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1
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...BUT FILM IS MY MISTRESS
2
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Ingmar Bergman.
3
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The master, Ingmar Bergman.
4
00:00:56,265 --> 00:01:00,102
Later he just became Ingmar to me.
5
00:01:01,854 --> 00:01:04,440
But at the time I met him...
6
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he was just the great, great,
unforgettable director.
7
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We're talking of the time
8
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when we were all good friends.
9
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There was Ingmar and Bibi Andersson,
10
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and the cinematographer Sven Nykvist.
11
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I had one line of dialogue
and it was “Nothing.”
12
00:01:40,977 --> 00:01:45,773
But to play a mute character,
13
00:01:45,856 --> 00:01:50,820
who observed and listened,
that I could do.
14
00:01:50,903 --> 00:01:54,365
And I understood —
I am Ingmar.
15
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That was my fortune as an actress.
16
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I recognized him
17
00:01:59,537 --> 00:02:01,247
and he recognized me.
18
00:02:35,072 --> 00:02:39,660
I'm 100 percent certain...
19
00:02:40,703 --> 00:02:45,333
that I produce consumer goods
20
00:02:45,416 --> 00:02:47,710
both in the theater and on film.
21
00:02:50,379 --> 00:02:54,592
And whether they survive me
22
00:02:54,675 --> 00:02:56,844
or not —
23
00:02:58,971 --> 00:03:01,682
or what people say —
24
00:03:01,766 --> 00:03:03,684
makes absolutely no difference to me.
25
00:03:03,768 --> 00:03:06,354
And I honestly mean that.
26
00:05:03,304 --> 00:05:06,765
AFTER THE REHEARSAL
27
00:05:08,851 --> 00:05:11,437
The only thing that means anything...
28
00:05:12,438 --> 00:05:15,191
when I'm working...
29
00:05:16,692 --> 00:05:23,657
is that the work
30
00:05:23,741 --> 00:05:27,786
should be meaningful
31
00:05:27,870 --> 00:05:29,663
for those who perform it...
32
00:05:30,748 --> 00:05:35,544
and at the same time
that it should be alive.
33
00:05:36,170 --> 00:05:42,927
Meaning that it should take on
a life of its own.
34
00:05:43,469 --> 00:05:49,808
There's only one thing
that I'm afraid of.
35
00:05:49,892 --> 00:05:54,772
And God should know
I'm terrified of it.
36
00:05:54,855 --> 00:05:56,982
And it's that...
37
00:06:00,152 --> 00:06:04,949
suddenly my ability
to make something living...
38
00:06:07,910 --> 00:06:09,161
and touching
39
00:06:09,245 --> 00:06:12,873
will be taken from me
or that I'll lose it.
40
00:06:12,957 --> 00:06:16,293
That suddenly
I won't know what to do,
41
00:06:16,377 --> 00:06:18,546
or that time will pass me by.
42
00:06:21,423 --> 00:06:23,968
Now, some practical considerations.
43
00:06:24,927 --> 00:06:27,304
We'll start in the morning.
44
00:06:27,388 --> 00:06:31,392
I was thinking that if it suits you,
which we can discuss,
45
00:06:31,475 --> 00:06:33,811
we should start rehearsing at 11 :00.
46
00:06:33,894 --> 00:06:35,563
-Does that work?
-Yes.
47
00:06:35,646 --> 00:06:39,525
Does anybody have any objection?
Efland?
48
00:06:40,150 --> 00:06:45,489
We should be able to handle staging
in three instances by doing the following:
49
00:06:48,325 --> 00:06:52,288
Pages 1 through 20 tomorrow,
which is Tuesday.
50
00:06:53,122 --> 00:06:56,875
And then on Wednesday
we'll do your scene.
51
00:06:57,876 --> 00:07:01,547
-How many pages is that?
-About 20 pages.
52
00:07:02,965 --> 00:07:06,844
And then the rest on Thursday.
53
00:07:06,927 --> 00:07:13,517
Sven, you don't have to feel obligated
to be here on these days,
54
00:07:13,601 --> 00:07:19,523
but you can be here if you feel like it.
