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1
00:00:17,713 --> 00:00:19,062
[hooves clomping]
2
00:00:21,195 --> 00:00:22,326
[donkey braying]
3
00:00:23,849 --> 00:00:24,850
[dramatic, swirling
orchestral music]
4
00:02:36,982 --> 00:02:37,983
[brooding instrumental music]
5
00:03:24,116 --> 00:03:25,117
[pulsing instrumental music]
6
00:03:52,406 --> 00:03:54,059
That's an old tree.
7
00:03:55,757 --> 00:03:56,758
[pulsing instrumental music]
8
00:05:09,221 --> 00:05:10,222
[cheerful orchestral music]
9
00:05:24,411 --> 00:05:35,683
- This is a prop from
the Wizard of Oz.
10
00:05:40,252 --> 00:05:42,385
- [Woman] What does
it mean, "omrade"?
11
00:05:42,429 --> 00:05:45,040
- [Voiceover] Private area.
12
00:05:48,957 --> 00:05:51,394
- Hey, what is this, Big
Brother is talking to us?
13
00:05:55,659 --> 00:05:57,835
[piped in foreign language]
14
00:06:00,882 --> 00:06:03,188
It, it's a little bit
frightening, yeah?
15
00:06:03,232 --> 00:06:04,233
I must say.
16
00:06:06,366 --> 00:06:10,587
Um, there is no dog,
huh, tell me the truth.
17
00:06:10,631 --> 00:06:19,988
Because if there is
a dog coming, then I.
18
00:06:25,167 --> 00:06:26,386
[knocking]
19
00:06:30,694 --> 00:06:45,622
- [Voiceover] Come in.
20
00:06:45,622 --> 00:06:47,450
- [Voiceover] Come in.
21
00:06:52,847 --> 00:06:54,196
- [Haneke] Hello.
22
00:06:56,459 --> 00:06:58,200
- So we leave our shoes where?
23
00:06:58,243 --> 00:06:59,462
- [Voiceover] Just
inside the door
24
00:06:59,506 --> 00:07:00,855
and then you'll switch.
25
00:07:04,119 --> 00:07:05,468
- Nope, that's too small.
26
00:07:06,687 --> 00:07:07,688
[cheerful orchestral music]
27
00:08:27,985 --> 00:08:28,986
[twangy Asian
instrumental music]
28
00:08:42,347 --> 00:08:43,218
- [Woman on right]
Nice to meet you.
29
00:08:43,261 --> 00:08:44,132
- Nice to meet you.
30
00:08:44,175 --> 00:08:45,089
- Nice to meet you.
31
00:08:45,133 --> 00:08:47,004
- Nice to meet you.
32
00:08:47,048 --> 00:08:48,571
- [Woman] This is,
uh, where we are.
33
00:08:49,790 --> 00:08:51,922
- Set, Bergman set.
34
00:08:51,966 --> 00:08:56,231
It's hard because you ask me why
35
00:08:56,274 --> 00:08:58,146
people nervous
talking about him,
36
00:08:58,189 --> 00:09:00,322
especially filmmakers.
37
00:09:00,365 --> 00:09:03,673
Actually, it's more
revered, it's in awe.
38
00:09:03,717 --> 00:09:05,022
- [Voiceover] Okay.
39
00:09:05,066 --> 00:09:06,110
- [Voiceover] Need more
time for your notes?
40
00:09:06,154 --> 00:09:07,764
- No, I'm okay.
41
00:09:07,808 --> 00:09:10,941
Let me, sometimes I forget the
chronology of his work, but.
42
00:09:10,985 --> 00:09:12,508
- [Voiceover] Uh,
that's okay, I can.
43
00:09:13,640 --> 00:09:15,859
- And who's doing this again?
44
00:09:19,297 --> 00:09:20,385
- [Voiceover] We're good, right?
45
00:09:22,605 --> 00:09:25,347
- I did like his movies,
I, I was saying before
46
00:09:25,390 --> 00:09:27,741
I was trying to review
some of the movies
47
00:09:27,784 --> 00:09:31,092
so I could be more,
you know, more, uh,
48
00:09:31,135 --> 00:09:34,356
up to speed about, if you
hit me with a question,
49
00:09:34,399 --> 00:09:36,097
I might be able to answer.
50
00:09:36,140 --> 00:09:39,709
So now I'm at a disadvantage.
51
00:09:39,753 --> 00:09:41,319
I've been carrying them
around with me, too,
52
00:09:41,363 --> 00:09:42,233
and I've been trying.
53
00:09:42,277 --> 00:09:43,713
I've been so busy though.
54
00:09:45,367 --> 00:09:46,281
- [Voiceover] All right.
- And I will see them
55
00:09:46,324 --> 00:09:47,543
but if I see you in six months,
56
00:09:47,587 --> 00:09:50,285
I will have seen
them, but not now.
57
00:09:50,328 --> 00:09:54,245
- What actors are,
um, are comedians
58
00:09:54,289 --> 00:09:55,725
from the Bergman films?
59
00:09:55,769 --> 00:09:58,554
Like any of the big,
the one that, you know,
60
00:09:58,598 --> 00:10:01,601
like Gunnar, uh, Bjoörnstrand.
61
00:10:01,644 --> 00:10:02,906
How do you say Bjoörnstrand?
62
00:10:02,950 --> 00:10:04,125
- [Interviewer] Yes, yes.
63
00:10:04,168 --> 00:10:05,648
- Um, um, uh, I don't
know how to pronounce
64
00:10:05,692 --> 00:10:08,346
these names probably, I mean
do you say See-dov, right?
65
00:10:08,390 --> 00:10:09,478
- [Interviewer] Uh, von Sydow.
66
00:10:09,521 --> 00:10:10,435
- Von Sydow, yeah,
you don't say.
67
00:10:10,479 --> 00:10:12,437
We say See-dow.
68
00:10:12,481 --> 00:10:15,571
Well anyway, in America
they say Max von See-dow.
69
00:10:15,615 --> 00:10:17,399
But it's See-dov, right?
70
00:10:17,442 --> 00:10:20,576
Um, but, um, uh, but are
those, but none of those guys
71
00:10:20,620 --> 00:10:23,623
are from a comic
tradition or are they?
72
00:10:45,775 --> 00:10:46,776
[graceful instrumental music]
73
00:11:29,906 --> 00:11:32,561
[shouting in foreign language]
74
00:11:35,738 --> 00:11:37,087
[laughing]
75
00:11:40,264 --> 00:11:41,265
[surf crashes]
76
00:12:28,051 --> 00:12:31,707
- In my late teens, I saw,
77
00:12:31,751 --> 00:12:34,231
the first one was
Summer with Monika.
78
00:12:34,275 --> 00:12:36,320
I think, I can't remember now.
79
00:12:36,364 --> 00:12:40,672
But, uh, there was such a
big fuss over it in Brooklyn
80
00:12:40,716 --> 00:12:42,979
where I lived, 'cause there
was a nude scene in it.
81
00:12:43,023 --> 00:12:45,765
And everybody in
the neighborhood was
running to the movies.
82
00:12:45,808 --> 00:12:48,550
Not to see the movie,
to see the nude scene.
83
00:12:48,593 --> 00:12:51,945
And, uh, I was no different
than anybody else.
84
00:12:51,988 --> 00:12:55,818
And, and I thought it
was a very good picture.
85
00:12:55,862 --> 00:12:59,779
A really excellent,
excellent movie.
86
00:12:59,822 --> 00:13:04,174
And then the name Ingmar Bergman
didn't mean anything to me.
87
00:13:04,218 --> 00:13:08,004
I just saw the film, never
thought about the director,
88
00:13:08,048 --> 00:13:09,571
and went home.
89
00:13:11,094 --> 00:13:12,922
- When I would see, like, Monika
90
00:13:12,966 --> 00:13:15,925
and sexy Sweden
movies and, you know,
91
00:13:15,969 --> 00:13:20,451
the pictures of the women,
like, splashed all over.
92
00:13:20,495 --> 00:13:22,758
There's probably one frame
in the picture that has this,
93
00:13:22,802 --> 00:13:25,500
but they splash it all
over the theater and, um,
94
00:13:25,543 --> 00:13:29,504
you know, I didn't know,
I was also, you know,
95
00:13:29,547 --> 00:13:32,724
very, very much involved with
Roman Catholicism at the time.
96
00:13:32,768 --> 00:13:34,857
Uh, there was the
condemned list.
97
00:13:34,901 --> 00:13:36,990
And most of Ingmar Bergman's
films were on those.
98
00:13:41,777 --> 00:13:43,257
I read an interview,
99
00:13:43,300 --> 00:13:45,912
he had a different way of
looking at things obviously.
100
00:13:45,955 --> 00:13:48,479
I read an interview with the
New York Times years ago.
101
00:13:50,264 --> 00:13:52,222
Um, of Bergman,
when they asked him
102
00:13:52,266 --> 00:13:56,357
if he thought anything was
funny, and he said, "Yeah, sex.
103
00:13:56,400 --> 00:13:58,359
"Sex is very funny."
104
00:13:58,402 --> 00:13:59,926
And I guess it is.
105
00:13:59,969 --> 00:14:04,931
I, I don't remember it. [laughs]
106
00:14:09,370 --> 00:14:24,298
[gentle instrumental music]
107
00:14:24,298 --> 00:14:25,995
[gentle instrumental music]
108
00:14:30,782 --> 00:14:33,046
- I had a wonderful
two, three hours once
109
00:14:33,089 --> 00:14:35,396
with Harriet Andersson.
110
00:14:35,439 --> 00:14:36,963
I didn't know who she was.
111
00:14:37,006 --> 00:14:39,748
I didn't know this was the
girl I had had this crush on
112
00:14:39,791 --> 00:14:42,142
from age 17 to.
113
00:14:42,185 --> 00:14:43,665
She was so nice.
114
00:14:45,145 --> 00:14:46,494
But I didn't know who she was.
115
00:14:46,537 --> 00:14:48,191
I knew she was a
Swedish actress.
116
00:14:48,235 --> 00:14:51,281
She was, you know,
a mature woman.
117
00:14:51,325 --> 00:15:06,253
And, but she was really nice.
118
00:15:06,253 --> 00:15:11,475
And, but she was really nice.
119
00:15:17,090 --> 00:15:18,613
[surf crashes]
120
00:15:22,399 --> 00:15:24,662
- I remember what I felt
121
00:15:24,706 --> 00:15:28,275
when I saw Monika
the first time.
122
00:15:30,103 --> 00:15:32,670
I felt physically
123
00:15:32,714 --> 00:15:35,586
what is it to be
124
00:15:35,630 --> 00:15:37,240
a young woman.
125
00:15:37,284 --> 00:15:41,505
This feeling of summer, youth,
126
00:15:41,549 --> 00:15:45,640
and to be in the present.
127
00:15:49,035 --> 00:15:52,690
There is for me, till
today, something unique
128
00:15:52,734 --> 00:15:54,431
in that film, like...
