> 01:09:50,463
Which is what I intended to do-- [giggles]
1016
01:09:50,547 --> 01:09:52,672
...but then I had second thoughts.
1017
01:09:55,005 --> 01:09:58,088
-Been working here long?
-Three years.
1018
01:09:58,588 --> 01:10:00,880
[Russek] He outfoxed me.
1019
01:10:00,963 --> 01:10:03,463
I rehearsed the scene in a bathrobe.
1020
01:10:03,547 --> 01:10:08,963
The dresser said, “Don't worry,
you'll get a robe or a dressing gown.
1021
01:10:09,047 --> 01:10:12,422
We'll find you something.
Let's decide at the very end.”
1022
01:10:13,297 --> 01:10:15,713
We rehearsed the scene.
Then he said to her,
1023
01:10:15,797 --> 01:10:19,797
“Would you take Ms. Russek's robe?”
1024
01:10:20,255 --> 01:10:22,547
So, I went over to her...
1025
01:10:22,630 --> 01:10:24,922
[exhales]
1026
01:10:25,005 --> 01:10:28,297
And her arm was empty.
She was holding just my shoes.
1027
01:10:28,380 --> 01:10:32,463
I soon forgot I was running around
naked in the studio.
1028
01:10:48,713 --> 01:10:53,838
One day during rehearsals,
he said to me, “You're not really afraid.
1029
01:10:54,422 --> 01:10:56,005
That's not good.
1030
01:10:56,713 --> 01:10:59,380
It would be better
if you were a little more afraid.”
1031
01:10:59,797 --> 01:11:03,172
I didn't understand what he meant
until the scene,
1032
01:11:03,255 --> 01:11:08,797
where I knew it was something
I would have to feign.
1033
01:11:08,880 --> 01:11:12,005
Because the kind of fear,
existential fear,
1034
01:11:12,088 --> 01:11:14,963
that an actor should have
according to him,
1035
01:11:15,047 --> 01:11:17,547
for the life of me, I just didn't have it.
1036
01:11:32,297 --> 01:11:34,797
[gasping]
1037
01:11:37,630 --> 01:11:40,005
[in German] The actor stands there,
1038
01:11:40,880 --> 01:11:43,463
with his body, his face,
1039
01:11:44,213 --> 01:11:47,838
his eyes, his movements, his voice.
1040
01:11:47,922 --> 01:11:51,172
He stands there in the spotlight,
1041
01:11:51,713 --> 01:11:57,547
and it's imperative
that he's protected and nurtured.
1042
01:11:57,630 --> 01:12:01,880
And I think one has to somehow create
1043
01:12:01,963 --> 01:12:07,130
an atmosphere of security
all around the actor.
1044
01:12:09,005 --> 01:12:13,088
[Russek]
I really cared about him immensely.
1045
01:12:13,797 --> 01:12:16,255
Strangely, I never had the feeling
1046
01:12:16,338 --> 01:12:19,963
that he was unapproachable
or something really special.
1047
01:12:20,047 --> 01:12:25,088
Somehow, I always felt
that in many ways he was a poor bastard,
1048
01:12:25,172 --> 01:12:30,172
just because he was so phobic
and brooded about things so much.
1049
01:12:40,380 --> 01:12:44,172
Come on, let's go into my cinema!
1050
01:12:46,505 --> 01:12:50,297
[man, in English] He took pride
in showing me films in his cinema.
1051
01:12:51,297 --> 01:12:53,713
We had to be really quiet
when we watched a film.
1052
01:12:53,797 --> 01:12:55,880
There was no talking, you know, no...
1053
01:12:55,963 --> 01:12:58,338
-But laughing, yes.
-Laughing, of course.
1054
01:12:58,422 --> 01:13:01,130
And we could sleep also, if we wanted to.
1055
01:13:01,213 --> 01:13:05,672
That was no problem.
But no talking, no interrupting the film.
1056
01:13:06,172 --> 01:13:08,297
He was going to screen Pearl Harbor,
1057
01:13:08,380 --> 01:13:13,255
but he didn't like the film so much,
so we just watched the action sequences.
1058
01:13:13,338 --> 01:13:15,547
And every time
the action sequences was finished,
1059
01:13:15,630 --> 01:13:18,213
he did like this to the machinist behind,
1060
01:13:18,297 --> 01:13:23,088
and she, you know, taped forward
over the love sequences, which he hated.