55
00:07:19,607 --> 00:07:21,775
Yes, I know.
56
00:07:21,859 --> 00:07:24,361
I've promised to take a few days off.
57
00:07:24,445 --> 00:07:26,238
I think you should.
58
00:07:28,532 --> 00:07:30,534
Where are you going?
59
00:07:30,618 --> 00:07:34,496
-Up to Dalarna.
-Dalarna?
60
00:07:34,580 --> 00:07:36,749
Yes, I'm going to go skiing.
61
00:07:38,500 --> 00:07:42,254
-Action.
-How old are you really, Anna Egerman?
62
00:07:49,720 --> 00:07:51,597
Guess.
63
00:07:51,680 --> 00:07:54,183
You're the same age
as my youngest daughter.
64
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I should be here. Here.
65
00:08:00,856 --> 00:08:02,441
-Maybe here.
-You're father is —
66
00:08:02,524 --> 00:08:05,486
How about this?
Where he's turned towards her.
67
00:08:06,570 --> 00:08:08,906
First her alone and then —
68
00:08:08,989 --> 00:08:10,783
The lighting is more interesting.
69
00:08:12,117 --> 00:08:17,331
I've always taken as a whole
the work of artists I admire.
70
00:08:22,002 --> 00:08:26,048
For example, if you asked me,
71
00:08:26,131 --> 00:08:29,176
“Do you ha ve a specific relationship
with a painting by Vermeer
72
00:08:29,259 --> 00:08:32,513
or a painting by Pierre Bonnard?”
73
00:08:33,764 --> 00:08:35,974
I'd answer, “My relationship
is with the body of work,
74
00:08:36,058 --> 00:08:41,063
the worldview that is expressed through
that artist's entire body of work.”
75
00:08:41,146 --> 00:08:45,609
Sometimes it's the tiniest
or strangest details
76
00:08:45,693 --> 00:08:47,528
that are the most precious to me
77
00:08:47,611 --> 00:08:52,783
due to the interesting way they fit
into the artist's work as a whole.
78
00:08:54,785 --> 00:08:59,623
From that point of view, I've always seen
Bergmanis work as a whole.
79
00:09:00,249 --> 00:09:02,042
Yes, it's strange.
80
00:09:02,126 --> 00:09:03,919
Kerstin, you're the script supervisor,
81
00:09:04,002 --> 00:09:08,048
it's strange that she looks
so much older in pictures.
82
00:09:08,132 --> 00:09:13,137
The secret to Ingmar Bergman's directing
is that he's always right here amongst us.
83
00:09:13,220 --> 00:09:14,430
They always ask.
84
00:09:14,513 --> 00:09:17,850
I have his head under my arm.
85
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Make the complete turn.
86
00:09:23,772 --> 00:09:26,650
No, first you say —
87
00:09:26,734 --> 00:09:30,612
-Dear God.
-Good God.
88
00:09:30,696 --> 00:09:32,698
God. Oh, dear God.
89
00:09:34,241 --> 00:09:36,785
I turn and look down.
90
00:09:36,869 --> 00:09:38,871
Yes, the complete turn.
91
00:09:38,954 --> 00:09:43,167
-Should I do it?
-Wait a minute, let me check with Sven.
92
00:09:45,878 --> 00:09:47,629
When did you stop it there?
93
00:09:47,713 --> 00:09:50,466
Over the years —
ever so slowly —
94
00:09:50,549 --> 00:09:54,178
we've developed a working technique.
95
00:09:54,261 --> 00:09:57,139
I'll sit at home preparing intensively,
96
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developing the staging,
97
00:10:00,267 --> 00:10:03,520
mapping it out
so I can imagine it in my head.
98
00:10:03,604 --> 00:10:08,776
But once I'm in the studio
with the actors and the camera
99
00:10:08,859 --> 00:10:10,527
setting up the staging,
100
00:10:10,611 --> 00:10:15,699
it may suddenly happen
during the first rehearsal
101
00:10:15,783 --> 00:10:20,913
that an inflection,
gesture or expression by one of the actors
102
00:10:20,996 --> 00:10:22,956
causes me to change everything.