129
00:15:58,348 --> 00:16:01,395
How, how many time,
130
00:16:01,438 --> 00:16:02,918
maybe three time,
131
00:16:02,962 --> 00:16:05,921
I wrote a script
that I called Monika.
132
00:16:05,965 --> 00:16:10,447
Because I thought it's
like a magical word for me.
133
00:16:10,491 --> 00:16:14,625
To say a young woman
134
00:16:14,669 --> 00:16:18,107
with a
135
00:16:18,151 --> 00:16:20,588
body that is alive.
136
00:16:20,631 --> 00:16:23,417
I took it
137
00:16:23,460 --> 00:16:29,118
as if it was made only for me.
138
00:16:29,118 --> 00:16:38,345
as if it was made only for me.
139
00:17:15,599 --> 00:17:20,909
[surf crashes]
140
00:17:20,909 --> 00:17:30,484
[surf crashes]
141
00:19:37,698 --> 00:19:43,356
[percussive instrumental music]
142
00:19:43,356 --> 00:19:52,582
[percussive instrumental music]
143
00:20:59,127 --> 00:21:02,870
- Well, I saw my first,
uh, Ingmar Bergman film
144
00:21:02,913 --> 00:21:05,960
back in 19, uh,
145
00:21:06,003 --> 00:21:08,571
it felt like 1956, 57.
146
00:21:08,615 --> 00:21:11,487
That was a time
when, in America,
147
00:21:11,531 --> 00:21:14,577
there were the
beginnings of art houses.
148
00:21:14,621 --> 00:21:15,970
And I saw The Magician
149
00:21:16,013 --> 00:21:19,974
and I saw, uh,
150
00:21:20,017 --> 00:21:21,932
excuse, me, before
that, The Seventh Seal,
151
00:21:21,976 --> 00:21:23,543
then The Magician,
152
00:21:23,586 --> 00:21:28,156
and then, maybe I saw, later,
Smiles of a Summer, uh, Night,
153
00:21:28,199 --> 00:21:30,811
and, um, that was my favorite.
154
00:21:30,854 --> 00:21:32,900
I thought that was, I loved the.
155
00:21:34,771 --> 00:21:37,252
The one I really responded
to as a young person
156
00:21:37,296 --> 00:21:38,993
was that one.
157
00:21:39,036 --> 00:21:41,865
Just the masterful
way he orchestrated,
158
00:21:41,909 --> 00:21:44,912
and beautiful performances
of all the actors,
159
00:21:44,955 --> 00:21:48,655
and the way it all fit
together and, you know,
160
00:21:48,698 --> 00:21:50,483
just memorable,
161
00:21:50,526 --> 00:21:54,138
memorable scenes that
had been prepared for
162
00:21:54,182 --> 00:21:57,359
and then came to
play just to, he just
163
00:21:57,403 --> 00:21:59,448
put that together
so beautifully.
164
00:21:59,492 --> 00:22:05,498
[percussive instrumental music]
165
00:22:10,329 --> 00:22:15,595
[wind rushes]
166
00:22:15,595 --> 00:22:25,213
[wind rushes]
167
00:23:17,265 --> 00:23:20,921
- [Anderson] Maybe, um,
let's see, this is actually.
168
00:23:20,964 --> 00:23:21,965
[banging]
169
00:23:23,271 --> 00:23:24,794
I think the back way.
170
00:23:25,534 --> 00:23:27,144
- [Voiceover] That's a strange
place to have a toilet.
171
00:23:27,188 --> 00:23:28,407
- [Anderson] Yeah, I know.
172
00:23:28,450 --> 00:23:32,149
- I would like to know
if it's possible to, uh,
173
00:23:32,193 --> 00:23:34,456
shoot you on the balcony
174
00:23:34,500 --> 00:23:35,979
so we have something
to edit it with.
175
00:23:36,023 --> 00:23:37,285
- [Anderson] Sure.
176
00:23:37,328 --> 00:23:38,417
- [Interviewer]
Looking out at Paris.
177
00:23:38,460 --> 00:23:39,809
- Yeah, that'd be fine.
178
00:23:39,853 --> 00:23:48,688
[gentle instrumental music]
179
00:23:52,822 --> 00:23:57,566
- Comedy's not the word you
think of, uh, with Bergman.
180
00:23:57,610 --> 00:23:59,786
He is one of those
directors who can do movies
181
00:23:59,829 --> 00:24:03,267
where there is not a single
joke in the whole movie
182
00:24:03,311 --> 00:24:07,707
and the movie stays, and the
movie does not suffer for it.
183
00:24:07,750 --> 00:24:09,230
Um, and there aren't that many.
184
00:24:09,273 --> 00:24:10,492
There aren't that many
movies you can think of
185
00:24:10,536 --> 00:24:12,929
where you say there
was nothing funny.
186
00:24:15,105 --> 00:24:17,934
There is comic
dialogue that's sort of
187
00:24:17,978 --> 00:24:20,459
archly comic and it's not like,
188
00:24:20,502 --> 00:24:22,765
it isn't like
spontaneously comic.
189
00:24:22,809 --> 00:24:26,508
It's more like, kind
of, very written jokes.
190
00:24:26,552 --> 00:24:30,207
You know, which are probably
not hysterically funny.
191
00:24:30,251 --> 00:24:34,516
But the mood does have a
lightness that goes with that
192
00:24:34,560 --> 00:24:37,780
and it's all really of a piece
193
00:24:37,824 --> 00:24:40,174
and it's, um, and.
194
00:24:40,217 --> 00:24:42,829
You know, but it, but it,
it may not be the hand
195
00:24:42,872 --> 00:24:46,615
of a, of a comedy
director doing it.
196
00:24:46,659 --> 00:24:50,010
It's just such a
well done film, um,
197
00:24:50,053 --> 00:24:52,491
and that's the tone of it.
198
00:24:52,534 --> 00:25:07,462
I mean, maybe that, does that
make, does that sound right?
199
00:25:07,462 --> 00:25:17,167
I mean, maybe that, does that
make, does that sound right?
200
00:25:22,608 --> 00:25:34,794
[graceful orchestral music]
201
00:25:39,450 --> 00:25:41,191
- I don't see the
films as funny.
202
00:25:42,628 --> 00:25:44,325
I mean, sometimes
an exasperation.
203
00:25:44,368 --> 00:25:47,371
It's like, aw, God, don't do
that and they do it. [laughs]
204
00:25:50,636 --> 00:25:53,987
- We never spoke
about religion, God,
205
00:25:54,030 --> 00:25:56,555
philosophy, death.
206
00:25:56,598 --> 00:26:00,254
One thing that we did
speak in relation to death,
207
00:26:00,297 --> 00:26:01,734
he was telling me that in some
208
00:26:01,777 --> 00:26:05,607
of his most heavy moments,
209
00:26:05,651 --> 00:26:07,478
uh, and when
they're doing Death,
210
00:26:07,522 --> 00:26:08,871
you know, on The Seventh Seal,
211
00:26:08,915 --> 00:26:10,264
the crew would be laughing
212
00:26:10,307 --> 00:26:12,962
and they would be, you know,
213
00:26:13,006 --> 00:26:14,921
very aware that they were making
214
00:26:14,964 --> 00:26:17,837
a melodramatic
moment for everybody,
215
00:26:17,880 --> 00:26:21,623
and nobody took anything
very seriously in that sense.
216
00:26:23,320 --> 00:26:28,935
[pulsing instrumental music]
217
00:26:28,935 --> 00:26:38,205
[pulsing instrumental music]
218
00:28:42,938 --> 00:28:43,983
- One of the things
about Bergman
219
00:28:44,026 --> 00:28:46,202
is he was very bold
220
00:28:46,246 --> 00:28:49,858
and whenever you do something
221
00:28:49,902 --> 00:28:52,556
different or for the first time,
222
00:28:52,600 --> 00:28:54,776
it's very hard to understand,
223
00:28:54,820 --> 00:28:57,518
for a later audience,
224
00:28:57,561 --> 00:28:59,738
the impact of that.
225
00:28:59,781 --> 00:29:03,219
I mean, now The Seventh Seal
226
00:29:03,263 --> 00:29:04,917
is like a joke, you know.
227
00:29:04,960 --> 00:29:07,876
I mean, it's, you know, the
image of Death with the scythe
228
00:29:07,920 --> 00:29:10,923
and, uh, playing
chess with Death and.
229
00:29:10,966 --> 00:29:13,099
The Seventh Seal, it becomes,
230
00:29:13,142 --> 00:29:14,796
it's like a cliche.
231
00:29:14,840 --> 00:29:18,017
But at the time,
it was so radical
232
00:29:18,060 --> 00:29:21,063
and startling
233
00:29:21,107 --> 00:29:22,673
and impressive,
234
00:29:22,717 --> 00:29:23,805
and I still like that movie,
235
00:29:23,849 --> 00:29:25,241
but there're things
in the movie now
236
00:29:25,285 --> 00:29:28,767
that you've seen
satirized so much
237
00:29:28,810 --> 00:29:31,944
that it's hard to see it.
238
00:29:35,861 --> 00:29:39,821
- Well, he's easy to parody
'cause he's such a stylist,
239
00:29:39,865 --> 00:29:42,868
and so, um,
240
00:29:42,911 --> 00:29:46,828
so intense,
241
00:29:46,872 --> 00:29:48,569
you know, that you
can parody him.
242
00:29:49,744 --> 00:29:52,703
- I can confess and
say of Mr. Bergman's
243
00:29:52,747 --> 00:29:53,922
many, many, many films.
244
00:29:53,966 --> 00:29:55,837
How many features did he direct?
245
00:29:55,881 --> 00:29:59,058
45, 50, 55, something like that?
246
00:29:59,101 --> 00:30:00,886
A lot, he directed a lot.
247
00:30:00,929 --> 00:30:04,019
And did stuff for
TV late in life.
248
00:30:04,063 --> 00:30:08,110
And his wonderful, uh,
how prolific he was.
249
00:30:08,154 --> 00:30:10,852
I've maybe only seen 10.
250
00:30:10,896 --> 00:30:13,724
I don't think The
Seventh Seal holds up.
251
00:30:13,768 --> 00:30:15,161
And that's one of
people's favorite films.
252
00:30:15,204 --> 00:30:17,946
You, every, you see
Seventh Seal in college
253
00:30:17,990 --> 00:30:19,165
and it's so profound
and all that.
254
00:30:19,208 --> 00:30:21,341
You see it later,
and it's laughable.
255
00:30:21,384 --> 00:30:24,126
But others of his films
hold up more , probably.
256
00:30:26,302 --> 00:30:29,392
- There's some
films that require
257
00:30:29,436 --> 00:30:33,614
some knowledge to get
the maximum out of.
258
00:30:35,137 --> 00:30:38,706
And, uh, you know, a
film like The Magician
259
00:30:38,749 --> 00:30:40,708
or The Seventh Seal,
260
00:30:40,751 --> 00:30:45,539
it helps if you know
some philosophy.
261
00:30:46,932 --> 00:30:49,021
When I first saw these films,
262
00:30:49,064 --> 00:30:53,112
I didn't know my
Danish philosophy
263
00:30:53,155 --> 00:30:56,245
or German philosophy.
