Original subtitles

THE MAKING OF FANNY AND ALEXANDER

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Pictures from a film production can never be more than just that:

pictures from a film production.

The arcane processes, the magic, the violent spiritual and physical exertion -

these are glimpsed only occasionally.

What we see, in fact, is an album of memories,

images arbitrarily recorded by the mind's eye.

This can be interesting. It may even be entertaining.

The day before shooting started, we met to say hello,

to show ourselves at our friendliest,

and perhaps even to conjure up a certain excitement.

Here's our Fanny.

Hi. I play the role of Ester.

This is Fanny, and this is - What's your name?

Eva, right?

- Fanny, Jenny and Putte. - That's right.

This sounds strange, and I wonder if it's what I intended.

You see, I've completely forgotten what I wrote.

It no longer exists.

Now I'm just the director

who has a piece of material to work with.

This material is now in your hands. It's fantastic.

It's an incredible relief to see the actors take over.

But be careful with it, understand? - I'd better read it.

The first day of shooting is always dreadful,

so we decided to begin with something easy and pleasant.

One, two, three.

- What do you say? Will that do? - It was deafening.

I've been thinking about it. You've all got slippers on.

- Should we take them off? - I'm worried you might slip.

What do you think? It's a bit risky.

- I'll take them off. - Isn't it better without them?

But make sure you know where they are when you're not on camera.

Actually, it's better if you're not wearing slippers.

Before we begin, let's make sure there are no nails sticking up.

And then - Listen!

Wait a minute. Stop.

You'll have your torn pillow lying here.

Pick it up and whack Alexander over the head with it.

But not until we start shooting.

So I don't have a pillow in the beginning?

Yes, but you drop it here.

You won't hurt yourselves, will you? - No.

- Are you sure? - Yes.

Let's try it once, calmly.

Can I sit here so I don't have to run in and out?

I'm aiming from that teddy bear, so it will be a wide shot.

It's supposed to be.

If the girls can enter a bit later, I'll have time to pan across and back.

Here's what I'll do. Let's see. Right.

I'll yell -

No, wait.

- Should we use the cue light? - No.

We could push a button.

I'll yell "now," Anna and Maj, when it's time for you to rush in.

There'll be a slight delay.

- So we forget about "one, two, three"? - No, when they've already run in.

As soon as you see them disappear there, swing back over.

Let's try it.

Don't rush in after they've disappeared, until I yell "now."

All right, silence!

Silence!

Action!

Now!

Out!

Cut! Thanks, that was very good.

The war cry from the girls should come simultaneously.

But I'm sure it will.

How does it look? - I'm coming over a little too fast.

It took too long. The camera was there before they came.

Really? I'd better stand next to you and look at it

from your point of view.

Shall we give it a try now?

I'm afraid I'll knock off her wig.

Don't be. That's makeup's headache. It won't come off.

Shooting the autumn exteriors in Uppsala was quite stimulating,

since the city fathers had received us with unusual generosity.

We were allowed to redecorate the streets and plazas as we pleased.

You'll start there. Maybe not on "action," but a little later. We'll see.

This'll be your starting point.

- Will I be selling fish? - You certainly will.

As for you, you're out buying fish for your cook who's ill.

Let's not make him a hunchback.

- But you're not made up. - No. Eva told me to...

Should he have makeup? You're never made up.

- Well, they usually brush my hair. - Then go get it done, quickly.

- You've got to have a customer. - I don't have one.

You don't have one. I'll get you one. Just a moment.

You know how to do this, right? - Sure.

If I ask you to behead one, you'll do it?

You're here everyday without noticing what happens around you,

even though there are thousands of people about.

- Quiet! - Quiet o n the set!

Camera ready!

Action!

- Cut! - Cut! Back to your places, everybody!

Just a second.

- It's the woman in brown over there. - Right.

Bertil!

Nice, boys. Nice.

That was nice.

On the last take, you looked so damn happy walking around looking at everything.

But the dean of Uppsala Cathedral

was annoyed when we wanted to pull down his TV antenna.

Maybe he uses it to communicate with Higher Powers.

- Now, damn it! Let's go! - Let's get ready to shoot!

Quiet on the set!

Camera ready? - Yes.

- Camera. - Hold it.

Just a second.

We're waiting for the sun. - There's a hair trigger on this one.

Now! - Camera!

Action!

- Cut! - Cut! Everybody, back to your places!

Another take, please!

Let's put a shawl on this pretty girl.

- Wardrobe! - A dark shawl!

Ingmar's not in this film. He ended up on the cutting room floor.

You can go sit down on your throne.

Be prepared in case the sun comes out.

We have a lot of things to discuss.

Let's have lunch in peace and quiet, and then we'll meet -

Hell, we're not through yet. - No, but we can eat later.