1061
01:13:23,172 --> 01:13:24,380
[von Trotta laughing]
1062
01:13:24,463 --> 01:13:26,880
And then we just watched Pear! Harbor,
just the action sequences.
1063
01:13:27,672 --> 01:13:30,963
He was not a film snob.
That was his idea, not mine.
1064
01:13:32,213 --> 01:13:35,213
He was also this fantastic storyteller.
1065
01:13:35,297 --> 01:13:38,172
He told a story about a witch
who lived on the island,
1066
01:13:38,255 --> 01:13:42,505
and we used to run there
and knock on the door and then run back.
1067
01:13:42,588 --> 01:13:45,547
And it was, like, in the guesthouse,
where we used to live,
1068
01:13:45,630 --> 01:13:48,922
he painted, you know,
a red line on the floor,
1069
01:13:49,588 --> 01:13:52,130
a really ugly red line on the floor,
1070
01:13:52,213 --> 01:13:54,713
and he wrote, “The blood of the witch.”
1071
01:14:01,005 --> 01:14:04,005
It was integrated in the system
of the whole island
1072
01:14:04,088 --> 01:14:08,797
that you could only visit his house
and his library,
1073
01:14:08,880 --> 01:14:12,297
you know, between 11:00 and 3:00.
1074
01:14:12,380 --> 01:14:15,547
If you came 10:45, it was not okay.
1075
01:14:15,630 --> 01:14:18,797
If you came 3:15, it was not okay.
1076
01:14:18,880 --> 01:14:21,088
So, you know,
he had these really strict rules
1077
01:14:21,172 --> 01:14:23,338
because he had the schedule
when he was writing
1078
01:14:23,422 --> 01:14:26,588
and he was sleeping
and he was, you know, thinking,
1079
01:14:26,672 --> 01:14:28,755
and he was really strict about his time.
1080
01:14:30,005 --> 01:14:32,838
I wanted him to be just my grandfather.
1081
01:14:32,922 --> 01:14:36,463
And I didn't see
any of my grandmother's films
1082
01:14:36,547 --> 01:14:41,838
because I wanted them to be just my family
and not this famous filmmaker.
1083
01:14:43,880 --> 01:14:49,547
It gives also a certain confidence
that I-- that I feel that, you know,
1084
01:14:49,630 --> 01:14:52,297
I'm not him
and I'm not going to be like him,
1085
01:14:52,380 --> 01:14:55,255
I'm not going to make
the films like he did.
1086
01:14:55,338 --> 01:14:59,547
But he is-- he's inside of me
in some, you know, way.
1087
01:15:16,922 --> 01:15:21,088
[woman, in French] The word “Farg”
had long represented something to me.
1088
01:15:21,172 --> 01:15:25,505
“Faro” is a word laden
with a kind of aura,
1089
01:15:25,588 --> 01:15:28,213
laden with a kind of mystery.
1090
01:15:28,297 --> 01:15:30,005
Because Far is really Bergman's island.
1091
01:15:30,088 --> 01:15:35,422
For those interested in Bergman's oeuvre,
it's a loaded word.
1092
01:15:38,838 --> 01:15:41,880
Bergman is a filmmaker
who's so well recognized
1093
01:15:41,963 --> 01:15:47,047
that to say you're making a film
in the surroundings where he lived,
1094
01:15:47,130 --> 01:15:52,005
both figuratively and literally,
can seem very presumptuous.
1095
01:15:53,713 --> 01:15:59,338
I was really compelled by a story
that irresistibly drove me to Faro,
1096
01:15:59,422 --> 01:16:03,047
and despite all my misgivings
1097
01:16:03,130 --> 01:16:06,463
about taking on such a subject...
1098
01:16:07,588 --> 01:16:10,838
it was a huge pleasure for me
to write this film,
1099
01:16:10,922 --> 01:16:14,088
which is set on the island
where Bergman lived at the end.
1100
01:16:15,422 --> 01:16:19,588
Though it could have been overwhelming,
1101
01:16:19,672 --> 01:16:24,255
very agonizing, or fear-inducing
to be in Bergman's space,
1102
01:16:24,338 --> 01:16:29,588
since Bergman's presence here
is ubiquitous,
1103
01:16:29,672 --> 01:16:33,005
actually, when I'm there,
I feel light instead.
1104
01:16:33,088 --> 01:16:38,588
I don't feel crushed by the weight
of Bergman's oeuvre. Just the opposite.