264
00:30:56,289 --> 00:30:58,465
Uh, so, but I was able
265
00:30:58,508 --> 00:31:02,034
to completely be
enthralled by them
266
00:31:02,077 --> 00:31:05,037
because he's such a great
storyteller, you know.
267
00:31:07,082 --> 00:31:11,086
And, and now I, I can see them
268
00:31:11,130 --> 00:31:15,699
and, uh, understand them more.
269
00:31:19,573 --> 00:31:20,704
- God.
270
00:31:22,010 --> 00:31:23,577
It's such an odd idea
271
00:31:23,620 --> 00:31:25,318
to walk through a landscape
at the time of the plague.
272
00:31:25,361 --> 00:31:27,494
And that Death will be a chap
273
00:31:27,537 --> 00:31:29,888
following you around
with a chess game.
274
00:31:29,931 --> 00:31:33,979
And, uh, it'll eventually
catch you up, it'll get to you.
275
00:31:34,022 --> 00:31:35,981
I thought it was so
brutal, that's what.
276
00:31:37,156 --> 00:31:38,679
It was beautifully brutal.
277
00:31:39,854 --> 00:31:41,856
Once I came to Royal College,
I would honestly spend
278
00:31:41,900 --> 00:31:43,292
almost two or
three nights a week
279
00:31:43,336 --> 00:31:44,467
in the National Film Theater
280
00:31:44,511 --> 00:31:46,382
'cause there was a
student ticket price
281
00:31:46,426 --> 00:31:48,689
so you could go in there
with your pack of cigarettes.
282
00:31:48,732 --> 00:31:50,996
So I watched almost all
of the Bergman films,
283
00:31:51,039 --> 00:31:53,955
Kurosawa, and, you know,
284
00:31:53,999 --> 00:31:56,523
anything interesting
or different.
285
00:31:56,566 --> 00:32:00,353
Um, Polish films, so it
was an entire door opened
286
00:32:00,396 --> 00:32:02,137
on alternative cinema.
287
00:32:02,181 --> 00:32:04,313
Which of course I took to
288
00:32:04,357 --> 00:32:07,447
completely hook,
line, and sinker.
289
00:32:07,490 --> 00:32:09,579
And Bergman's stuff,
everything about it
290
00:32:09,623 --> 00:32:13,757
was, uh, he comes from
the school of everything.
291
00:32:13,801 --> 00:32:16,195
I like you quoting the
school of everything.
292
00:32:16,238 --> 00:32:20,025
Where those directors
are into everything.
293
00:32:20,068 --> 00:32:22,114
It's not just the script,
the story, the actors,
294
00:32:22,157 --> 00:32:24,551
but how it looks.
295
00:32:24,594 --> 00:32:28,337
Um, it's mood is
very, very important.
296
00:32:28,381 --> 00:32:31,906
My favorite one, of
course, was Seventh Seal.
297
00:32:31,950 --> 00:32:34,430
Which I think was
absolutely remarkable
298
00:32:34,474 --> 00:32:38,739
in its, its ideas
and, um, its journey.
299
00:32:38,782 --> 00:32:45,006
Was almost like science
fiction, it was so amazing.
300
00:32:45,006 --> 00:32:53,667
Was almost like science
fiction, it was so amazing.
301
00:33:15,906 --> 00:33:21,390
[rhythmic piano music]
302
00:33:21,390 --> 00:33:30,791
[rhythmic piano music]
303
00:34:25,585 --> 00:34:30,851
It's perfect.
304
00:34:30,851 --> 00:34:40,469
It's perfect.
305
00:35:21,293 --> 00:35:32,130
[droning instrumental music]
306
00:35:36,656 --> 00:35:38,092
- I think more than
almost anybody else,
307
00:35:38,136 --> 00:35:40,442
he was very religious, and
it felt like a religion
308
00:35:40,486 --> 00:35:43,880
that was similar to the
one I'd come out of, so.
309
00:35:43,924 --> 00:35:48,494
Very strict and kind of,
uh, very channeled lifes
310
00:35:48,537 --> 00:35:51,323
and, you know, not
doing anything that
would displease God
311
00:35:51,366 --> 00:35:54,804
and having your children in
line and all of those things.
312
00:35:54,848 --> 00:35:58,243
Um, but I also loved
his sense of theater.
313
00:35:58,286 --> 00:36:00,288
Um, sort of the costumes.
314
00:36:00,332 --> 00:36:02,116
The fact that you could
have Death as a character
315
00:36:02,160 --> 00:36:03,726
and talking to
people and saying,
316
00:36:03,770 --> 00:36:05,206
"Well, your time is up,
317
00:36:05,250 --> 00:36:07,208
"that's why I'm sawing
down the tree you're in."
318
00:36:07,252 --> 00:36:12,866
You know, that sort of feel.
319
00:36:12,866 --> 00:36:22,136
You know, that sort of feel.
320
00:36:40,807 --> 00:36:42,852
- [Voiceover] When did you
start thinking about death?
321
00:36:44,202 --> 00:36:45,638
- Very young.
322
00:36:45,681 --> 00:36:48,075
You know, it's
been an obsessive,
323
00:36:48,118 --> 00:36:52,166
uh, subject with me
since I was tiny boy,
324
00:36:52,210 --> 00:36:53,776
five, six years old,
325
00:36:53,820 --> 00:36:56,736
and I think
326
00:36:56,779 --> 00:37:00,043
that may be a big reason
327
00:37:00,087 --> 00:37:03,046
why Bergman resonated
with me so much.
328
00:37:04,657 --> 00:37:10,576
[quietly dramatic
instrumental music]
329
00:37:10,576 --> 00:37:19,541
[quietly dramatic
instrumental music]
330
00:38:11,854 --> 00:38:26,782
[pulsing instrumental music]
331
00:38:26,782 --> 00:38:35,225
[pulsing instrumental music]
332
00:38:40,230 --> 00:38:43,451
- There is no real way
of dealing with it.
333
00:38:43,495 --> 00:38:45,714
You, you, all you can do
334
00:38:45,758 --> 00:38:47,847
is distract yourself.
335
00:38:47,890 --> 00:38:49,936
If you don't distract yourself,
336
00:38:49,979 --> 00:38:51,981
then you're faced with
thinking about it.
337
00:38:52,025 --> 00:38:55,333
When you think about it, it's a
338
00:38:55,376 --> 00:38:59,337
terrifying and impossible
339
00:38:59,380 --> 00:39:01,426
losing proposition.
340
00:39:01,469 --> 00:39:04,472
So it's best to try
341
00:39:04,516 --> 00:39:07,649
and not think about it, and
if not thinking about it
342
00:39:07,693 --> 00:39:10,826
means that you turn on
a Fred Astaire movie
343
00:39:10,870 --> 00:39:12,611
or you go to a football game
344
00:39:12,654 --> 00:39:16,658
or you, you know,
spend your energy
345
00:39:16,702 --> 00:39:19,052
trying to write a play
346
00:39:19,095 --> 00:39:22,185
and figure out the problems
347
00:39:22,229 --> 00:39:23,361
of the second act
348
00:39:23,404 --> 00:39:25,928
and they consume you,
349
00:39:25,972 --> 00:39:28,322
great, be consumed
by this trivia.
350
00:39:29,976 --> 00:39:31,543
[surf crashes]
351
00:39:35,851 --> 00:39:41,466
[pulsing instrumental music]
352
00:39:41,466 --> 00:39:50,736
[pulsing instrumental music]
353
00:41:25,961 --> 00:41:29,878
New York was showing
Wild Strawberries.
354
00:41:29,922 --> 00:41:32,533
That's the first
time I knew the name.
355
00:41:32,577 --> 00:41:34,535
' Cause I saw it in print.
356
00:41:34,579 --> 00:41:36,145
And I saw the picture
357
00:41:36,189 --> 00:41:39,845
and related it back
to Summer with Monika
358
00:41:39,888 --> 00:41:42,151
and, uh, The Naked Night.
359
00:41:42,195 --> 00:41:44,937
And then, very
shortly after that,
360
00:41:44,980 --> 00:41:48,070
they showed, I believe
in a double feature,
361
00:41:48,114 --> 00:41:49,724
The Seventh Seal
and The Magician.
362
00:41:49,768 --> 00:41:52,379
And, and by that time,
363
00:41:52,422 --> 00:41:55,556
I was completely,
364
00:41:55,600 --> 00:41:57,253
you know, hooked.
365
00:41:57,297 --> 00:41:58,254
I mean, completely.
366
00:41:58,298 --> 00:41:59,647
I just thought he was
367
00:41:59,691 --> 00:42:02,607
the best filmmaker
that I'd ever seen.
368
00:42:04,434 --> 00:42:09,135
[pulsing instrumental music]
369
00:42:13,966 --> 00:42:16,316
He was entertaining.
370
00:42:16,359 --> 00:42:18,623
You know, it was not
371
00:42:18,666 --> 00:42:21,103
going to a film I'm
supposed to like
372
00:42:21,147 --> 00:42:23,453
'cause it's a noble film
373
00:42:23,497 --> 00:42:25,586
or a worthy film.
374
00:42:26,979 --> 00:42:28,371
It was actually entertaining.
375
00:42:28,415 --> 00:42:29,895
The burden of
entertainment was on him.
376
00:42:29,938 --> 00:42:32,985
I paid the, the dollar and
a half or whatever it was
377
00:42:33,028 --> 00:42:35,204
and sat down in
the movie theater
378
00:42:35,248 --> 00:42:38,425
and he grabbed me right away
379
00:42:38,468 --> 00:42:41,210
and I was completely mesmerized
380
00:42:41,254 --> 00:42:44,605
and suspenseful for
the whole movie,
381
00:42:44,649 --> 00:42:48,740
involved in it, 'cause he
was a wonderful entertainer.
382
00:42:48,783 --> 00:42:51,873
And his images were so beautiful
383
00:42:51,917 --> 00:42:55,268
and dramatic and full of feeling
384
00:42:55,311 --> 00:42:56,617
and potent,
385
00:42:56,661 --> 00:43:00,012
and the, the content,
386
00:43:00,055 --> 00:43:03,058
the intellectual
content of the movie
387
00:43:03,102 --> 00:43:06,018
resonated deeply with me.
388
00:43:06,061 --> 00:43:07,541
They were all,
389
00:43:07,585 --> 00:43:12,241
he was touching on themes
and ideas, feelings,
390
00:43:12,285 --> 00:43:18,421
that were very, very
meaningful to me personally.
391
00:43:18,421 --> 00:43:27,169
that were very, very
meaningful to me personally.