That's right. We have one more setup, don't we? This one...

- It's the same camera position. - No. Sven wants a different one.

- Same set, in any case. - Yeah, but he's grumpy.

- He's irritable? - Yeah.

He's grumpy. He wants to stand up there. He claims we discussed it.

But I can't remember it. - On the contrary.

We had decided - We talked about it.

- Mr. Nykvist. - Sven and I agreed on it.

What did we agree on?

We agreed to shoot the theater from somewhere around here.

Here, right here.

Not from out in the street.

Really? I say we shoot it from here.

The director got it into his head that a cat, two horses, a huge wagon,

and an actor could all work in collaboration.

Goddamned cat!

There was no collaboration.

How was that sequence? The sun's moved.

We got sunlight on the horse.

That's all for today, thanks.

In film, "blocking" is the relation of the actors' movements

to the motion of the camera.

Lydia, Fürstenberg and Emilie are in here.

We'll get to you in a moment.

- Do I sit here? - Yes.

You'll walk - Alma doesn't have a shawl.

Sussi, Alma needs a pitcher.

- Coffee. - A coffeepot.

He needs a book to read while he sits there.

You don't need the cane. You've set it aside.

I'll take it.

Alma's supposed to have a pitcher - I mean a coffeepot.

No tray, nothing.

Yes, that's right. She should have a coffee cup too.

- Should it have coffee in it? - No. We'll do that later.

You can put it in your sleeve. That's excellent.

I'll fix that later.

This is a complicated scene. It demands some thought.

We'll start with you over here.

He should have a book to read. Can we get a small book?

Here we see 12 actors involved in their separate and highly detailed activities.

When she gets here...

you open the door, like so,

and let Dr. Fürstenberg out.

Lydia is still inside.

Dr. Fürstenberg comes out.

You've greeted each other earlier,

so you only nod faintly to each other,

as if to say that it's only a matter of hours.

Then you step over here.

You might take her hand in yours.

Right. Then you go over to the others.

Like so. Right?

Then you come out.

Come out for a moment - Then you step inside.

You wander out for a moment in confusion.

You stand here looking around, and then you go back in again.

And then you close the door.

And then you stand up...

to hear what's happened.

Then you go over and offer him some coffee.

You pour a cup for him. Then you stand here listening.

We'll give them a sign in here.

They'll open the door, and Lydia rushes out, crying.

Weeping profusely,

and running.

You run past the group here.

Oh, excuse me, dear.

One more time, Gunn dear.

We'll fix that later. Let's begin, please.

Look at Grandmother when she enters, both of you.

Sorry. I forgot to say "now."

You should look at her too.

He can reach out his hand, as if he wanted to touch her,

but she doesn't let him. She's furious with him.

He has allowed himself the luxury of failure.

Action.

Now.

Stop. Bengan.

Bengan, your sliding door here isn't working.

When Fürstenberg comes out...

turn around and face him the moment he enters.

Like that. I think that's better.

Is that difficult for you? - Not at all.

Okay, you make your entrance and then go over to them...

and she comes out.

That's right. And then Alma leaves.

Back over there. Alma can leave this way.

Maybe the coffeepot's empty, so go this way,

around them, then out that way.

Good.

And then... go ahead, Petra.

- Wait. No, it's Lydia. - Now Lydia enters!

Lydia's running.

She ignores the children. Then Petra enters.

She puts it down and arranges the cups.

You can put it there for now. That's it.

Does it work? - Excellent.

What follows now is the scene in its complete state.

It took us three hours to arrange it, light it and film it.

- How is he? - It's a matter of hours.

- Is he in pain? - He sleeps most of the time.

Go see Ester and Vega for hot chocolate and sandwiches.

Cut!

The movement of the camera should be imperceptible.

Sven and I are somewhat at odds

over how this imperceptible movement can best be achieved.

Now you can rise.

You stand there, and as Gunn comes forward, you leave.

- It's that dipping of the camera. - Huh?

- It's that little dip of the camera - - You simply have to do it.

I'm not complaining. It's a fairly easy move to make.

I just feel that if Gunn comes in about the same place...

where Eva goes out -

That seems a bit contrived.

I thought it was quite good. I'm not sure I know what you mean.

It's like this:

Gunn is - Eva's up here.

We've got the camera straight up.

And then here comes Gunn, and the camera has to tilt down.

If she was here instead, the camera - - She can't stand behind her.

That'll look pretty damned peculiar.

Like they're waiting in line. - I thought she entered simultaneously.

She does, but she can't come from behind Eva.

No, it doesn't work. You'll just have to make that little dip.

I can't see why it's -

I'd even like to -

Come over here again, Eva.

Gunn, would you stand over there.

All right, now she's stood up.

Gunn starts moving forward, and you walk away.