1105
01:16:38,672 --> 01:16:42,172
When he went there,
he had a certain feeling.
1106
01:16:42,255 --> 01:16:47,047
And we feel the way he did
when he went there for the first time.
1107
01:16:47,130 --> 01:16:51,172
I also had some moving moments,
almost “scary,”
1108
01:16:51,255 --> 01:16:54,172
when I stayed on Faro alone.
1109
01:16:54,255 --> 01:17:01,005
I spent several days and nights
alone on the island and...
1110
01:17:01,338 --> 01:17:04,922
Bergman believed in ghosts--
he used to say so himself--
1111
01:17:05,005 --> 01:17:09,255
and I've never felt such a presence
of the invisible as I did there,
1112
01:17:09,338 --> 01:17:12,880
especially in his house,
where I've been many times.
1113
01:17:12,963 --> 01:17:16,213
That's where I was afraid,
like when you're afraid of ghosts.
1114
01:17:16,797 --> 01:17:19,880
Even in the kitchen, I was afraid.
1115
01:17:20,547 --> 01:17:23,797
Of the silence, the waves,
the presence of Bergman.
1116
01:17:23,880 --> 01:17:25,713
It was absolutely terrifying.
1117
01:17:25,797 --> 01:17:28,547
That doesn't come from the house itself.
1118
01:17:28,630 --> 01:17:30,047
Of course not!
1119
01:17:30,130 --> 01:17:33,755
It's just the spirit
and presence of Bergman.
1120
01:17:33,838 --> 01:17:34,672
Of course!
1121
01:17:34,755 --> 01:17:37,338
-[in Swedish] Quiet, once more.
-[machine buzzes]
1122
01:17:39,338 --> 01:17:42,255
[Hansen-Lave]
Bergman returns to intimacy, childhood,
1123
01:17:42,338 --> 01:17:45,630
even a kind of innocence
that haunts me to this day.
1124
01:17:46,005 --> 01:17:48,630
[Bergman]
We start with a flash of lightning.
1125
01:17:52,005 --> 01:17:53,797
-Did you see?
-And go!
1126
01:17:56,088 --> 01:17:58,213
-[murmuring]
[flute]
1127
01:17:58,297 --> 01:18:01,755
-[girl gasps] He's still playing.
-[boy] Let's try again.
1128
01:18:03,297 --> 01:18:06,213
-Look at her when you say that.
-[boy] Let's try again.
1129
01:18:06,297 --> 01:18:08,838
One, two, three...
1130
01:18:08,922 --> 01:18:10,713
[together] Die, you bastard!
1131
01:18:10,797 --> 01:18:12,213
[flute]
1132
01:18:13,130 --> 01:18:15,838
-l can't hear it anymore.
-Maybe he's died.
1133
01:18:16,380 --> 01:18:17,297
[Bergman] Thanks!
1134
01:18:17,380 --> 01:18:20,630
When he filmed children,
in Fanny and Alexander,
1135
01:18:20,713 --> 01:18:23,547
he did it better than anyone.
That awakens in me...
1136
01:18:23,630 --> 01:18:26,755
The child always has a connection to him.
1137
01:18:26,838 --> 01:18:30,297
He's telling a story
about himself as a child.
1138
01:18:30,880 --> 01:18:33,338
Not other children. It's always him.
1139
01:18:33,422 --> 01:18:37,963
He never films children the way a father
would. He films them like they're him.
1140
01:18:38,047 --> 01:18:43,130
If he films children,
it's from his point of view, as a child.
1141
01:18:43,213 --> 01:18:44,588
[murmuring]
1142
01:18:44,672 --> 01:18:48,672
I'll sit and we'll see.
I just want to get the feel of it.
1143
01:18:50,338 --> 01:18:53,005
[woman, in English] When I was young,
I wanted to be an actress,
1144
01:18:53,088 --> 01:18:55,713
and I asked my mother
each time I got home from school,
1145
01:18:55,797 --> 01:18:59,088
“Did Ingmar Bergman call today?”
And she was like, “No, not today.”
1146
01:18:59,172 --> 01:19:00,422
[von Trotta laughing]
1147
01:19:00,505 --> 01:19:01,963
So when he actually called me,
1148
01:19:02,047 --> 01:19:03,880
I thought it was a joke.