392
00:44:20,440 --> 00:44:26,054
[pulsing instrumental music]
393
00:44:26,054 --> 00:44:35,324
[pulsing instrumental music]
394
00:45:59,321 --> 00:46:04,936
[rhythmic instrumental music]
395
00:46:04,936 --> 00:46:14,206
[rhythmic instrumental music]
396
00:47:11,916 --> 00:47:14,396
- I didn't like Virgin
Spring when I saw it
397
00:47:14,440 --> 00:47:16,659
'cause I thought
398
00:47:16,703 --> 00:47:20,402
this is like a
medieval revenge play,
399
00:47:20,446 --> 00:47:22,709
and then I realized,
oh, wait a minute,
400
00:47:22,752 --> 00:47:25,190
it is a medieval
revenge play. [laughs]
401
00:47:25,233 --> 00:47:30,586
[tinkling instrumental music]
402
00:47:34,895 --> 00:47:37,593
- I checked out Virgin
of Spring again recently
403
00:47:37,637 --> 00:47:39,030
to see was it a little,
404
00:47:39,073 --> 00:47:42,816
um, naive.
405
00:47:42,860 --> 00:47:44,035
Not at all.
406
00:47:44,078 --> 00:47:46,559
All his stuff still
stands right there.
407
00:47:46,602 --> 00:47:48,256
It still holds up.
408
00:47:50,171 --> 00:47:54,175
- In The Virgin Spring,
things get tougher, stronger.
409
00:47:54,219 --> 00:47:57,352
The real fascinating
part of that story
410
00:47:57,396 --> 00:47:59,354
and the way it's
done, which, uh,
411
00:47:59,398 --> 00:48:00,878
is, uh, the association.
412
00:48:00,921 --> 00:48:02,705
There seems to be always
something in his work
413
00:48:02,749 --> 00:48:06,144
that has something
that's pre-Christian.
414
00:48:06,187 --> 00:48:08,363
As pre-Christian as
something that comes out
415
00:48:08,407 --> 00:48:09,843
of that landscape.
416
00:48:09,887 --> 00:48:13,934
That is, um, of a different
417
00:48:13,978 --> 00:48:15,980
culture and mindset.
418
00:48:16,023 --> 00:48:18,634
That is something that may
have been almost wiped away
419
00:48:18,678 --> 00:48:21,333
by, by conversion
to Christianity,
420
00:48:21,376 --> 00:48:23,074
almost but not quite.
421
00:48:23,117 --> 00:48:25,772
You know, out of, I
don't know, Scandinavia,
422
00:48:25,815 --> 00:48:28,470
Iceland, you know.
423
00:48:28,514 --> 00:48:32,910
And that seems to
always be fighting.
424
00:48:32,953 --> 00:48:35,825
There seems to be a tension, uh,
425
00:48:35,869 --> 00:48:37,349
with his characters.
426
00:48:37,392 --> 00:48:40,439
And Virgin Spring has that
flat-out, you see it completely.
427
00:48:40,482 --> 00:48:43,224
You feel it and, uh,
428
00:48:43,268 --> 00:48:45,096
I guess one just has to.
429
00:48:45,139 --> 00:48:47,098
At that time, I didn't
know, I was young.
430
00:48:47,141 --> 00:48:49,100
But one has to
read, you know, the.
431
00:48:49,143 --> 00:48:52,103
You read the Sagas or
the Icelandic Sagas
432
00:48:52,146 --> 00:48:55,367
and you get a sense of what
that world might've been like.
433
00:48:55,410 --> 00:48:59,023
You know, and then
you impose, uh,
434
00:48:59,066 --> 00:49:01,199
Christianity on it.
435
00:49:01,242 --> 00:49:16,170
And, uh, watch the fun.
436
00:49:16,170 --> 00:49:17,041
And, uh, watch the fun.
437
00:49:21,523 --> 00:49:25,614
- The Virgin Spring was
such a perfect story frame.
438
00:49:25,658 --> 00:49:29,879
Um, of, you know, a
family that's religious,
439
00:49:29,923 --> 00:49:31,794
a child that's innocent,
440
00:49:31,838 --> 00:49:33,971
going off on a, uh, pilgrimage,
441
00:49:34,014 --> 00:49:37,061
ending up with the
rape and murder.
442
00:49:37,104 --> 00:49:39,585
The perfect people,
the religious people
becoming savage,
443
00:49:39,628 --> 00:49:42,283
and the savages becoming fearful
and frightened and crying
444
00:49:42,327 --> 00:49:44,111
and being at the
mercy of somebody else
445
00:49:44,155 --> 00:49:45,808
that's being violent.
446
00:49:45,852 --> 00:49:48,376
Just struck me as an
incredibly powerful paradigm
447
00:49:48,420 --> 00:49:51,989
for so much of life
that involves violence.
448
00:49:55,514 --> 00:49:56,689
- Every time a
Bergman film came out,
449
00:49:56,732 --> 00:49:57,907
which was very frequent,
450
00:49:57,951 --> 00:50:00,388
you knew that there
was another level
451
00:50:00,432 --> 00:50:03,043
you had to reach to with him
452
00:50:03,087 --> 00:50:04,262
or he was gonna take you.
453
00:50:04,305 --> 00:50:06,655
He may leave you
behind a lot maybe,
454
00:50:06,699 --> 00:50:08,396
but you knew there
was something special
455
00:50:08,440 --> 00:50:09,876
that you were gonna see.
456
00:50:09,919 --> 00:50:14,620
And it was going to, uh,
provoke you creatively,
457
00:50:14,663 --> 00:50:15,838
especially if you
decided to start
458
00:50:15,882 --> 00:50:17,101
to make your own pictures.
459
00:50:17,144 --> 00:50:18,885
The major influence,
I would say,
460
00:50:18,928 --> 00:50:20,887
was the inspiration
of a Bergman,
461
00:50:20,930 --> 00:50:25,326
the, um, opening of the
mind if at all possible,
462
00:50:25,370 --> 00:50:27,589
making you feel that
anything can be done.
463
00:50:27,633 --> 00:50:29,678
Uh, storytelling, visually,
464
00:50:29,722 --> 00:50:31,289
and, uh, with dialogue.
465
00:50:31,332 --> 00:50:33,291
Looking right at the
camera, speaking,
466
00:50:33,334 --> 00:50:34,901
all of this sort of thing.
467
00:50:34,944 --> 00:50:36,859
Uh, this was, this
was the key element.
468
00:50:36,903 --> 00:50:39,862
I mean, uh, for me, um,
469
00:50:39,906 --> 00:50:41,168
of Bergman.
470
00:50:41,212 --> 00:50:44,519
But, primarily, what was
most inspiring all along
471
00:50:44,563 --> 00:50:49,263
was the, of course, the
constant, uh, debate
472
00:50:49,307 --> 00:50:52,788
about the, the spiritual
debate, the transcendent debate.
473
00:50:57,402 --> 00:50:58,925
That's what really started
474
00:50:58,968 --> 00:51:00,927
a compulsion to see
the Bergman pictures,
475
00:51:00,970 --> 00:51:03,538
even though I didn't understand
a lot of what was happening.
476
00:51:03,582 --> 00:51:06,324
Each one of the films
was like a little, like a
477
00:51:06,367 --> 00:51:08,587
conversation with himself.
478
00:51:08,630 --> 00:51:10,197
It's almost as if he didn't
care to see the pictures.
479
00:51:10,241 --> 00:51:12,765
I mean, you know,
of course you did.
480
00:51:12,808 --> 00:51:14,027
Of course, I'm sure he cared.
481
00:51:14,071 --> 00:51:15,072
People saw the films,
482
00:51:15,115 --> 00:51:17,552
but at a certain point, uh,
483
00:51:17,596 --> 00:51:19,119
he just made them
484
00:51:19,163 --> 00:51:21,121
one continuous
conversation with himself
485
00:51:21,165 --> 00:51:22,949
and the people around him.
486
00:51:22,992 --> 00:51:24,733
And we still grapple
with those ideas.
487
00:51:24,777 --> 00:51:26,561
They're all there,
that's why his pictures
488
00:51:26,605 --> 00:51:29,956
are not gonna be out
of, out of fashion.
489
00:51:32,219 --> 00:51:47,147
[creeping instrumental music]
490
00:51:47,147 --> 00:51:50,411
[creeping instrumental music]
491
00:51:56,025 --> 00:52:10,953
- Mm hmm, wow.
492
00:52:10,953 --> 00:52:12,085
- Mm hmm, wow.
493
00:52:17,090 --> 00:52:18,744
- [Voiceover] You
who wanted my life.
494
00:52:18,787 --> 00:52:22,704
- Mm, wow.
495
00:52:27,622 --> 00:52:34,629
Wow.
496
00:52:38,981 --> 00:52:40,505
- [Voiceover] And I don't
know the difference really.
497
00:52:40,548 --> 00:52:50,732
But.
498
00:52:55,607 --> 00:52:57,391
It means that he got mail.
499
00:52:58,827 --> 00:53:04,224
- [Iñárritu] Wow.
500
00:53:04,224 --> 00:53:13,712
- [Iñárritu] Wow.
501
00:53:38,345 --> 00:53:46,310
[pulsing instrumental music]
502
00:53:50,618 --> 00:53:53,708
- [Voiceover] So
horrible dreams nowadays.
503
00:53:54,970 --> 00:54:02,543
Uh, they're not merciful.
504
00:54:07,418 --> 00:54:08,636
Sit night.
505
00:54:09,681 --> 00:54:14,381
Here it says, "I'm
doing a great career
506
00:54:14,425 --> 00:54:16,644
"and I can't sleep."
507
00:54:16,688 --> 00:54:17,950
I guess these also.
508
00:54:19,560 --> 00:54:22,259
Here, "Afraid, afraid, afraid."
509
00:54:23,738 --> 00:54:37,274
[pulsing instrumental music]
510
00:54:42,104 --> 00:54:45,630
- The end of 1973, I was 18.
511
00:54:45,673 --> 00:54:48,589
That's a day I never,
I can never forget.
512
00:54:49,851 --> 00:54:52,941
That's the day of my
epiphany, so to speak.
513
00:54:52,985 --> 00:54:54,987
Um, actually it was.
514
00:54:56,771 --> 00:54:59,296
I think back then
there's only one film,
515
00:54:59,339 --> 00:55:01,733
Bergman film,
available in Taiwan,
516
00:55:01,776 --> 00:55:03,822
in the early '70s.
517
00:55:03,865 --> 00:55:08,957
I saw it with my
friends in a film club,
518
00:55:09,001 --> 00:55:11,046
in the screening room.
519
00:55:11,090 --> 00:55:13,179
I saw it twice in a row.
520
00:55:13,222 --> 00:55:15,355
And I couldn't move.
521
00:55:15,399 --> 00:55:19,533
I felt my virginity
was taken. [laughs]
522
00:55:19,577 --> 00:55:21,622
By this man.
523
00:55:21,666 --> 00:55:24,146
Uh, I, I didn't get it.
524
00:55:24,190 --> 00:55:25,539
I was just in awe.
525
00:55:25,583 --> 00:55:26,845
I had never seen
anything like that
526
00:55:26,888 --> 00:55:28,586
growing up in Taiwan.
527
00:55:28,629 --> 00:55:32,372
Pretty academically, you
know, being a good boy.
528
00:55:32,416 --> 00:55:35,375
Don't think about
anything fancy, you know.
529
00:55:35,419 --> 00:55:37,856
Just do your homework
and get to a college,
530
00:55:37,899 --> 00:55:39,466
and I failed that.