103
00:10:23,040 --> 00:10:24,958
Because I feel it's better.
104
00:10:25,042 --> 00:10:27,795
But it doesn't have to be
spoken between us.
105
00:10:27,878 --> 00:10:30,422
Through me you'll hear tones
you've never heard before.
106
00:10:30,506 --> 00:10:32,549
Isn't that worth something?
107
00:10:34,051 --> 00:10:36,512
Don't do it all the same.
“Isn't that worth something?”
108
00:10:36,595 --> 00:10:39,640
So it's not all the same.
109
00:10:39,723 --> 00:10:43,268
I'll have to turn it up.
110
00:10:43,352 --> 00:10:45,229
That's okay.
111
00:10:45,312 --> 00:10:49,024
I mean now, during rehearsals.
So it's not all the same.
112
00:10:56,698 --> 00:11:01,620
So, let's see —
113
00:11:02,579 --> 00:11:07,084
-There. How far did you go?
-We went to that spot before.
114
00:11:07,167 --> 00:11:09,753
-What?
-Where they are now.
115
00:11:09,837 --> 00:11:12,005
We went up to here, right?
116
00:11:13,632 --> 00:11:16,885
There. Let's keep it
as tight on them as possible.
117
00:11:16,969 --> 00:11:19,638
I imagine it like this.
118
00:11:20,389 --> 00:11:23,517
So after a week we start
talking after rehearsals.
119
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We have to discuss your part, right?
120
00:11:26,728 --> 00:11:28,772
We go to the canteen for a coffee,
121
00:11:28,856 --> 00:11:32,526
bringing a colleague along as an alibi.
122
00:11:33,026 --> 00:11:34,903
Then we start meeting in my room.
123
00:11:34,987 --> 00:11:36,780
We sit far apart
124
00:11:36,864 --> 00:11:40,075
and drink mineral water
and nibble on biscuits.
125
00:11:40,492 --> 00:11:43,203
Everyone knows, but no one says anything.
126
00:11:43,287 --> 00:11:44,997
Johan slinks around,
127
00:11:45,080 --> 00:11:48,250
courted by sympathetic
female drama students.
128
00:11:48,333 --> 00:11:51,003
There's a general atmosphere of euphoria —
129
00:11:51,086 --> 00:11:52,921
Stop. Stop there.
130
00:11:54,131 --> 00:11:56,133
-And then?
-And then?
131
00:11:57,759 --> 00:12:04,016
And then we start meeting more often.
Mostly in the afternoon after rehearsals.
132
00:12:04,516 --> 00:12:06,685
I'm getting too close with the zoom.
133
00:12:08,520 --> 00:12:11,732
If we go slightly slower
it will work better.
134
00:12:11,815 --> 00:12:15,569
-You feel it's more fluid?
-Exactly.
135
00:12:15,652 --> 00:12:18,572
The background is constantly new.
136
00:12:19,573 --> 00:12:21,158
And the corners.
137
00:12:21,241 --> 00:12:23,660
It's the corners I'm worried about.
They feel strange.
138
00:12:23,744 --> 00:12:25,913
Yes, I trail behind a bit.
139
00:12:27,164 --> 00:12:28,874
It was a bit long.
140
00:12:30,208 --> 00:12:33,837
Everyone knows, but no one says anything.
141
00:12:33,921 --> 00:12:36,173
Johan slinks around,
142
00:12:36,256 --> 00:12:39,343
courted by sympathetic
female drama students.
143
00:12:39,426 --> 00:12:42,095
There's a general atmosphere of euphoria,
144
00:12:42,179 --> 00:12:46,308
occasionally interrupted by violent
but harmless thunderstorms.
145
00:12:46,391 --> 00:12:48,560
At 11 :00 I give you a ride home.
146
00:12:48,644 --> 00:12:51,688
Our relationship is sweet
and full of promise.
147
00:12:51,772 --> 00:12:54,858
I kiss your cheek. “Take care,” I say.
148
00:12:54,942 --> 00:12:57,277
You look at me
with an inscrutable smile
149
00:12:57,361 --> 00:12:58,779
and slowly shake your head.
150
00:12:58,862 --> 00:13:01,198
-Your eyes —
-Thank you.