1149
01:19:03,963 --> 01:19:07,380
Then he told me he wrote
this Saraband part for me and I said,
1150
01:19:07,463 --> 01:19:09,297
“Of course I want to be in that movie.”
1151
01:19:09,380 --> 01:19:12,172
And he said, “Now you're not serious.”
1152
01:19:12,255 --> 01:19:14,505
I was like, “What?”
1153
01:19:14,588 --> 01:19:17,838
“You have to read it first.
You can't just say yes.”
1154
01:19:17,922 --> 01:19:19,922
So I ran down to the theater,
1155
01:19:20,005 --> 01:19:24,172
got the script, and read it
in 20 minutes or something.
1156
01:19:24,255 --> 01:19:25,922
And then I called him, “Now yes.”
1157
01:19:26,005 --> 01:19:27,380
[both laughing]
1158
01:19:49,630 --> 01:19:51,755
I knew-- When I said yes to Saraband,
1159
01:19:51,838 --> 01:19:55,047
I knew that I say yes
to be his instrument.
1160
01:19:58,005 --> 01:19:59,422
[in Swedish] Thank you.
1161
01:19:59,880 --> 01:20:04,713
I will use my body and my soul
to do this piece that he wants it to be.
1162
01:20:04,797 --> 01:20:06,255
It's not my will here.
1163
01:20:13,838 --> 01:20:17,047
Should we... What if we do it like...
1164
01:20:17,130 --> 01:20:18,755
No, this is fine.
1165
01:20:18,838 --> 01:20:22,630
It's fine like this.
Go straight backwards and then say...
1166
01:20:23,380 --> 01:20:26,130
One day, I don't remember
which scene it was, where it was like,
1167
01:20:26,213 --> 01:20:28,547
“Oh, God, I want to take away those lines.
1168
01:20:28,630 --> 01:20:33,755
It's too old-fashioned,
but I can't tell him.”
1169
01:20:35,172 --> 01:20:38,588
And then I went to-- to the studio,
1170
01:20:38,672 --> 01:20:40,338
and he said, “Julia, come.”
1171
01:20:41,172 --> 01:20:43,797
And then he said,
“Let's take away those lines.”
1172
01:20:43,880 --> 01:20:46,297
-It was like his intuition was brilliant.
-Oh!
1173
01:20:46,380 --> 01:20:47,672
Shh!
1174
01:20:50,213 --> 01:20:53,630
[in Swedish]
Your grandfather is an out-and-out liar.
1175
01:20:53,713 --> 01:20:55,338
And then you drink.
1176
01:20:56,213 --> 01:20:57,547
-[indistinct]
-[laughing]
1177
01:20:57,630 --> 01:20:59,422
Oh, no!
1178
01:20:59,838 --> 01:21:01,505
And then you do like...
1179
01:21:01,588 --> 01:21:03,172
[sighs, murmurs]
1180
01:21:03,672 --> 01:21:06,047
I suddenly realized
1181
01:21:06,130 --> 01:21:12,172
that I was the world's most fooled
and cheated-on wife and lover.
1182
01:21:13,005 --> 01:21:19,005
Johan was notoriously
and compulsively unfaithful.
1183
01:21:19,088 --> 01:21:21,463
You mean my grandfather...
1184
01:21:21,547 --> 01:21:23,963
Was an out-and-out liar.
1185
01:21:24,880 --> 01:21:27,755
[chattering, laughing]
1186
01:21:27,838 --> 01:21:29,672
[Assayas] I met Bergman in 1990.
1187
01:21:29,755 --> 01:21:34,255
He had just decided
not to make any more films.
1188
01:21:34,338 --> 01:21:38,005
He said, “I won't make any more films,”
and stopped.
1189
01:21:38,088 --> 01:21:39,588
But after ten years,
1190
01:21:39,672 --> 01:21:42,588
he came back at the top of his game,
1191
01:21:42,672 --> 01:21:47,047
in an unexpected digital format.
1192
01:21:47,130 --> 01:21:51,797
Today, all cinemas in France
screen digital films.
1193
01:21:52,213 --> 01:21:55,755
The first digital film I saw was Saraband,
1194
01:21:55,838 --> 01:21:58,963
which displayed
the same passion for experimentation.
1195
01:21:59,047 --> 01:22:01,588
It was a marvel, a shock.