531
00:55:39,510 --> 00:55:43,383
And my mother is a
fervent Christian.
532
00:55:43,427 --> 00:55:46,995
She took me to
church every Sunday.
533
00:55:47,039 --> 00:55:50,825
And I prayed four times
a day till I was 14
534
00:55:50,869 --> 00:55:53,654
and I just quit, I don't.
535
00:55:53,698 --> 00:55:55,613
"Why am I doing this?"
536
00:55:55,656 --> 00:55:57,963
Um, so that was my background.
537
00:55:58,006 --> 00:55:59,747
And I saw Virgin Spring.
538
00:56:01,358 --> 00:56:05,362
I never saw art film before.
539
00:56:05,405 --> 00:56:08,669
Can you imagine the impact?
540
00:56:08,713 --> 00:56:09,757
I was dumbstruck.
541
00:56:09,801 --> 00:56:12,412
I didn't know what hit me.
542
00:56:12,456 --> 00:56:15,154
Um, I never know
543
00:56:15,197 --> 00:56:17,765
you can ask question
about faith.
544
00:56:17,809 --> 00:56:19,941
I never
545
00:56:19,985 --> 00:56:21,856
could imagine somebody.
546
00:56:21,900 --> 00:56:25,164
I remember the shot
toward the end of.
547
00:56:25,207 --> 00:56:27,122
It still affect
me till this days.
548
00:56:27,166 --> 00:56:31,779
When I shoot something
contemplative,
549
00:56:31,823 --> 00:56:34,652
I always shoot from people,
the back of people's head.
550
00:56:34,695 --> 00:56:37,263
That's the shot, like
exactly from here.
551
00:56:37,306 --> 00:56:41,049
The father look up
and say, "God, why?"
552
00:56:41,093 --> 00:56:44,270
And when the father's
contemplating murder,
553
00:56:44,313 --> 00:56:47,708
he just go up and
there's a small tree
554
00:56:47,752 --> 00:56:49,231
by the hill.
555
00:56:49,275 --> 00:56:53,279
I don't know why that shot
hit me like a sledgehammer.
556
00:56:53,322 --> 00:56:59,241
And he's just look
at a tree and go.
557
00:56:59,241 --> 00:57:08,207
And he's just look
at a tree and go.
558
00:57:24,615 --> 00:57:30,229
[quiet instrumental music]
559
00:57:30,229 --> 00:57:39,499
[quiet instrumental music]
560
00:58:22,499 --> 00:58:24,979
- It's a very, very
powerful movie.
561
00:58:25,023 --> 00:58:26,764
And, I mean, I know
that when it came out,
562
00:58:26,807 --> 00:58:30,289
it was, you know,
extremely taboo.
563
00:58:30,332 --> 00:58:33,814
Um, but it kind of
still is quite shocking.
564
00:58:33,858 --> 00:58:37,905
Uh, I mean, Bergman, Bergman
was just so unafraid.
565
00:58:39,298 --> 00:58:41,082
So unafraid
566
00:58:41,126 --> 00:58:46,218
of just putting the camera
in just the most intimate
567
00:58:46,261 --> 00:58:51,179
angle to absorb someone.
568
00:58:51,223 --> 00:58:54,443
For me, you know,
watching The Silence,
569
00:58:54,487 --> 00:58:58,447
it invited me into
the private realm
570
00:58:58,491 --> 00:59:01,320
of each of these,
those three characters.
571
00:59:01,363 --> 00:59:05,846
You know, who, who are
the people in that story.
572
00:59:05,890 --> 00:59:10,068
Um, and they each go on
these silent journies.
573
00:59:10,111 --> 00:59:13,288
And some of them
into a deep, deep
574
00:59:13,332 --> 00:59:16,988
abiding loneliness
575
00:59:17,031 --> 00:59:20,774
that feels unsoothable.
576
00:59:22,733 --> 00:59:24,343
Except for maybe with music.
577
00:59:25,953 --> 00:59:33,744
[halting instrumental music]
578
00:59:38,226 --> 00:59:40,315
That's the beauty
of film anyway.
579
00:59:40,359 --> 00:59:43,231
That's, that's the
language of film, really,
580
00:59:43,275 --> 00:59:45,059
is what you're seeing.
581
00:59:45,103 --> 00:59:47,714
You know, 'cause also
dialogue names the thing.
582
00:59:47,758 --> 00:59:50,195
It's not infinite
anymore, it has limits,
583
00:59:50,238 --> 00:59:51,675
it has a ceiling.
584
00:59:51,718 --> 00:59:55,200
You know, and when
things are not spoken,
585
00:59:55,243 --> 00:59:58,116
you know, anything is possible.
586
00:59:58,159 --> 01:00:01,946
It could, it has endless depths
587
01:00:01,989 --> 01:00:05,384
and, you know,
588
01:00:05,427 --> 01:00:07,604
it keeps going in
all directions.
589
01:00:11,390 --> 01:00:14,262
- Silence is a great
tool in cinema,
590
01:00:14,306 --> 01:00:17,701
maybe in all kinds of art film.
591
01:00:17,744 --> 01:00:20,007
I think when I use silence,
592
01:00:20,051 --> 01:00:21,487
I don't purposefully use it,
593
01:00:21,530 --> 01:00:23,794
but I kinda use
them quite a bit.
594
01:00:23,837 --> 01:00:26,405
I think that has
something to do with
595
01:00:26,448 --> 01:00:29,016
my, my Chinese background.
596
01:00:29,060 --> 01:00:31,366
The Asian background.
597
01:00:31,410 --> 01:00:34,413
The western art deal
with matters a lot,
598
01:00:34,456 --> 01:00:37,068
and we deal with space a lot.
599
01:00:37,111 --> 01:00:38,765
It's just by tradition.
600
01:00:38,809 --> 01:00:42,551
So I, I think I like
that form quite a bit.
601
01:00:42,595 --> 01:00:45,903
That's, that's the way
I will use silence.
602
01:00:45,946 --> 01:00:47,818
Uh, but silence sometimes,
603
01:00:47,861 --> 01:00:50,037
whether it willful or willful,
604
01:00:50,081 --> 01:00:52,953
can be really powerful.
605
01:00:52,997 --> 01:00:56,348
Especially in Bergman films.
606
01:00:58,611 --> 01:01:04,051
[dark drumming music]
607
01:01:04,051 --> 01:01:13,495
[dark drumming music]
608
01:02:09,029 --> 01:02:17,864
[dark drumming music]
609
01:02:21,999 --> 01:02:25,045
- This is a real luxury, to
have a library like this.
610
01:02:29,136 --> 01:02:30,877
Now were these his labels?
611
01:02:32,574 --> 01:02:34,098
These are Bergman's labels?
612
01:02:34,141 --> 01:02:35,621
He put those on?
- [Voiceover] Yeah.
613
01:02:38,624 --> 01:02:40,321
- He was just prolific.
614
01:02:42,584 --> 01:02:44,369
Persona I've seen
three or four times
615
01:02:44,412 --> 01:02:47,024
and I really enjoy that picture.
616
01:02:47,067 --> 01:02:50,331
And I saw my friend Greg
who just was like [snores].
617
01:02:51,506 --> 01:02:54,466
You know, and I
was really, like,
618
01:02:54,509 --> 01:02:56,163
"Well do you see how
she's becoming her
619
01:02:56,207 --> 01:02:57,817
"and they can't
tell, it's like."
620
01:02:57,861 --> 01:03:02,735
I'm really into it, he's
like, "You're nuts." [laughs]
621
01:03:02,779 --> 01:03:04,781
But, you know, movies, that's
the thing about movies,
622
01:03:04,824 --> 01:03:07,609
they're completely subjective.
623
01:03:07,653 --> 01:03:10,090
And everything about a movie,
624
01:03:10,134 --> 01:03:11,875
and this is something.
625
01:03:11,918 --> 01:03:15,748
There's two things I find
that people don't understand.
626
01:03:15,792 --> 01:03:18,359
One is, it's not about ideas.
627
01:03:19,708 --> 01:03:22,015
No one gets that,
it's not about ideas.
628
01:03:22,059 --> 01:03:24,191
Because ideas are a dime a dozen
629
01:03:24,235 --> 01:03:26,367
and there's no such
thing as a new idea.
630
01:03:26,411 --> 01:03:28,456
It's about execution.
631
01:03:30,241 --> 01:03:31,633
Do you know what I mean?
632
01:03:31,677 --> 01:03:34,593
It's about the realization
of it, how it's done.
633
01:03:34,636 --> 01:03:37,465
And that's one, and two,
634
01:03:37,509 --> 01:03:41,208
is everything about a
film, especially cinema,
635
01:03:41,252 --> 01:03:44,777
is who you are, the viewer,
636
01:03:44,821 --> 01:03:48,607
how old you are, where
you are, when you view it.
637
01:03:50,043 --> 01:03:52,654
And when you ask people
their favorite movie.
638
01:03:52,698 --> 01:03:55,092
"What's the best,
your favorite movie?"
639
01:03:55,135 --> 01:03:58,617
They can always tell you
when and where they saw it.
640
01:03:58,660 --> 01:04:00,662
Who they saw it with.
641
01:04:00,706 --> 01:04:03,927
Because it's so much
of the experience.
642
01:04:03,970 --> 01:04:08,714
And, plus, you know,
as you grow old.
643
01:04:08,757 --> 01:04:10,281
It's a strange word.
644
01:04:10,324 --> 01:04:12,370
I mean, you could say, mature,
645
01:04:12,413 --> 01:04:15,503
grow more sophisticated,
grow more worldly.
646
01:04:15,547 --> 01:04:19,812
But the truth is as you
age, you experience more.
647
01:04:19,856 --> 01:04:22,641
And things are different.
648
01:04:22,684 --> 01:04:25,774
You know, so many, so many
movies that people love,
649
01:04:25,818 --> 01:04:28,908
I say, "Don't see it again."
650
01:04:28,952 --> 01:04:31,998
'Cause if they see it again,
they'll go, "Ooh, it's lousy."
651
01:04:32,042 --> 01:04:33,391
[laughs] You know.
652
01:04:35,088 --> 01:04:37,134
That's wonderful
that in your library
653
01:04:37,177 --> 01:04:40,485
you have a shelf
of books about you.
654
01:04:40,528 --> 01:04:41,703
Which is great.
655
01:04:41,747 --> 01:04:43,488
I wonder if he read them.
656
01:04:45,794 --> 01:04:47,100
- [Voiceover] I think he did.
657
01:04:48,928 --> 01:04:54,542
[pulsing instrumental music]
658
01:04:54,542 --> 01:05:03,812
[pulsing instrumental music]
659
01:06:34,947 --> 01:06:36,340
- Yeah, I'm almost
sure that the track
660
01:06:36,383 --> 01:06:38,168
has to be around
here because it's,
661
01:06:38,211 --> 01:06:39,778
it's kind of the same.
662
01:06:40,909 --> 01:06:42,041
- [Voiceover] Yeah?
663
01:06:42,085 --> 01:06:53,096
- Yeah, it was
between the bushes.