There. It's good like that.

You know what's important?

That we don't see a tuft of hair gliding into the bottom of the frame.

- Cut! - Please stay where you are.

One more thing: Can't Gunn enter earlier?

- Earlier? - Right.

The frame is empty for just a second.

You can begin walking - Try moving forward earlier.

While she's sitting?

No, but as soon as she stands up. Then you can begin to move forward.

You scared me.

- Otherwise? - Looks great.

Lasse, you did well too. It was only that transition -

Shall we try it one more time?

What do you say, Fanny? Want to try it again?

Yes.

They're sitting over here.

When you walk over to get them...

I think you should bring them over like this.

Cut.

Did it flow well? - Excellent.

- Didn't look strange? - No.

- And you could find Gunn. - Yes.

You were a bit late. I'll give you a clearer sign next time.

Bringing the kids over, I mean.

While she's getting the kids, you're watching Gunn, right?

Is that right? Okay, get ready for a take.

Cut.

Perfect.

The bishop extends his condolences.

...that wall over there.

Let's follow along.

- That chandelier should be lowered. - Is this one okay?

Lower it. And get rid of that black thing.

Take a look over here.

This chandelier must be lowered too. And that's got to go.

We're also going to remove - Look here, this has to be removed too.

You've already started over there? Good.

Lower it enough for you to walk under it, Bengan.

Just enough for you to walk under it.

It's that chandelier.

Let's run through this step by step first.

Like this. Stop here.

What?

All right. Do you want the spot marked?

No, that won't be necessary.

- You don't need it? - No.

I'll be damned.

I'm so damn nearsighted, I couldn't see the mark anyhow.

I'll play it by ear.

He enters.

- Left, Jan. - I'm sorry.

You're standing in front of her. Can you -

- Like this? - Like that. Does it feel strange?

No.

That's about right. Then you curtsy.

Take the widow with you.

Now you zoom in. Let's see. Where's Gunn?

Gunn! Come here. You should stand there. Right there.

How far did you zoom in? - Like this. There.

I don't believe so.

I widened a bit here. - Yes, a bit.

What are we on? Twenty-five?

I think we can widen imperceptibly there. Like that.

That looks a lot better to me.

Then you say -

Shut up, kids!

Fanny, go over and stand beside...

Alexander.

You can whisper something in his ear.

Take him by the arm.

Pull him down to you, and whisper something naughty

about the bishop's wooden leg.

Just like that.

That's great. Then you... you say...

Dear Emilie Ekdahl...

words are so inadequate.

And here we zoom in, like so.

You said you would stay there.

No. We'll alternate back and forth on him, then combine the settings.

I don't like her walking out of frame.

How will you be sitting, sweetheart?

Let's see how it looks if we stay on him.

Go back once more so we can see.

Dear Emilie Ekdahl, words are so inadequate.

Maybe that's good. It's beautiful.

Come, let's go sit down.

Dear Emilie Ekdahl, words are so inadequate.

Cut!

The Christening

- So, here we are again. - Exactly.

Since the Ekdahls love to celebrate,

they've decided to have a spectacular party.

One hell of a bash. You've been at it for a few hours now.

It's time for dessert, which you do your best to stuff down.

Everyone's full of food and drink and is having a damn good time.

Everybody's talking at once. No one hears a word the other is saying,

The excitement is tremendous.

Where's Jalle?

Maybe he's flown the coop. He's got three pages of lines.

All right, everybody. Shall we get these festivities in gear?

Lets do it!

Okay, then, get ready. No music yet. We'll take the conversation first.

- May we eat? - Of course. One, two, three. Begin.

Thank you, that was good! That was very good.

Now let's have the playback and the music.

I mean, the playback and the conversation.

May we have the playback? Get ready!

Action!

Cut!

That was fantastic!

Let's try it now. Quiet, please!

Action!

Therefore... and consequently...

we Ekdahls have not come into the world to see through it.

Never think that.

We are not equipped for such excursions.

We might just as well ignore the big things.

We must live in the little world.

We will be content with that

and cultivate it and make the best of it.

Suddenly death strikes.

Suddenly the abyss opens.

Suddenly the storm howls and disaster is upon us.

All that we know.

But let us not think of all that unpleasantness.

We Ekdahls love our subterfuges.

Rob a man of his subterfuges and he goes mad and begins lashing out.

Damn it all, people must be intelligible!

Otherwise we don't dare to love them or speak ill of them.

The Puppet Theater

That, you see, is the greatest magic.

It'll make your flesh crawl.

Okay. Let's close it now.

You're thinking, "I'll go and speak to Mama."

Then you look up, no. You sit up and gaze at the door there.

No, he disappeared.

- Do you want me to be there or here? - You should be visible here.

In here?

