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These are the user uploaded subtitles that are being translated: 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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