664
01:06:58,318 --> 01:06:59,624
Wow!
665
01:07:00,581 --> 01:07:04,759
This is amazing because
he, it seems like, uh,
666
01:07:04,803 --> 01:07:07,893
like a old, uh, railroad.
667
01:07:07,936 --> 01:07:09,416
You know what I mean?
668
01:07:09,460 --> 01:07:10,548
I mean, you will never
believe that this was used
669
01:07:10,591 --> 01:07:13,333
for a film shot.
670
01:07:13,377 --> 01:07:20,471
I mean, this is like,
look at this work.
671
01:07:25,084 --> 01:07:30,524
[elegant piano music]
672
01:07:30,524 --> 01:07:39,968
[elegant piano music]
673
01:08:52,519 --> 01:08:58,917
[film reel clicking]
674
01:09:03,661 --> 01:09:18,589
[eerie instrumental music]
675
01:09:18,589 --> 01:09:19,155
[eerie instrumental music]
676
01:09:24,247 --> 01:09:26,074
[film reel clicking]
677
01:09:27,685 --> 01:09:35,388
[eerie instrumental music]
678
01:09:40,306 --> 01:09:42,090
- He redefined cinema.
679
01:09:42,134 --> 01:09:43,962
Andy Warhol was
doing it his way.
680
01:09:44,005 --> 01:09:45,920
In the early '60s.
681
01:09:45,964 --> 01:09:48,488
Uh, so many others,
Godard of course.
682
01:09:48,532 --> 01:09:51,752
You know, Truffaut was
settling into another style
683
01:09:51,796 --> 01:09:53,450
by that time, by mid-60s.
684
01:09:53,493 --> 01:09:55,321
By '66 this was, I think.
685
01:09:55,365 --> 01:09:59,020
Persona, just, just the
montage in the beginning.
686
01:09:59,064 --> 01:10:02,241
You know, you, I
don't know if it's,
687
01:10:02,285 --> 01:10:03,416
I don't know if it's the
kind of thing you say,
688
01:10:03,460 --> 01:10:04,983
"Well, I enjoy watching."
689
01:10:05,026 --> 01:10:07,333
In other words, but
if you do watch it,
690
01:10:07,377 --> 01:10:21,173
you can't stop watching it.
691
01:10:25,612 --> 01:10:30,443
- I was, kind of starting
with this high point
692
01:10:30,487 --> 01:10:34,273
of European cinema
that went to America,
693
01:10:34,317 --> 01:10:36,536
and that's what I was
reading all about,
694
01:10:36,580 --> 01:10:38,973
and that movie is
actually such a,
695
01:10:39,017 --> 01:10:41,628
um,
696
01:10:41,672 --> 01:10:43,195
not an anomaly,
but it's quite an,
697
01:10:43,239 --> 01:10:45,197
you know, in the body
of Bergman's work,
698
01:10:45,241 --> 01:10:46,459
it's not really, you know,
699
01:10:46,503 --> 01:10:48,896
it's one that he went so.
700
01:10:48,940 --> 01:10:52,291
There's such a range of, uh,
701
01:10:52,335 --> 01:10:54,250
kinds of films
that Bergman made.
702
01:10:54,293 --> 01:10:56,295
They're all his stories.
703
01:10:56,339 --> 01:10:59,994
But, um, that one has
this kind of experimental
704
01:11:00,038 --> 01:11:01,822
energy that sort of, you know,
705
01:11:01,866 --> 01:11:05,304
it's just, uh, deconstructs
right in front of you.
706
01:11:05,348 --> 01:11:06,610
Um, and it's not really
707
01:11:06,653 --> 01:11:08,568
like, like so much of his work.
708
01:11:08,612 --> 01:11:10,701
Um, but, um, but that one,
709
01:11:10,744 --> 01:11:15,401
I was very taken with.
710
01:11:19,971 --> 01:11:23,801
[delicate guitar music]
711
01:11:25,498 --> 01:11:26,978
- It struck me how,
712
01:11:27,021 --> 01:11:30,851
how much he is what
I wanted to be,
713
01:11:30,895 --> 01:11:33,419
a playwright who got to make
714
01:11:33,463 --> 01:11:36,248
what he wrote as films.
715
01:11:40,470 --> 01:11:42,863
I always wanted
to write something
716
01:11:42,907 --> 01:11:44,212
and then get to make it,
717
01:11:44,256 --> 01:11:47,433
which was, which was the
blessing Bergman had.
718
01:11:47,477 --> 01:11:49,130
He had his little island
719
01:11:49,174 --> 01:11:53,744
and he would write these
original screenplays, plays.
720
01:11:53,787 --> 01:11:56,442
Some of them, I guess,
had been plays even.
721
01:11:56,486 --> 01:11:58,009
And got to do that.
722
01:11:58,052 --> 01:12:00,577
So that was very attractive
in his career for me.
723
01:12:04,407 --> 01:12:08,498
Most of the other great three
filmmakers of that period
724
01:12:08,541 --> 01:12:12,328
was Fellini, Bergman,
and Kurosawa.
725
01:12:12,371 --> 01:12:15,156
And they wrote, but
they really wrote
726
01:12:15,200 --> 01:12:17,202
with a handful of collaborators.
727
01:12:17,245 --> 01:12:19,204
Bergman really wrote it himself.
728
01:12:19,247 --> 01:12:22,033
So if he wanted
something weird to happen
729
01:12:22,076 --> 01:12:24,340
in his script, he
could just do it.
730
01:12:24,383 --> 01:12:25,776
I go through that all the time,
731
01:12:25,819 --> 01:12:27,691
when I would get to
a point and I'd say,
732
01:12:27,734 --> 01:12:29,345
"I really like to."
733
01:12:29,388 --> 01:12:31,303
Then I say, "Well what the
hell, I'm just gonna do it.
734
01:12:31,347 --> 01:12:32,870
"Doesn't matter."
735
01:12:34,001 --> 01:12:39,616
[rhythmic instrumental music]
736
01:12:39,616 --> 01:12:48,886
[rhythmic instrumental music]
737
01:13:47,205 --> 01:13:58,782
[wistful piano music]
738
01:14:03,439 --> 01:14:05,528
- He liked to, uh,
when I spoke to him,
739
01:14:05,571 --> 01:14:08,444
he liked to, when
he was on Faro,
740
01:14:08,487 --> 01:14:10,576
see a film every day.
741
01:14:10,620 --> 01:14:13,666
And that was his, uh, that
was his entertainment.
742
01:14:13,710 --> 01:14:15,929
And I'm sure he had a
tremendous collection,
743
01:14:15,973 --> 01:14:19,237
'cause there he was
isolated on this island.
744
01:14:19,280 --> 01:14:22,283
And he would talk
to me about how he
745
01:14:22,327 --> 01:14:24,590
couldn't go to sleep
at night unless he
746
01:14:24,634 --> 01:14:26,418
watched some kind of junk movie
747
01:14:26,462 --> 01:14:27,680
for a little while, you know,
748
01:14:27,724 --> 01:14:30,640
watch a little bit of,
like, a James Bond thing
749
01:14:30,683 --> 01:14:36,646
or that kind of movie,
just to pacify him.
750
01:14:36,646 --> 01:14:45,568
or that kind of movie,
just to pacify him.
751
01:15:29,133 --> 01:15:30,438
Thank you very much.
752
01:15:30,482 --> 01:15:36,096
- [Voiceover] You're welcome.
753
01:15:36,096 --> 01:15:45,366
- [Voiceover] You're welcome.
754
01:16:45,905 --> 01:16:49,953
[gentle instrumental music]
755
01:16:49,996 --> 01:16:51,911
[scratchy voice over intercom]
756
01:16:55,219 --> 01:16:56,786
- Please, please stop him.
757
01:17:00,267 --> 01:17:01,878
- [Denis] I think
I'm going to faint.
758
01:17:01,921 --> 01:17:02,879
- [Voiceover] Yes?
759
01:17:02,922 --> 01:17:04,184
- [Denis] No, it, it's like.
760
01:17:04,228 --> 01:17:07,144
It was like too much for
me to enter this house.
761
01:17:07,187 --> 01:17:08,841
I don't know what.
- [Voiceover] Okay.
762
01:17:08,885 --> 01:17:10,277
- [Denis] I feel terrible.
- [Voiceover] Well, we'll take
763
01:17:10,321 --> 01:17:12,410
as much time as you need.
764
01:17:12,453 --> 01:17:14,020
- Do you wanna lie
down somewhere?
765
01:17:14,064 --> 01:17:15,282
- [Denis] No, no, no, I
don't want to lay down.
766
01:17:15,326 --> 01:17:18,242
I don't want to be
in the house anymore.
767
01:17:18,285 --> 01:17:24,422
I think it's frightening for me.
768
01:17:29,122 --> 01:17:30,036
- [Voiceover] It's frightening.
769
01:17:30,080 --> 01:17:32,212
Oh, I think it's too intimate.
770
01:17:35,041 --> 01:17:36,086
I think I.
771
01:17:39,045 --> 01:17:40,351
I think we could leave.
772
01:17:41,787 --> 01:17:47,227
[tense piano music]
773
01:17:47,227 --> 01:17:56,672
[tense piano music]
774
01:18:18,998 --> 01:18:21,131
[surf crashes]
775
01:18:25,439 --> 01:18:31,054
[eerie instrumental music]
776
01:18:31,054 --> 01:18:40,324
[eerie instrumental music]
777
01:18:56,949 --> 01:18:59,212
[screaming]
778
01:19:00,779 --> 01:19:06,654
[tense, dramatic
instrumental music]
779
01:19:06,654 --> 01:19:15,663
[tense, dramatic
instrumental music]
780
01:19:35,596 --> 01:19:42,952
[jagged instrumental music]
781
01:19:47,391 --> 01:19:49,610
- He did the best
dreams along with, uh.
782
01:19:49,654 --> 01:19:52,657
He did the best fantasies
and dreams in movies.
783
01:19:52,700 --> 01:19:54,180
Uh, he made things work.
784
01:19:54,224 --> 01:19:55,921
People with no face
and that sort of thing
785
01:19:55,965 --> 01:19:57,836
that you could
normally see the makeup
786
01:19:57,880 --> 01:19:59,272
or the costuming.
787
01:19:59,316 --> 01:20:01,144
Uh, it didn't matter.
788
01:20:01,187 --> 01:20:02,406
He made it work.
789
01:20:02,449 --> 01:20:04,234
In Hour of the Wolf,
he goes, I think,
790
01:20:04,277 --> 01:20:06,889
probably, he pushes it,
791
01:20:06,932 --> 01:20:08,325
and I think he seemed
to be playing around
792
01:20:08,368 --> 01:20:11,154
with, uh, with images
793
01:20:11,197 --> 01:20:16,376
from, uh, the Italian
horror films at the time.
794
01:20:16,420 --> 01:20:19,205
Or some of the Hammer
films, you know.
795
01:20:23,775 --> 01:20:25,821
- Blood From the Mummy's Tomb.
796
01:20:28,475 --> 01:20:31,174
[chuckles] This is a
terrible Hammer film.