First here, then there. No, wait a moment. Lie down like that.

Like that, and then look at that.

And then you get up. Get up. Go. That's right.

Does that work? - Yes.

Stay tight on him as he goes to the door.

Cough.

And keep me out of the shot.

Good.

I reconstruct, in detail, a few moments from my childhood 60 years ago.

It's a strange feeling.

Put in the puppet.

Before you put the puppet in, sit like this...

and stare, as if you didn't feel well.

That's right.

And now you're tired, so you lie down.

Close your eyes.

Then you think, "I'll go to Mama. My throat hurts."

You've got to move out of the way, or else he'll see both of us.

Pick up the puppet.

Give a little sigh.

Now lie down.

Close your eyes.

Look up.

Then look up.

Look up and think, "I'll go to Mama."

I always wanted to be a film director,

except for a short period when I wanted to drive a locomotive.

Here, I'll show you. You're lying like this, right?

You're lying on this arm, aren't you?

Yes, that seems to work.

- I forgot it again. - You certainly did.

Take a look here, Sven. - Sure. I got it.

Play with this a little instead of closing your eyes.

Instead of closing your eyes. I said it wrong before.

Then put it down and think, "I'll go to Mama."

When you get up - Look here.

Don't do it this way, but get up like this.

You understand, Sven? - Yes.

Try it one more time.

Okay. You're lying there, playing with it.

Look at it.

Then put it down.

And then you get up.

How's that? - Much better.

Christmas Dinner

Move the candelabra over to the side a bit.

Sven, can you see it? - Yes, I can.

Now his bitterness is complete.

- This is the disgusting part. - Yes, it's extraordinary.

- I'm not having very much. - No.

This is a yearly performance,

and everyone's waiting for it, like the Passion Play at Bayreuth.

They're all anxious with anticipation,

and they burst into a storm of applause

when it's all over.

Right?

I think it's time to turn on the lights.

Hey, Christmas gnomes Let's raise our glasses and be merry

Our time on earth is brief Full of toil a n d grief

Hey, Christmas gnomes Let's raise our glasses and be merry

Let's take that again.

Let's pour them some schnapps.

If it's difficult to begin, give them a downbeat.

I did, but nobody was watching.

Okay, but just count.

After "our time on earth," on the return,

you should wait. You didn't the last time.

Spit out the almond.

Then you shout, "I've got the almond!"

Then you get up and show the almond like this, on the spoon.

Let's go through it step by step, now.

Now you stand up. - Is this the rice?

Let's see. He holds it like that.

Then he says, "A rhyme for the porridge!"

- A rhyme for the porridge. - At first, everyone is talking.

And then you stand, and you ask for silence.

You say, "Just a moment!"

Just a moment!

A rhyme for the porridge!

"Our porridge is our strength and stay

It is our staple food

In joy, in grief, both night and day

It always does us good"

Okay, keep on talking.

As for you, you're rather drunk, just as she said.

Now you say, "I found the almond!" - I found the almond!

Four cheers for the coming year's little bride-to-be!

That's right. Good. Say it five times.

A while back I had this bleeding hemorrhoid,

and I was sweating as I looked down into the toilet

to see if any blood was dripping, and I thought to myself...

I must tell you I once had a...

Much worse.

Action!

A rhyme for the porridge!

"Our porridge is our strength and stay

It is our staple food

In joy, in grief, both night and day

It always does us good"

- Now! - Look! I found the almond!

Four cheers for the coming year's little bride-to-be!

Cut!

You stand up, and when they cheer you, look at each of them.

Hey, we mustn't spray that one. Whose harsh lamp is that?

- Yours. - No.

- Yeah, yours. - Just look over there.

- A line dance. What fun. - You bet. It'll go that way.

Wait a minute. Gustav Adolf.

After him Putte, then Petra.

- Putte. - Am I here?

Then Lydia and Carl. Carl's behind Lydia.

Oscar behind Carl.

Then we have Vega, Ester and Alma.

Alma's behind Ester.

Then Emilie after Alma.

Alida, Siri, Lisen, and finally Jacobi.

Is everybody with me?

Come on, now.

Are you with us, Sven?

Be careful, everybody. There's a threshold here.

- The whiplash is worst at the end. - It sure is.

I've got the toughest job.

Now this is the funny part. You enter like this.

And suddenly you steer her over here.

You join their hands.

They keep on going. Continue.

You push her in there, and you say,

Shall I visit you tonight?

Yes, yes, and you continue on.

She gets free and escapes.

Then she rescues herself by joining the group here.

Unfortunately, you end up here next to your wife.

That's good. Thank you.

Now it's Yule again, now it's Yule again and Yule will last until it's Easter

That's not true of course No, that's not true of course

The camera and its crew must plunge headlong

through a doorway after the colonel.