1196
01:22:01,672 --> 01:22:03,922
[Dufvenius groaning]
1197
01:22:05,672 --> 01:22:07,422
[grunting]
1198
01:22:08,255 --> 01:22:10,422
-[man grunts]
-[commotion]
1199
01:22:17,797 --> 01:22:19,547
Had he never made films,
1200
01:22:19,630 --> 01:22:23,505
he might still have been considered one
of the greatest 20th-century playwrights.
1201
01:22:23,588 --> 01:22:25,797
They might have given him the Nobel Prize.
1202
01:22:25,880 --> 01:22:30,672
He was also one of the great inventors
of cinematic expression.
1203
01:22:30,755 --> 01:22:33,630
He was a man of both the written word
and the image.
1204
01:22:33,713 --> 01:22:40,130
And film after film, he constructed
a totally coherent body of work.
1205
01:22:40,213 --> 01:22:43,255
There will always be people
who find his films too somber,
1206
01:22:43,338 --> 01:22:49,797
who find his image of humanity too black,
with too much suffering,
1207
01:22:49,880 --> 01:22:52,005
who prefer to see funnier films.
1208
01:22:52,088 --> 01:22:55,463
In the end though,
anyone who's interested in cinema
1209
01:22:55,547 --> 01:23:01,338
will rightly see
there's something bordering on truth.
1210
01:23:01,422 --> 01:23:04,755
[in French] Sweden is one of the most
progressive countries in Europe,
1211
01:23:04,838 --> 01:23:06,588
socially and economically.
1212
01:23:06,672 --> 01:23:10,422
Yet most of your films,
especially your first films,
1213
01:23:10,505 --> 01:23:13,297
are full of bitterness,
despair, even cruelty.
1214
01:23:13,380 --> 01:23:17,630
How could Swedish lightheartedness
have provoked these feelings?
1215
01:23:17,713 --> 01:23:24,047
I'm only trying to speak the truth
about the human condition.
1216
01:23:25,130 --> 01:23:27,255
[in Swedish] The really important reason...
1217
01:23:28,713 --> 01:23:30,547
is that I don't want you.
1218
01:23:38,047 --> 01:23:39,547
Did you hear me?
1219
01:23:43,297 --> 01:23:44,422
Yes.
1220
01:23:45,755 --> 01:23:48,047
Of course I did.
1221
01:23:54,505 --> 01:23:56,755
I'm tired of your loving care...
1222
01:23:57,838 --> 01:23:59,505
your fussing,
1223
01:24:00,463 --> 01:24:02,088
your good advice...
1224
01:24:03,797 --> 01:24:06,630
your candlesticks and table runners.
1225
01:24:08,547 --> 01:24:10,963
I'm fed up with your shortsightedness...
1226
01:24:12,130 --> 01:24:14,172
your clumsy hands...
1227
01:24:15,963 --> 01:24:17,630
your anxiousness...
1228
01:24:18,797 --> 01:24:21,422
your timid ways in bed.
1229
01:24:24,713 --> 01:24:29,130
You force me to occupy myself
with your physical condition--
1230
01:24:29,672 --> 01:24:31,463
your poor digestion,
1231
01:24:31,797 --> 01:24:33,422
your rash,
1232
01:24:34,255 --> 01:24:35,797
your periods,
1233
01:24:36,547 --> 01:24:37,880
your frostbitten cheek.
1234
01:24:43,213 --> 01:24:45,088
Once and for all,
1235
01:24:45,588 --> 01:24:48,672
I have to escape
this junkyard of circumstances.
1236
01:24:50,922 --> 01:24:52,672
I'm sick and tired of it all...
1237
01:24:54,630 --> 01:24:56,297
of everything to do with you.
1238
01:24:59,172 --> 01:25:01,713
Why have you never told me this?
1239
01:25:02,588 --> 01:25:04,547
Because of my upbringing.
1240
01:25:06,755 --> 01:25:10,713
I was taught to regard women
as beings of a higher order.
1241
01:25:11,630 --> 01:25:13,255
Admirable creatures,
1242
01:25:13,672 --> 01:25:15,880
unimpeachable martyrs.
1243
01:25:19,672 --> 01:25:24,172
[Carriere] In all his films, there's
a conflict between his rigid upbringing,
1244
01:25:24,255 --> 01:25:26,797
the religion that frames his life,
1245
01:25:26,880 --> 01:25:29,463
what we could call a sense of duty,
1246
01:25:29,547 --> 01:25:32,380
the difference between right and wrong.