797
01:20:35,482 --> 01:20:47,494
[droning instrumental music]
798
01:20:52,325 --> 01:20:53,718
- Uh, I think it's
very difficult to make
799
01:20:53,761 --> 01:20:55,241
a horror film that in some way
800
01:20:55,285 --> 01:20:57,548
isn't commenting on
some part of the culture
801
01:20:57,591 --> 01:21:00,072
and is relevant to a certain,
802
01:21:00,116 --> 01:21:01,421
certain group of people
803
01:21:01,465 --> 01:21:03,946
that can see beyond just
the shock value of it.
804
01:21:03,989 --> 01:21:09,603
[droning instrumental music]
805
01:21:09,603 --> 01:21:18,874
[droning instrumental music]
806
01:21:39,807 --> 01:21:45,422
[droning instrumental music]
807
01:21:45,422 --> 01:21:54,692
[droning instrumental music]
808
01:23:28,220 --> 01:23:33,834
[pulsing instrumental music]
809
01:23:33,834 --> 01:23:43,105
[pulsing instrumental music]
810
01:25:33,432 --> 01:25:39,046
[droning instrumental music]
811
01:25:39,046 --> 01:25:48,317
[droning instrumental music]
812
01:26:41,848 --> 01:26:56,776
[people chatting in
foreign language]
813
01:26:56,776 --> 01:27:01,912
[people chatting in
foreign language]
814
01:27:07,309 --> 01:27:08,571
- She actually, I think,
815
01:27:08,614 --> 01:27:10,660
slipped a little
note in his pocket
816
01:27:10,703 --> 01:27:12,314
when we were at
the film festival,
817
01:27:12,357 --> 01:27:15,665
saying, "We are the
two known Swedes,
818
01:27:15,708 --> 01:27:16,970
"and we have never
worked together
819
01:27:17,014 --> 01:27:19,408
"and I think we should try."
820
01:27:19,451 --> 01:27:23,368
Then Ingmar came out with
the idea of Autumn Sonata.
821
01:27:23,412 --> 01:27:26,284
And Mama was so
tremendously pleased.
822
01:27:26,328 --> 01:27:30,549
Uh, she really saw, and it
became the farewell film
823
01:27:30,593 --> 01:27:32,116
of her career.
824
01:27:32,159 --> 01:27:34,336
I mean, she was already
sick with cancer,
825
01:27:34,379 --> 01:27:49,307
so she knew she wasn't
going to survive for long.
826
01:27:49,307 --> 01:27:52,702
so she knew she wasn't
going to survive for long.
827
01:27:58,142 --> 01:28:03,582
[gentle piano music]
828
01:28:03,582 --> 01:28:13,026
[gentle piano music]
829
01:29:08,517 --> 01:29:11,563
- I imagine that he was
inspired a little bit
830
01:29:11,607 --> 01:29:14,871
by her life, so he
imagined a woman
831
01:29:14,914 --> 01:29:18,962
that was very successful,
very taken with her career.
832
01:29:19,005 --> 01:29:23,270
Uh, she was a pianist in the
film instead of an actress.
833
01:29:23,314 --> 01:29:25,708
But she was very
glamorous, very beautiful,
834
01:29:25,751 --> 01:29:29,668
traveled the world, and she
has, back home, two children
835
01:29:29,712 --> 01:29:32,628
that she has neglected.
836
01:29:32,671 --> 01:29:36,327
Mother was, uh,
837
01:29:36,371 --> 01:29:38,111
pleased to work with him
838
01:29:38,155 --> 01:29:41,941
but a little bit irritated by
839
01:29:41,985 --> 01:29:45,554
the theory that, uh, inevitably,
840
01:29:45,597 --> 01:29:49,340
a career woman would have
to neglect her family.
841
01:29:49,384 --> 01:29:52,387
She thought that was very
old fashioned of Ingmar
842
01:29:52,430 --> 01:30:01,396
and put up a certain
amount of resistance.
843
01:30:05,574 --> 01:30:09,621
- She, I think, suffered in
her life of being accused
844
01:30:09,665 --> 01:30:14,713
of, uh, having sacrificed
us or her husbands
845
01:30:14,757 --> 01:30:17,455
or other aspect of her life
846
01:30:17,499 --> 01:30:19,065
to have a career.
847
01:30:19,109 --> 01:30:22,417
Something that a man would not
be automatically scolded for.
848
01:30:23,809 --> 01:30:29,424
[droning instrumental music]
849
01:30:29,424 --> 01:30:38,694
[droning instrumental music]
850
01:30:56,755 --> 01:31:01,934
[children screaming]
851
01:31:06,809 --> 01:31:13,468
[children screaming]
852
01:31:18,560 --> 01:31:33,488
[laughing]
853
01:31:33,488 --> 01:31:38,057
[laughing]
854
01:31:43,672 --> 01:31:58,600
[knocking]
855
01:31:58,600 --> 01:32:04,214
[knocking]
856
01:32:09,698 --> 01:32:15,181
[screaming and laughing]
857
01:32:15,181 --> 01:32:24,582
[screaming and laughing]
858
01:33:02,533 --> 01:33:04,100
[film reel clicking]
859
01:33:08,321 --> 01:33:11,542
- You know, I, he
said to me once,
860
01:33:11,586 --> 01:33:15,154
"I have this dream always
that I show up on the set
861
01:33:15,198 --> 01:33:18,114
"and I don't know where
to put the camera.
862
01:33:18,157 --> 01:33:19,898
"I don't know what to do."
863
01:33:19,942 --> 01:33:24,599
And, uh, you know, and that's
a typical anxiety dream
864
01:33:24,642 --> 01:33:30,561
that I have, you
know, making film.
865
01:33:30,561 --> 01:33:39,526
that I have, you
know, making film.
866
01:34:06,771 --> 01:34:09,165
- I think the most important
thing for any director
867
01:34:09,208 --> 01:34:12,211
is that they give you a sense
868
01:34:12,255 --> 01:34:17,042
of, um, of not being
able to do anything wrong
869
01:34:17,086 --> 01:34:19,654
so that you can do stuff wrong,
870
01:34:19,697 --> 01:34:21,873
you can try stuff but
you're not afraid to try,
871
01:34:21,917 --> 01:34:24,571
you're not, you're
not afraid to be,
872
01:34:24,615 --> 01:34:26,095
uh, sat on, you're not afraid
873
01:34:26,138 --> 01:34:28,532
that you're going to be sat on.
874
01:34:28,575 --> 01:34:31,100
It's important that
not only the actors,
875
01:34:31,143 --> 01:34:32,841
but all the creative people,
876
01:34:32,884 --> 01:34:36,061
everybody, uh, on the set,
877
01:34:36,105 --> 01:34:38,673
is able to feel comfortable.
878
01:34:38,716 --> 01:34:43,199
Uh, so that they
can do their best,
879
01:34:43,242 --> 01:34:45,027
and if something
isn't quite working,
880
01:34:45,070 --> 01:34:46,332
then you figure it out
881
01:34:46,376 --> 01:34:48,944
and the director would
be the first to say,
882
01:34:48,987 --> 01:34:51,033
"Look, I don't know either
but let's figure this out."
883
01:34:52,817 --> 01:35:03,088
[subdued instrumental music]
884
01:35:07,527 --> 01:35:12,358
- My grandmother, she
loved Ingmar Bergman.
885
01:35:12,402 --> 01:35:16,188
And so when I was 11
years old, I believe,
886
01:35:16,232 --> 01:35:19,365
a film had come out called
Fanny and Alexander.
887
01:35:19,409 --> 01:35:21,324
And she took me to see it.
888
01:35:21,367 --> 01:35:26,198
And I remember as I entered
the world of Bergman,
889
01:35:26,242 --> 01:35:27,939
at a very young,
890
01:35:27,983 --> 01:35:31,247
at an age that I was starting
to want to become an actor,
891
01:35:31,290 --> 01:35:36,252
what I think she connected
to from his films
892
01:35:36,295 --> 01:35:38,515
that meant so much to me,
893
01:35:38,558 --> 01:35:42,562
is everything was seamless.
894
01:35:42,606 --> 01:35:46,828
The performances
felt so deeply true
895
01:35:46,871 --> 01:35:48,873
that you never saw actors.
896
01:35:48,917 --> 01:35:53,660
Everything was so real
that it was almost magical.
897
01:35:53,704 --> 01:35:56,011
So real that it
was almost elusive
898
01:35:56,054 --> 01:35:57,577
because it was like
you couldn't believe
899
01:35:57,621 --> 01:35:59,449
you were watching a film.
900
01:35:59,492 --> 01:36:03,366
You felt like you were peeking
inside someone else's life.
901
01:36:03,409 --> 01:36:06,064
And it was also my
introduction to Liv Ullmann,
902
01:36:06,108 --> 01:36:09,154
who, uh, I think at that age,
903
01:36:09,198 --> 01:36:11,069
she and Jill Clayburgh,
904
01:36:11,113 --> 01:36:14,943
there are few actresses who
were so deeply authentic
905
01:36:14,986 --> 01:36:18,598
and so real that
almost their breath
906
01:36:18,642 --> 01:36:20,818
and the pores in their skin
907
01:36:20,862 --> 01:36:23,473
made you feel everything
the character was feeling.
908
01:36:23,516 --> 01:36:28,434
Uh, and so he was an
immense inspiration
909
01:36:28,478 --> 01:36:29,609
for me
910
01:36:29,653 --> 01:36:32,395
in the kind of actor
I would want to be
911
01:36:32,438 --> 01:36:35,833
and the kinds of filmmakers
I could sort of dream up,
912
01:36:35,877 --> 01:36:38,053
wishing to get
to, uh, work with.
913
01:36:39,663 --> 01:36:41,143
- [Voiceover] If he was
alive, and he called you up
914
01:36:41,186 --> 01:36:43,449
and said, "Well, I'm gonna
do this film about, you know,
915
01:36:43,493 --> 01:36:47,366
"the existence of
God and infidelity.
916
01:36:47,410 --> 01:36:49,673
"You wanna have a lead here?"
917
01:36:49,716 --> 01:36:51,893
- I'd say, "Well what
do you intend to do?
918
01:36:51,936 --> 01:36:53,590
"Show me the script
or the outline."
919
01:36:53,633 --> 01:36:56,462
I'd say, "Yeah, okay,"
you know, "okay."
920
01:36:56,506 --> 01:36:59,291
Um, I'd probably say
it because it's him
921
01:36:59,335 --> 01:37:00,597
and then I'd say, you know,
922
01:37:00,640 --> 01:37:02,077
"Whatever your reasons
are that's great.
923
01:37:02,120 --> 01:37:03,992
"We'll, we'll, I'll figure
out what I have to do.
924
01:37:04,035 --> 01:37:07,125
"You figure it, you have
your reasons, I have mine,
925
01:37:07,169 --> 01:37:09,301
"and we'll come together."
926
01:37:09,345 --> 01:37:12,478
I mean, with Marty
Scorsese, it's the same.
927
01:37:12,522 --> 01:37:13,740
We do things.