151
00:13:04,034 --> 00:13:08,246
There. That was about it.
152
00:13:09,665 --> 00:13:12,668
Yes, I understand what you mean.
153
00:13:19,383 --> 00:13:22,844
SHAME
154
00:13:44,408 --> 00:13:48,412
Today, I saw Shame again
and I was really surprised.
155
00:13:48,495 --> 00:13:52,958
The film fascinated me.
It was contradictory,
156
00:13:53,041 --> 00:13:56,044
complex, poetic,
157
00:13:56,128 --> 00:13:59,089
simultaneously realistic
and dreamlike,
158
00:13:59,172 --> 00:14:04,386
it grappled with the present, yet was
totally out of step with the present.
159
00:14:04,469 --> 00:14:09,933
Seeing it at a different age,
in a different period,
160
00:14:10,017 --> 00:14:15,147
allows you to reinterpret it
in a way that's constantly new.
161
00:14:15,647 --> 00:14:19,484
I think Shame
is one of those “open” films
162
00:14:20,402 --> 00:14:23,613
which seem to tell one story,
163
00:14:23,697 --> 00:14:27,325
but actually, not quite,
164
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for the story is something else,
hidden within the film.
165
00:14:45,594 --> 00:14:47,554
I'll go call an ambulance!
166
00:16:26,570 --> 00:16:29,781
Jan come with me! Jan!
167
00:16:29,865 --> 00:16:34,536
No! Let me go!
168
00:16:51,344 --> 00:16:54,848
It has a desire to confront
the absolute worst,
169
00:16:55,515 --> 00:16:58,768
a need to face the absolute worst,
170
00:16:58,852 --> 00:17:03,732
to face the anxiety of being yourself,
171
00:17:03,815 --> 00:17:06,067
your inner limits.. -
172
00:17:07,444 --> 00:17:11,239
and the abysses
that can open up inside yourself.
173
00:17:11,323 --> 00:17:15,994
It's also a film
that stands at the crossroads
174
00:17:16,077 --> 00:17:19,581
of real life and imagination.
175
00:17:19,664 --> 00:17:25,253
As in all of Bergman's films,
it's portrayed with raw truth,
176
00:17:25,337 --> 00:17:31,635
with an attention
and sense of detail that is cruel.
177
00:17:31,718 --> 00:17:33,511
It hurts.
178
00:17:34,596 --> 00:17:39,017
Yet at the same time,
the film is set in a made-up world.
179
00:17:39,100 --> 00:17:44,314
The film follows the logic of dreams,
a dreamlike logic,
180
00:17:44,397 --> 00:17:47,317
and the scenes unfold
according to a dreamlike logic.
181
00:18:43,456 --> 00:18:46,918
FROM THE LIFE
OF THE MARIONETTES
182
00:19:02,309 --> 00:19:07,147
I'll quote Strindberg
from The Road to Damascus...
183
00:19:08,398 --> 00:19:15,739
and say,
“In spite of my melancholy temperament
184
00:19:15,822 --> 00:19:18,575
I've never been able
to take anything seriously.”
185
00:19:19,951 --> 00:19:24,164
And I think that feels good,
186
00:19:24,247 --> 00:19:26,333
because that's how it is.
187
00:19:27,125 --> 00:19:30,295
And even if you depict
the very worst thing in the world
188
00:19:30,378 --> 00:19:32,505
and feel strongly about it,
189
00:19:32,589 --> 00:19:37,719
the fact that you sat down to depict it,
190
00:19:37,802 --> 00:19:42,349
and put a pen to paper
or focused a camera on it,
191
00:19:42,432 --> 00:19:44,809
means that there's already
a desire there...
192
00:19:45,977 --> 00:19:49,564
which makes it okay
193
00:19:49,647 --> 00:19:51,816
to experience some kind of joy
194
00:19:51,900 --> 00:19:55,904
in depicting even the horrible.
195
00:19:55,987 --> 00:19:59,240
Because if you were as tortured
196
00:19:59,324 --> 00:20:01,409
as some of my films
end up becoming,
197
00:20:01,493 --> 00:20:04,496
without me realizing how,
198
00:20:04,579 --> 00:20:06,956
you'd just go hang yourself.