1247
01:25:32,463 --> 01:25:35,172
Everything in him struggles against that.
1248
01:25:35,255 --> 01:25:37,463
All the devils inside him do.
1249
01:25:37,547 --> 01:25:42,088
It's obvious that his cinema was born
of this conflict within himself.
1250
01:25:45,797 --> 01:25:47,755
[no audible dialogue]
1251
01:26:01,297 --> 01:26:04,463
[boy shouting]
1252
01:26:16,838 --> 01:26:20,255
[Carriere] I always expect a monster
to jump out somewhere,
1253
01:26:20,338 --> 01:26:22,963
either visible or invisible,
1254
01:26:23,047 --> 01:26:25,505
lurking inside the actors,
1255
01:26:25,588 --> 01:26:27,672
who, at any moment,
1256
01:26:27,755 --> 01:26:31,338
are capable of doing something
horrific and forbidden.
1257
01:26:42,672 --> 01:26:44,505
When we think of Wild Strawberries,
1258
01:26:44,588 --> 01:26:49,213
we think of an old man,
returning to his childhood home,
1259
01:26:49,297 --> 01:26:51,547
looking as he does today.
1260
01:26:51,630 --> 01:26:55,505
He revisits his childhood,
his siblings, his family.
1261
01:26:55,588 --> 01:26:59,338
And in the film,
this takes up four or five minutes.
1262
01:26:59,422 --> 01:27:02,547
A lot of other things happen,
but we remember this bit.
1263
01:27:02,630 --> 01:27:04,922
[Sjdstrém, in Swedish]
I was overcome by a feeling
1264
01:27:05,005 --> 01:27:08,005
of emptiness and mournfulness.
1265
01:27:08,588 --> 01:27:13,213
But I was soon startled from my reverie
by the voice of a girl
1266
01:27:13,297 --> 01:27:16,963
who repeatedly asked me about something...
1267
01:27:17,338 --> 01:27:20,255
-Is this your shack?
-No, it's not.
1268
01:27:21,172 --> 01:27:26,297
I'm glad you're truthful. My dad owns
the whole spit, including the shack.
1269
01:27:26,380 --> 01:27:30,005
But I did live here once, 200 years ago.
1270
01:27:30,088 --> 01:27:31,797
[laughing]
1271
01:27:31,880 --> 01:27:35,338
[Carriere] It's the story of a man
who is going to die, who's old,
1272
01:27:35,422 --> 01:27:37,463
who sometimes still drives his car,
1273
01:27:37,547 --> 01:27:41,172
who goes to visit places
from his childhood,
1274
01:27:41,255 --> 01:27:44,005
who takes a kind of final journey.
1275
01:27:44,088 --> 01:27:47,130
And what I love so much is that,
at the end,
1276
01:27:47,213 --> 01:27:49,463
Bergman brings this all together.
1277
01:27:49,922 --> 01:27:52,005
It circles back to his home,
1278
01:27:52,088 --> 01:27:55,130
he lies in bed in his pajamas,
1279
01:27:55,213 --> 01:27:58,463
and the last image
is of this man falling asleep.
1280
01:27:58,547 --> 01:28:02,338
He closes his eyes
and falls asleep with a smile.
1281
01:28:02,422 --> 01:28:04,463
He might be dying right then.
1282
01:28:04,547 --> 01:28:06,422
[birds chirping]
1283
01:28:10,005 --> 01:28:13,463
[Carriere] There's hardly any difference
between life and death.
1284
01:28:37,755 --> 01:28:41,047
[Ullmann] I was in Norway, and I knew.
1285
01:28:41,130 --> 01:28:44,672
“Ingmar, I think you're leaving.”
1286
01:28:45,422 --> 01:28:47,630
And I took the airplane from Norway
1287
01:28:47,713 --> 01:28:51,172
and I came and they let me in,
in the bedroom,
1288
01:28:51,255 --> 01:28:55,088
and there he was, and he was on his way.
1289
01:28:55,713 --> 01:28:57,213
I took his hand.
1290
01:28:57,297 --> 01:29:00,588
And I remember from Saraband,
a scene there,
1291
01:29:00,672 --> 01:29:05,005
where the person I played
came to visit my ex-husband,
1292
01:29:05,088 --> 01:29:07,047
and he says, “Why are you coming here?”
1293
01:29:07,130 --> 01:29:09,588
And she says, “You called for me.”