928
01:37:13,784 --> 01:37:15,264
Marty'll have certain
things that's he doing.
929
01:37:15,307 --> 01:37:16,178
I have that I do.
930
01:37:16,221 --> 01:37:17,657
We come together.
931
01:37:19,921 --> 01:37:24,142
- I never understood quite
what a playwright he was.
932
01:37:24,186 --> 01:37:27,580
I, you know, I didn't
bother when I was a kid
933
01:37:27,624 --> 01:37:29,017
to say, "Well who wrote this,"
934
01:37:29,060 --> 01:37:32,542
and realize it's
just Ingmar Bergman.
935
01:37:32,585 --> 01:37:36,154
I like the very much,
936
01:37:36,198 --> 01:37:40,506
very intrigued by Franny
and, Fanny and Alexander.
937
01:37:42,073 --> 01:37:44,728
It gets very strange at the end.
938
01:37:44,771 --> 01:37:47,209
But I see many things
where, as the playwright,
939
01:37:47,252 --> 01:37:49,907
he says, "Well, I'm
just gonna do that."
940
01:37:49,951 --> 01:37:52,997
You know, and Bergman
himself has a kind of,
941
01:37:53,041 --> 01:37:57,959
uh, you know, Goethe
Wilhelm Meister story.
942
01:37:58,002 --> 01:38:00,265
Fanny and Alexander are sort of,
943
01:38:00,309 --> 01:38:03,790
story of a little kid who
plays with puppets, Goethe.
944
01:38:03,834 --> 01:38:08,012
Then when he grows up he
encounters Shakespeare
945
01:38:08,056 --> 01:38:12,495
and they do, they do
Hamlet and they analyze it.
946
01:38:12,538 --> 01:38:15,977
It's wonderful to read
Goethe's analysis.
947
01:38:16,020 --> 01:38:18,109
I'm sure Wilhelm Meister
had a big influence
948
01:38:18,153 --> 01:38:21,547
on Bergman, but of
course Strindberg did.
949
01:38:23,419 --> 01:38:29,077
[scattered instrumental music]
950
01:38:29,077 --> 01:38:38,303
[scattered instrumental music]
951
01:40:35,116 --> 01:40:44,168
[spacey instrumental music]
952
01:40:48,607 --> 01:40:53,177
- There's some thing
that you can't copy.
953
01:40:53,221 --> 01:40:55,223
And Bergman had that.
954
01:40:55,266 --> 01:40:57,529
You know, I could
shoot a closeup.
955
01:40:57,573 --> 01:40:59,705
Some other director
can shoot a closeup.
956
01:40:59,749 --> 01:41:01,272
And Bergman can shoot a closeup.
957
01:41:01,316 --> 01:41:05,624
And his closeup
burns off the screen.
958
01:41:05,668 --> 01:41:09,150
It just is, because, you know.
959
01:41:09,193 --> 01:41:12,631
And I could be the same
distance from the actor
960
01:41:12,675 --> 01:41:14,764
and it can be a good actor,
961
01:41:14,807 --> 01:41:19,899
and it's just that
he has something,
962
01:41:19,943 --> 01:41:22,337
had something that, uh,
963
01:41:22,380 --> 01:41:23,599
that every great artist has,
964
01:41:23,642 --> 01:41:29,300
and that is an intangible gift.
965
01:41:29,300 --> 01:41:38,527
and that is an intangible gift.
966
01:42:31,493 --> 01:42:46,421
[rapid drumming music]
967
01:42:46,421 --> 01:42:46,769
[rapid drumming music]
968
01:42:51,730 --> 01:42:53,428
- Now does this,
does this island
969
01:42:53,471 --> 01:42:55,865
have these kinds of
sunsets all summer?
970
01:42:58,607 --> 01:43:00,609
So this is, Ingmar
did this for me?
971
01:43:02,611 --> 01:43:05,831
There are certain
world-class filmmakers
972
01:43:05,875 --> 01:43:10,096
that share something, which
is they are recognized
973
01:43:10,140 --> 01:43:13,709
as world-class artists,
974
01:43:13,752 --> 01:43:15,798
but not in their own country.
975
01:43:15,841 --> 01:43:18,540
And I was with Fellini in Rome,
976
01:43:18,583 --> 01:43:21,195
and he had no respect in Italy.
977
01:43:21,238 --> 01:43:24,241
His last two or three
movies hadn't made money.
978
01:43:24,285 --> 01:43:28,027
So he was not
considered bankable.
979
01:43:28,071 --> 01:43:31,509
And it was like, you
know, Fellini, eh.
980
01:43:31,553 --> 01:43:33,816
The Italians.
981
01:43:33,859 --> 01:43:35,774
And I'm going, "It's Fellini!"
982
01:43:35,818 --> 01:43:37,080
You know. [laughs]
983
01:43:37,123 --> 01:43:40,388
Same thing with Bergman,
same thing with, um,
984
01:43:40,431 --> 01:43:42,390
you know, Satyajit Ray in India.
985
01:43:42,433 --> 01:43:44,305
They still don't
like Satyajit Ray
986
01:43:44,348 --> 01:43:46,437
and he is like their
greatest filmmaker.
987
01:43:46,481 --> 01:43:50,267
He is a world-class artist,
no respect in India.
988
01:43:50,311 --> 01:43:52,182
This leads me to two things
that are interesting.
989
01:43:52,226 --> 01:43:56,099
One is this weird
990
01:43:56,142 --> 01:43:58,449
lack of respect in
your own country,
991
01:43:58,493 --> 01:44:00,277
which I don't know
what that's about
992
01:44:00,321 --> 01:44:01,931
but it's, but it's
international.
993
01:44:01,974 --> 01:44:04,673
But then the other
remarkable thing to me,
994
01:44:04,716 --> 01:44:07,937
because unfortunately
I've lived through this,
995
01:44:07,980 --> 01:44:10,635
where people I
know and work with
996
01:44:10,679 --> 01:44:14,030
then die and become
mythological.
997
01:44:15,814 --> 01:44:19,862
And that's a very strange thing.
998
01:44:19,905 --> 01:44:24,606
They become these, these legend,
these mythological figures.
999
01:44:24,649 --> 01:44:29,088
And I don't know what
I think about that.
1000
01:44:29,132 --> 01:44:30,220
I don't, I don't know.
1001
01:44:30,264 --> 01:44:32,309
I don't know if that's bad.
1002
01:44:32,353 --> 01:44:35,443
But it's, but I know it's weird.
1003
01:44:35,486 --> 01:44:38,620
And I think that, you know,
being here at Bergman's house,
1004
01:44:38,663 --> 01:44:41,187
from now on when I
think of Ingmar Bergman,
1005
01:44:41,231 --> 01:44:43,320
I'm gonna think of his films,
1006
01:44:43,364 --> 01:44:46,497
but now I'm also gonna think
of his incredible house,
1007
01:44:46,541 --> 01:44:48,325
the incredible place.
1008
01:44:48,369 --> 01:44:50,327
Man, he's left this,
1009
01:44:50,371 --> 01:44:53,591
this body of work
1010
01:44:53,635 --> 01:44:58,944
that's forever.
1011
01:44:58,944 --> 01:45:08,519
that's forever.
1012
01:47:15,167 --> 01:47:16,342
- She's here and she's
gonna walk you down
1013
01:47:16,386 --> 01:47:17,866
when you're ready to go.
1014
01:47:17,909 --> 01:47:19,084
- [Voiceover] Perfect.
- You guys, thanks so much.
1015
01:47:19,128 --> 01:47:20,129
- [Voiceover]
Thank you, bye bye.
1016
01:47:20,172 --> 01:47:26,178
- [Voiceover] Bye.
1017
01:47:30,792 --> 01:47:31,967
- Bye.
- [Voiceover] Bye.
1018
01:47:33,359 --> 01:47:38,974
[dramatic instrumental music]
1019
01:47:38,974 --> 01:47:48,244
[dramatic instrumental music]
1020
01:48:16,577 --> 01:48:31,505
[dramatic instrumental music]
1021
01:48:31,505 --> 01:48:37,293
[dramatic instrumental music]
1022
01:48:42,603 --> 01:48:48,217
[pulsing instrumental music]
1023
01:48:48,217 --> 01:48:57,487
[pulsing instrumental music]
1024
01:49:17,246 --> 01:49:18,856
- I had an interesting
experience.
1025
01:49:18,900 --> 01:49:20,902
I don't know if this anecdote
1026
01:49:20,945 --> 01:49:25,515
is useful, but it is
about the death of Bergman
1027
01:49:25,559 --> 01:49:28,562
in the sense that.
1028
01:49:28,605 --> 01:49:30,172
I had just met my young wife
1029
01:49:30,215 --> 01:49:33,741
and she hadn't seen
any of his movies.
1030
01:49:33,784 --> 01:49:38,441
And some morning
in my summer house,
1031
01:49:38,484 --> 01:49:40,225
in the middle of
the sun actually,
1032
01:49:40,269 --> 01:49:42,401
I showed her Fanny
and Alexander.
1033
01:49:44,360 --> 01:49:46,057
Which was weird
because it was morning,
1034
01:49:46,101 --> 01:49:48,407
but that's what we did, and,
1035
01:49:48,451 --> 01:49:51,149
and she wept and she said,
1036
01:49:51,193 --> 01:49:52,716
"This must be the best
film I've ever seen,"
1037
01:49:52,760 --> 01:49:55,501
and blah, blah, blah,
so it still worked.
1038
01:49:58,374 --> 01:50:00,898
And then on, like an hour later,
1039
01:50:00,942 --> 01:50:02,030
the phone rings.
1040
01:50:04,206 --> 01:50:06,338
And it's from an
English newspaper.
1041
01:50:06,382 --> 01:50:09,298
I think it was from
Independent saying,
1042
01:50:09,341 --> 01:50:12,475
wanting to do an
interview about Bergman.
1043
01:50:12,518 --> 01:50:14,738
And I said, "It's funny because
we just watched this movie,"
1044
01:50:14,782 --> 01:50:16,261
and blah, blah, blah.
1045
01:50:16,305 --> 01:50:19,221
And we put ourselves
into the car,
1046
01:50:19,264 --> 01:50:20,614
going back to Copenhagen.
1047
01:50:20,657 --> 01:50:22,703
The interview went on
for one and a half hour,
1048
01:50:22,746 --> 01:50:24,139
or one hour or something.
1049
01:50:24,182 --> 01:50:25,967
And I said, at the
end of it I said,
1050
01:50:26,010 --> 01:50:28,926
"Why are you calling me to
talk about Bergman today?"
1051
01:50:28,970 --> 01:50:31,973
And she said, "Oh,
didn't you know?
1052
01:50:32,016 --> 01:50:34,366
"He passed away this morning."
1053
01:50:34,410 --> 01:50:36,978
So we actually
watched this movie
1054
01:50:37,021 --> 01:50:40,459
as he passed away, which was a,
1055
01:50:40,503 --> 01:50:42,636
an interesting experience.
1056
01:50:44,202 --> 01:50:48,202
[haunting instrumental music]
73353
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