199
00:20:09,417 --> 00:20:12,379
He agreed.
Somewhere in that neighborhood.
200
00:20:12,462 --> 00:20:14,672
I just want to try 30 lengths.
201
00:20:14,756 --> 00:20:17,217
No, but I've never done that.
202
00:20:18,593 --> 00:20:21,221
Yeah, but you'll take to it
like a fish to water.
203
00:20:25,975 --> 00:20:28,186
-Arne Carlsson?
-Yes.
204
00:20:31,898 --> 00:20:34,150
I thought I just heard something.
205
00:20:38,279 --> 00:20:42,784
It hurts me when someone
dismisses Bergmanis films,
206
00:20:42,867 --> 00:20:46,955
saying, “It's cinema for adults,”
or “It's cinema for the bourgeoisie.”
207
00:20:47,038 --> 00:20:48,498
Absolutely not!
208
00:20:51,292 --> 00:20:53,920
It's terrifying for children.
It's perfect.
209
00:20:54,003 --> 00:20:58,633
It's “primitive” cinema,
like the films made in 1910, 1920.
210
00:20:58,716 --> 00:21:00,802
Whenever he speaks of silent film,
211
00:21:00,885 --> 00:21:03,847
it's obvious that he championed
that cinema his whole life.
212
00:21:03,930 --> 00:21:09,936
And now that these characters talk,
let them say wonderful things!
213
00:21:10,019 --> 00:21:15,275
But to me, watching these films,
their gestures are pure silent film.
214
00:21:23,241 --> 00:21:25,201
Katarina.
215
00:21:25,285 --> 00:21:26,995
Look at me.
216
00:21:30,915 --> 00:21:33,042
Please take my hand.
217
00:21:37,839 --> 00:21:40,383
Put it softly to your cheek.
218
00:21:46,181 --> 00:21:48,057
Do you feel my hand?
219
00:21:50,059 --> 00:21:52,061
But do you also feel
that it's me?
220
00:21:54,063 --> 00:21:55,815
That it's me?
221
00:22:04,407 --> 00:22:05,533
See?
222
00:22:07,243 --> 00:22:09,245
Does it make me look older?
223
00:22:10,246 --> 00:22:13,249
You don't want —
You don't want to get older?
224
00:22:15,084 --> 00:22:17,587
-Wrinkles —
-Yes, wrinkles —
225
00:22:17,670 --> 00:22:19,214
Wrinkles don't matter.
226
00:22:22,550 --> 00:22:23,510
Wrinkles —
227
00:22:23,593 --> 00:22:26,054
Wrinkles don't matter.
228
00:22:26,137 --> 00:22:28,473
-It's all that ugliness that tortures me.
-Once more, please.
229
00:22:28,556 --> 00:22:30,600
Wrinkles don't matter.
230
00:22:30,683 --> 00:22:34,771
One thing that touches me deeply,
although all the characters are wonderful,
231
00:22:34,854 --> 00:22:36,606
is the homosexual character.
232
00:22:36,689 --> 00:22:40,902
In his monologue at the girl's house
and later, his monologue with the cop,
233
00:22:40,985 --> 00:22:45,990
the dialogue, everything
he tried to express in The Rite —
234
00:22:46,074 --> 00:22:48,868
a film I still don't quite like —
235
00:22:48,952 --> 00:22:52,956
was an attempt to film
the words of a homosexual
236
00:22:53,039 --> 00:22:55,458
as if they were different
than those of a heterosexual,
237
00:22:55,542 --> 00:23:00,797
an attempt to film something
that is totally homosexual.
238
00:23:00,880 --> 00:23:03,591
He's one of the greatest characters
I've ever seen.
239
00:23:03,675 --> 00:23:09,013
There's such directness and friendship
between the character and Bergman.
240
00:23:09,097 --> 00:23:11,015
It's really beautiful.
241
00:23:11,099 --> 00:23:13,851
-What do you have?
-I think I've got a nice setup.
242
00:23:13,935 --> 00:23:18,565
-Take a look.