1294
01:29:11,922 --> 01:29:16,005
[in Swedish] Could you now explain
why you suddenly turned up here?
1295
01:29:16,463 --> 01:29:18,255
I thought you were calling me.
1296
01:29:18,338 --> 01:29:20,838
I never called anyone.
1297
01:29:20,922 --> 01:29:23,255
I had the feeling you were calling me.
1298
01:29:23,838 --> 01:29:25,963
That's strange, I don't understand.
1299
01:29:26,047 --> 01:29:29,963
No, I understand
that you don't understand.
1300
01:29:31,047 --> 01:29:33,297
And how long will you stay?
1301
01:29:33,380 --> 01:29:36,755
I have a court case on the 27th.
1302
01:29:36,838 --> 01:29:38,380
November?
1303
01:29:38,922 --> 01:29:40,422
October.
1304
01:29:44,463 --> 01:29:45,963
Well, good night then.
1305
01:29:46,755 --> 01:29:48,172
Good night.
1306
01:29:53,713 --> 01:29:57,088
[Russek] He had planned his funeral.
Everything was prepared.
1307
01:29:57,172 --> 01:29:58,922
The coffin was ready.
1308
01:29:59,005 --> 01:30:02,797
He'd had a coffin made,
which he kept in the barn.
1309
01:30:03,630 --> 01:30:05,255
He wanted a particular type of coffin
1310
01:30:05,338 --> 01:30:08,297
and, untrusting as he was,
1311
01:30:08,380 --> 01:30:11,338
he assumed we'd ignore his instructions.
1312
01:30:12,922 --> 01:30:16,172
Only the parson spoke, no one else.
1313
01:30:16,255 --> 01:30:21,588
No flowers. No wreaths, bouquets,
or anything like that.
1314
01:30:21,672 --> 01:30:23,047
And only those he'd invited.
1315
01:30:26,255 --> 01:30:31,005
No cultural or political celebrities,
no bishop or anyone else.
1316
01:30:31,755 --> 01:30:34,755
A few actors, his family...
1317
01:30:36,130 --> 01:30:39,422
and the village, everyone on Faro.
1318
01:31:23,838 --> 01:31:25,213
[in Swedish] Dad.
1319
01:31:28,505 --> 01:31:29,713
I'm frightened, Dad.
1320
01:31:34,255 --> 01:31:36,547
[man, in Swedish]
For the second time in two years,
1321
01:31:36,630 --> 01:31:40,922
Ingmar Bergman has won
the most important film award-- an Oscar.
1322
01:31:41,005 --> 01:31:42,630
Were you expecting it?
1323
01:31:42,713 --> 01:31:45,713
No, to be honest, I wasn't this time
1324
01:31:45,797 --> 01:31:49,088
because I thought
that once would be enough.
1325
01:31:49,172 --> 01:31:52,838
But surely you don't make films
to win awards?
1326
01:31:52,922 --> 01:31:58,005
No, not at all. You see,
you must let go of that completely.
1327
01:31:58,088 --> 01:32:01,547
You can't let thoughts like that...
1328
01:32:01,922 --> 01:32:03,755
In the first place,
1329
01:32:03,838 --> 01:32:07,547
the artistic value...
1330
01:32:08,547 --> 01:32:13,755
of any of these prizes and awards
is always debatable.
1331
01:32:13,838 --> 01:32:18,463
So you're not under pressure
for each film to be a success?
1332
01:32:19,963 --> 01:32:22,255
I may feel that sometimes,
1333
01:32:22,672 --> 01:32:26,380
but when you're in the moment of truth,
1334
01:32:26,838 --> 01:32:29,922
literally sitting
with the pen in your hand
1335
01:32:30,005 --> 01:32:32,297
about to write the manuscript,
1336
01:32:32,380 --> 01:32:38,672
or when you're in the studio
and about to film,
1337
01:32:38,755 --> 01:32:43,130
you forget about
these completely irrelevant things
1338
01:32:43,213 --> 01:32:46,005
because there's so much else
to think about.
1339
01:32:46,630 --> 01:32:49,130
[von Trotta, in English]
I never think, when I'm doing a film,
1340
01:32:49,213 --> 01:32:51,005
“Oh, now that is like in Bergman,
1341
01:32:51,088 --> 01:32:53,630
and I have to take these, you know, moment
1342
01:32:53,713 --> 01:32:56,755
and steal it from him
and put it in my film.”