This is more dangerous than it looks.

Left!

My condolences.

Left.

Left.

Left.

Allow me to kiss your hand in veneration and affection...

and venture so boldly as to offer every support an imperfect mortal -

- Can. - Can.

- Cut! - Shall I stay here?

He kisses her hand, thus.

Then he puts her hand down again.

Then he stands at attention, as if at a graveside.

He stands there in dumb reverence,

staring at the widow passionately.

Yes, with desire.

- That's not difficult. - Not difficult at all.

The Dolls

Where did you find all the dolls?

They come from an old doll theater from the early 1900s

that was stored at Drottningholm Castle.

It was built for the Stockholm Exhibition in 1907.

Doesn't anyone own them?

Over 300 performances were given at the Exhibition.

Then the director, the man who owned the theater,

rented a place on Biblioteksgatan,

presumably the old Red Mill Theater.

It was called something else before.

There he continued for the next two years and had no fewer than 18 premieres.

But he couldn't keep it up. It was too expensive.

Who do all the dolls belong to now?

They belong to the Swedish state,

specifically to the Theater Museum at Drottningholm Castle.

Can we move that sink over there a little bit,

about eight inches towards the wall?

- This one? - Yes, that one.

And then move the - I said eight inches.

I quit for a year and a half.

Then I acted in a film

where I had to smoke, so I started again.

I kept it up for several years, but five years ago I quit.

- My parents smoke a lot. - Do they?

Does it bother you? - Yes.

The Mummy

It's better to blame it on mirrors, machines and projections.

Then people laugh,

and that's healthier from all viewpoints, especially financially.

That's right.

Like that. And then you say...

Especially financially.

- And then you say, "Watch carefully." - Watch carefully now.

Then you go over here.

Now if you hold your hand down here -

Look carefully now. Can you see the hand there?

Now follow the hand.

Like so.

And then twist it - Like that, right?

How creepy!

Sven Nykvist uses the fewest possible sources of light

with the greatest possible precision.

It's darker now.

This is where it comes from.

If we had that light, there wouldn't be any problem.

We've got that one there.

Yes, and it's just a bit too much.

Turn that light on. How can you mask it?

That's what I was thinking.

Completely? - Yes.

But it's a little skimpy. I suggest the half light.

Use the half light. It's a little stronger.

You're right.

What? Let me see.

Now that one's not angled right. It could cover a lot more.

- What? - We were talking about the light.

Here in Sweden, we consider him unique. The rest of the world agrees with us.

This light goes up so it hits both the mummy and him.

If you want to, we can switch it for a smaller one.

Now this one's on target, right? Good, good.

That'll be wonderful. We'll take it like that.

Now we rehearse the almost imperceptible movement of the camera

as it follows Alexander and Ismael.

Is everything okay?

"It is not I..."

It is not I talking. It is yourself.

Then put your hand in front of his face.

Like that.

You are not to hesitate.

He's sound asleep.

Just a moment.

Hold your hand in front of his eyes.

You are not to hesitate.

He's sound asleep.

Then we follow the hand down.

Wait, let's see... that's right.

Stand still.

The hands are at the bottom of the frame, the eyebrows at the top.

Look here. Look at the mouth.

Then you say...

You can open it.

It might not look bad if you have to use a bit of force.

Like that. That's good. That's enough.

The doors will be thrown open. Give me your hands.

Then the hands come up.

Lift your hands. Good.

Hold your hands even higher.

When their hands go up, you go up like this.

Just a second.

Tilt upwards, keeping the hands at the bottom of the frame.

Wait a moment.

I know who you're thinking of:

a tall man with fair, graying hair.

Correct me if I'm wrong.

He has clear blue eyes - - Can we take that movement again?

My feet were in the way.

You must sense exactly when the movement begins, operator.

That's where you start. Understand? Right, Sven?

Take that last bit again. That's right. You're already standing.

And then you say... - You're thinking of -

Look into only one of his eyes.

The left eye, from your point of view.

The eye towards the camera side. That's the eye you should look at.

So your eyes don't wander.

Quiet.

You're thinking of a man's death.

Wait a moment.

I know who you're thinking of:

a tall man with fair, graying hair.

Correct me if I'm wrong.

He has clear blue eyes and a boyish face.

Correct me if I'm wrong.

He's asleep and dreams he's kneeling at the altar.

Above the altar hangs the crucified prophet.

In his dream he gets up and cries out,

"My God, my God, why hast thou forsaken me?"

There is no answer,

not even a laugh.

Don't talk like that.

It is not I talking.

It is yourself.

You are not to hesitate.

Look frightened, Alexander, before she turns you around.

That's right. Then let her press your eyelids shut

so that you don't close your eyes yourself. Right.

You are not to hesitate.

He's sound asleep, plagued by nightmares.