1343
01:32:56,838 --> 01:32:59,338
It happened, and people then see,
1344
01:32:59,422 --> 01:33:01,255
and they say,
“Oh, but that's like Bergman.”
1345
01:33:01,338 --> 01:33:02,797
And I didn't think about it.
1346
01:33:02,880 --> 01:33:06,088
It's-It's something you're living with.
1347
01:33:06,172 --> 01:33:09,380
And it comes up then unconsciously.
1348
01:33:09,463 --> 01:33:11,630
And that's-- I think it's the right way.
1349
01:33:11,713 --> 01:33:13,505
If you imitate, then it's over.
1350
01:33:13,588 --> 01:33:16,130
Maybe we need a couple of more years
on Bergman
1351
01:33:16,213 --> 01:33:19,505
before we start to look back
on him in a different way.
1352
01:33:19,588 --> 01:33:23,172
Now it's almost like, you know,
it's an old relative that have passed away
1353
01:33:23,255 --> 01:33:25,380
that everybody is talking about
all the time.
1354
01:33:25,463 --> 01:33:26,630
You never met him,
1355
01:33:26,713 --> 01:33:29,672
but you have to relate to him
just because you're a Swede.
1356
01:33:29,755 --> 01:33:33,422
You know the Bergman stiftelsen
as it's called, Stiftung,
1357
01:33:33,505 --> 01:33:35,713
they don't invite me
because I'm on the other side
1358
01:33:35,797 --> 01:33:37,588
of the Swedish film industry.
1359
01:33:37,672 --> 01:33:40,963
I'm connected
with Bo Widerberg and Roy Andersson.
1360
01:33:41,047 --> 01:33:43,338
-So they never invite you.
-They will never invite me.
1361
01:33:43,422 --> 01:33:44,422
[laughs]
1362
01:33:44,505 --> 01:33:46,755
So that's so beautiful
when someone comes from Germany
1363
01:33:46,838 --> 01:33:48,922
to interview me about Bergman.
1364
01:33:49,005 --> 01:33:51,047
That would never happen in Sweden,
you know. [chuckling]
1365
01:33:51,130 --> 01:33:55,922
Margarethe, now you have to tell me,
which one is your favorite Bergman movie?
1366
01:33:56,338 --> 01:33:58,380
Oh, you know, well, it's not the favorite,
1367
01:33:58,463 --> 01:34:01,588
but it's the first one I saw,
that was Seventh Seal.
1368
01:34:01,672 --> 01:34:06,297
So I saw it in Paris in the early '60s.
You were not yet born.
1369
01:34:06,380 --> 01:34:08,130
-[chuckles]
-So that was the time
1370
01:34:08,213 --> 01:34:12,213
when the nouvelle vague
was discovering Bergman, you know?
1371
01:34:12,297 --> 01:34:16,005
Truffaut wrote
a wonderful article about him,
1372
01:34:16,088 --> 01:34:19,088
and that was the moment
he became famous in Europe.
1373
01:34:19,172 --> 01:34:22,880
Before, he just did his films in Sweden,
but he-- nobody knew him,
1374
01:34:22,963 --> 01:34:26,172
and that was like an explosion. Yeah?
1375
01:34:26,255 --> 01:34:28,380
And for me it was the first real film.
1376
01:34:28,463 --> 01:34:32,422
I went to theater,
to concerts, and to exhibitions,
1377
01:34:32,505 --> 01:34:36,172
but film, or cinema,
was not yet important for me.
1378
01:34:36,255 --> 01:34:40,255
And then I saw this film,
and I knew I would like to do--
1379
01:34:40,338 --> 01:34:43,547
Once in my life,
I would like to become a director.
1380
01:34:43,963 --> 01:34:45,672
[in Swedish] I will leave you now.
1381
01:34:46,630 --> 01:34:48,505
When we meet again,
1382
01:34:48,588 --> 01:34:51,713
you and your entourage's time
will be over.
1383
01:34:55,047 --> 01:34:56,797
And you'll reveal your secrets?
1384
01:34:57,922 --> 01:34:59,797
I carry no secrets.
1385
01:35:00,630 --> 01:35:02,463
So you know nothing?
1386
01:35:04,213 --> 01:35:05,630
I am unknowing.
1387
01:39:28,380 --> 01:39:30,380
Subtitled by Captions, Inc.
114635
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.