Give me your hands.

It isn't really necessary, but it's safer.

The doors will be thrown open.

A scream will echo through the house.

- I don't want to. - It's too late.

I know your wish.

A little boy like you nursing such hatred.

Your thin little chest could burst.

Don't be afraid, Alexander.

All you have to do is not to hesitate.

I'll hold you in my arms.

You have only one way to go, and I am with you.

I obliterate myself.

I merge into you, my child.

Don't be afraid. I am with you.

I'm your guardian angel.

It is 5:00 in the morning, and the sun has just risen.

The doors are thrown open.

No, wait.

First a horrible scream echoes through the house.

A shapeless burning figure moves across the floor,

screaming.

I don't want to.

Let me go! Let me go!

Cut!

This time you were a bit too frightened.

Remember that you're playing toward the camera.

In itself, it looked quite good.

Is it working well? - Yes.

Get out from under those lights, now. Get something to drink

and freshen your makeup, or what have you.

Our concentration is total.

We can't be distracted by the noise in the studio.

I know who you're thinking of:

a tall man with fair, graying hair.

Correct me if I'm wrong.

He has clear blue eyes - - He becomes more and more scared.

He becomes terrified.

He's asleep and dreams he's kneeling at the altar.

Above the altar hangs the crucified prophet.

In his dream he gets up and cries out,

"My God, my God, why hast thou forsaken me?"

There is no answer,

not even a laugh.

Don't talk like that.

It is not I talking.

It is yourself.

Cut!

Allan Edvall rehearses the role of the Ghost in Hamlet.

It's as difficult for a good actor to convincingly portray a bad actor

as it is for a musical person to sing off-key.

List, O list!

If thou didst ever thy dear father love...

O God!

revenge his foul and most unnatural murder.

Murder?

Yes, murder.

Murder most foul, as in the best it is.

But this most foul...

strange -

- And unnatural. - Huh?

And unnatural.

Haste me to know't -

A perfectly natural slip of the lip.

It was splendid, splendid. Damned good.

Now for you.

Overact a bit more. Work yourself up more.

Get a bit hysterical, okay?

All right.

Give it everything you've got. Murder!

Everything you've got. Give it all you've got, young Mattsson.

So did it mine and a most instant tetter bark'd about

most Lazar-like, with vile and loathsome crust

all my smooth body.

Thus was I, sleeping, by a brother's hand...

of life, of crown, of queen, at once dispatched.

Cut off even in the blossoms of my sin,

unhousel'd, disappointed, unannel'd, no reckoning made

but sent to my account with all my imperfections on my head.

O horrible, most horrible!

If thou hast nature in thee, bear it not.

Cut!

Good.

We'll just take it one more time.

Sit right there.

Not all at once, but a second later. Understand?

And with a sudden vigor it doth possess and curd,

like eager droppings into milk -

- This collar button is killing me! - Why not take it off?

Gunnar Björnstrand sings "The Fool's Song" from Twelfth Night.

Arne Carlsson's camera has been observing him throughout this long and arduous day.

What we are witnessing is a great actor's heroic struggle with his own fear,

his failing instrument, and his illness.

It should be added that Gunnar Björnstrand saw these takes

and gave them his approval.

Climb up on this ladder. You can sit astride it.

We can try and stick the pillow in like this.

It's awfully big and clumsy. You might not need one.

No, this way. - Towards the audience?

- Yes, preferably. - Odd, having to face them.

Why, an old trouper like you...

You needn't be worried. Can you sit on this now?

Are you sitting comfortably? You don't really need a pillow.

- No, but something thinner. - All right.

Just a little rag or something. This perch is hard on the rump.

When it starts, you begin like this.

I begin like this, and then raise it up.

That side's lit up very bright.

Shall we try it now?

- Is the candle lit? - No, but it will be.

Can somebody be the candle lighter?

- Who's the rainmaker? - He's in position upstairs, I think.

- Is Danne there? - Yeah.

When that I was a little tiny boy

With hey, ho, the wind and the rain

A foolish thing was but a toy

For the rain it raineth every day

Cut! We didn't see the candle.

You didn't lift the umbrella enough.

Once more, please.

Music!

When that I was a little tiny boy

With hey, ho, the wind and the rain

A foolish thing was but a toy

For the rain it raineth every day

Cut!

Music!

Cut!

That went well.

- Did it work? - Yes.

I've been thinking about one thing.

When you lift the umbrella, when you hold it,

your hand shakes a bit.

My hand gets so tense.

Yes, but why don't you try holding it with both hands?

- All right. - Let's see. Hold it up so I can see.

Hold it. Let's see here.

That works just fine. - Of course.

Can you hold it more to the side?

So it's not in front of your face.

- Now it's good. - It's good right there?

That'll do just fine.

It looks even more comical.

Camera!

Music!

Cut!

- You didn't see me, did you? - No, but I saw a bit of him over there.

Really? Move to the right. No, pardon me. Left.

He shouldn't be in the frame.

Once more, please.

It's looking great like that.

Let's light up Gunnar again.

Quiet! Camera!

Music!

The way you're holding it, we can't see the candle.

It's difficult when you have a candle on your head.

I've got so many things -

I should have rehearsed this. - Don't worry about it.

All right, try it again.

Quiet! Camera!

Music!

Cut!

The umbrella? - It touched the candle once.

But that was all. It was fine.

Phenomenal!

- They're no longer here. - No.

- Nittel's gone, too. - But, my dear...

- Decades ago. - To be sure.

I sat like this, right?

You can tuck this in.

The shawl slid forward.

- It has? - Can you see this, Sven?

It doesn't show, okay.

Can't we rehearse a little before we start?

Can't we run through it?

Do you want to? Otherwise we can rehearse it on film.

We'll do as you see fit.

Would you feel better if we rehearsed? I don't think it's necessary.

Maybe not. Maybe a certain freshness would be lost.

We'll try it.

- Shall I go over the verse with you? - No. Yes. Read the first line.

"But when I came to man's estate."

That's right. But when I came to man's estate

With hey, ho, the wind and the rain

'Gainst knaves and thieves men shut their gate

For the rain it raineth every day

Then you lift up the piano -

What am I saying? Lift up the umbrella.

Begin!

Just a moment.

Quiet.

Camera!

Music!

But when I came to man's estate

With hey, ho, the wind and the rain

'Gainst knaves and thieves men shut their gate

For the rain it raineth every day

Cut! Excellent!

That was wonderful.

- Come here now. - Good.

- Turn off the rain. - What a lot of climbing.

Wait, you have the umbrella.

See that he doesn't slip there.

Can we get that ramp in? What about the prompter's box?

What? Then we'll have to set them up.

Quiet! Light the candle!

Quiet.

Hold the umbrella just as you did in the verse before.

That's right.

- Then he brings it down. - Then you rest it on your shoulder.

There. Now hold it up.

Camera!

Music!

But when I came, alas, to wive

With hey, ho, the wind -

Stop. Gunnar. The umbrella goes on the shoulder.

- Damn it, that's right. - One more time.

Raise it a little bit.

Quiet!

When you start to sing, lay the umbrella across your shoulder.

Camera!

Music!

But when I came, alas, to wive

With hey, ho, the wind and the rain

By swaggering could I never thrive

For the rain it raineth every day

Cut!

That was good.

How was the shot? - Good, fine.

We can take it once more.

Music!

But when I came unto my beds

With hey, ho, the wind and the rain

With tosspots still had drunken heads

For the rain it raineth every day

That was very nice, Gunnar. We'll take that again.

- With a little less "tossing" now. - Okay.

From the top, Gunnar.

But when I came unto my beds

With hey, ho, the wind and the rain

With tosspots still had drunken heads

For the rain it raineth every day

Cut!

Very good, Gunnar! - Thank you.

Can you take that off. Have you rehearsed?

- No. - Take it off your head.

- Who do I give it to? - Then you blow it out.

Then we can put it back on again, right?

It sticks on easily, and it's not difficult to take off.

Is it secure now? It won't fall off when you're singing?

You're sure it won't?

Guarantee it.

A great while ago the world begun

With hey, ho, the wind and the rain

But that's all one, our play is do n e

And we'll strive to please you every day

You guys can stand more to the side, here.

The mike's in the picture.

Quiet, please! Camera!

Music!

A great while ago the world begun

With hey -

Stop! You don't begin to sing before he's finished the note.

Okay. I see.

Once again, then. And take it gently.

You can take it very softly. - Right.

Just as softly as you did before. Don't worry about the candle.

Quiet!

Camera.

Do you see the mike, Sven? Can you see the mike?

No.

Music!

A great while ago the world begun

With hey, ho, the wind and the rain

But that's all one, our play is do n e

And we'll strive to please you every day

You forgot the candle.

One more time. We'll proceed at once.

More rain! It'll get the air out of the pipes!

Turn on more rain!

That's good.

Quiet, please!

Camera.

Music!

Stop, stop, stop.

You should remove the candle at once.

All right, then. Once more.

It was awfully good. Let's proceed now.

Give us more rain!

That's good.

Camera.

That was awfully good, Gunnar.

Awfully good. Nice and soft.

Action!

Cut!

Very good.

Oscar's funeral was filmed on a cold, windy day, with 500 extras,

horses, wagons, a brass band, and innumerable actors.

Bus number six.

Stand still.

Smile for the cameraman.

The director had come down with influenza and a fever of 103º.

But thanks to meticulous planning, his responsibilities could be shouldered

by his capable coworkers.

Back to your places! We'll take it again! Faster, this time!

Get a safety shot.

And then close up. - It was perfect for us. For you, Sven?

It was perfect.

Allow me to inform you, gentlemen, that it's 11:00.

I know.

Benita?

Explain to the actors that we need to get a safety take,

and that we're filming different variations.

Tell them we're shooting closer this time. So bear with us.

- Will do. - Thanks.

FEBRUARY 12, 1982 100TH DAY OF SHOOTING, SHOT 771

We start with a flash of lightning.

- Did you see that? - Then run.

- The lightning struck. - It was nearby.

I hope the damn cathedral went to hell.

What if God punishes you for saying that?

If a big know-it-all like him punishes a runt like me for so little,

then he's just the dirty bastard I suspect he is.

- Listen, he's playing the flute. - Turn this way as you speak.

Not with that expression. That's too much. - I didn't mean it.

It's good if you play the flute. Now turn outward.

Like that. That much.

"Shh!" you say.

He's playing the flute.

If we concentrate -

Then you turn toward her, and you both sit down.

If we concentrate on him dying, then he will.

But we have to start together.

One, two, three:

Die, you devil!

"Die, you devil." Then there's another flash of lightning.

You say, "One, two, three."

Then he says, "Die, you devil," by himself.

Right. We did it that way before.

It was good the second time, too.

You fold your hands -

- Yes, and I do, too. - Good.

And sit up straight, like this. Don't slouch.

Then you look at him and copy his posture. Okay?

One, two, three.

Die, you devil!

- He's still playing. - Let's try again.

Look at her, then say "Let's try."

One, two, three:

Die, you devil!

Then you look up.

And you say...

- "You can't..." - Is it my turn?

You can't hear it anymore.

Maybe he's dead.

- Maybe he died! - Yes, right.

Maybe he died.

My sister and I used to carry on like that.

I recognize it well.

- Did you laugh about it? - No. We were damn serious.

Once more.

By the way, Fanny. "Listen, he's playing the flute."

But she's to say "shh!" Then "Listen."

- Yes. And then "Maybe he died." - No. At the end, right.

Quiet. Once more.

There's a gigantic bolt of lightning. And action!

Did you see that?

Lightning.

- Let's try again. - Wait. You must listen!

- "He's still playing." - That's right.

Exactly, and there'll be thunder here, but we don't hear it now.

Now then, "If we concentrate -" - If we concentrate on -

Sit up straight.

If we concentrate on him dying, then he will.

One, two, three: Die, you -

Close your eyes there. That's right.

Tightly,

as if you were on the toilet, pressing as hard as you could.

But don't do it.

Okay, "If we concentrate."

If we concentrate on him dying, then he will.

Right. Now, squeeze.

One, two, three.

One, two, three:

Die, you devil!

He's still playing.

Let's try again.

One, two, three:

Die, you devil!

Cut.

You'll calm down a bit. Let's take it once more.

Did you see that?

The lightning struck. - It was nearby.

I hope the damn cathedral went to hell.

What if God punishes you for saying that?

If a big know-it-all like him punishes a runt like me for so little,

then he's just the dirty bastard I suspect he is.

Listen, he's playing the flute.

Just a little faster.

Action!

Did you see that?

The lightning struck.

It was nearby.

I hope the damn cathedral went to hell.

What if God punishes you for saying that?

If a big know-it-all like him punishes a runt like me for so little,

then he's just the dirty bastard I suspect he is.

Listen, he's playing the flute.

If we concentrate on him dying, then he will.

But we have to start together.

One, two, three:

Die, you devil!

He's still playing.

Let's try again.

One, two, three:

Die, you devil!

- I can't hear it anymore. - Maybe he died.

Cut!

All morning I'd had the feeling that something would go wrong.

The stunt man who was to portray the burning woman

had prepared carefully.

Very good, very good! That's right.

Cut!

Thirteen seconds, was it?

Thirteen seconds. Is that okay? Very good.

Who's waiting for whom?

We can start with you now if the lighting's ready.

I'll ask about that.

Sven's not quite ready.

But despite our precautions,

he got napalm on his hands and suffered severe burns.

Whenever reality plays havoc with my games,

I have a good mind to walk out of the studio forever.

After seven months of concerted efforts, the last day of shooting suddenly arrived.

All of us felt surprised and a bit sentimental.

Quiet!

Camera!

Action!

Cut.

Was it okay? - Yes.

Well, that's that.

It felt almost sad.

Even those who don't smoke should smoke now.

Dear friends,

let's not say good-bye. It's awful, so let's not.

Let's have one helluva party instead.

Cheers, everyone.

Comments by Ingmar Bergman