-Because I'll cut there exactly.
243
00:23:18,648 --> 00:23:22,318
In the middle of all of this,
Sven Nykvist shows up
244
00:23:22,402 --> 00:23:28,324
with his impressive technical know-how
245
00:23:28,408 --> 00:23:30,076
and his obsession.
246
00:23:30,159 --> 00:23:32,370
-And then a reverse shot.
-Right.
247
00:23:32,453 --> 00:23:35,498
-Now, coffee, finally.
-Last rehearsal?
248
00:23:35,582 --> 00:23:36,874
Yes.
249
00:23:39,085 --> 00:23:44,215
This big, blonde guy,
250
00:23:44,299 --> 00:23:46,509
who looks like a sea captain.
251
00:23:46,593 --> 00:23:48,720
He's —
252
00:23:48,803 --> 00:23:50,722
I don't know what to say.
253
00:23:53,808 --> 00:23:56,144
He's just as crazy
about this as I am.
254
00:23:56,227 --> 00:24:01,024
I mean, he's obsessed
with his work,
255
00:24:01,107 --> 00:24:04,402
even more so than I am.
256
00:24:04,485 --> 00:24:08,865
We have developed
a language between us
257
00:24:08,948 --> 00:24:13,328
so that we barely have to speak.
258
00:24:13,411 --> 00:24:15,913
I'm incredibly dependent on him.
259
00:24:15,997 --> 00:24:19,167
Of course I could work
with another cinematographer
260
00:24:19,250 --> 00:24:23,671
and develop this nomenclature
261
00:24:23,755 --> 00:24:26,466
with another cinematographer,
but why?
262
00:24:29,177 --> 00:24:32,722
We have a shadow cast
from that side over there.
263
00:24:34,599 --> 00:24:38,895
There's a shadow from that side.
264
00:24:46,152 --> 00:24:48,655
A little to the left.
265
00:24:48,738 --> 00:24:50,740
-There?
-That side.
266
00:24:50,823 --> 00:24:52,659
What about her feet?
267
00:24:55,495 --> 00:24:57,705
Wipe them off, no?
268
00:24:57,789 --> 00:25:01,000
I'm not wearing my contacts.
I don't know what he means.
269
00:25:01,084 --> 00:25:03,336
What did you say?
270
00:25:03,419 --> 00:25:06,214
-He can move up.
-From below?
271
00:25:06,297 --> 00:25:07,965
This direction?
272
00:25:08,549 --> 00:25:11,135
Just a little bit more, Christine.
Move over just a little bit more.
273
00:25:11,219 --> 00:25:14,847
A little in that direction, all right?
Like that.
274
00:25:14,931 --> 00:25:17,433
-Higher.
-A little further north.
275
00:25:17,517 --> 00:25:20,311
That's too much.
That's too much.
276
00:25:21,771 --> 00:25:23,398
That's it, yes?
277
00:25:24,607 --> 00:25:27,485
Yes, the largest possible area.
278
00:25:27,568 --> 00:25:30,446
Yes, we're picking up
everything right now.
279
00:25:30,947 --> 00:25:32,281
That's good.
280
00:25:34,117 --> 00:25:36,869
-There. Can you see this?
-Yes.
281
00:25:36,953 --> 00:25:38,955
-And nothing else?
-Nothing else.
282
00:25:39,038 --> 00:25:41,040
Then it comes —
283
00:25:51,718 --> 00:25:53,052
it's good like that.
284
00:26:13,698 --> 00:26:15,241
I thought —
285
00:26:17,785 --> 00:26:20,663
or, more accurately,
I didn't think at all.
286
00:26:20,747 --> 00:26:23,875
It just flowed through my lips
like a multi-colored ribbon.
287
00:26:25,793 --> 00:26:27,712
“If you are my death...
288
00:26:28,921 --> 00:26:31,174
then be welcome, my death.
289
00:26:33,551 --> 00:26:35,344
If you are life...
290
00:26:36,929 --> 00:26:39,307
then be welcome, my life.”
291
00:26:43,561 --> 00:26:47,857
I am in a closed room,
without windows or doors
292
00:26:47,940 --> 00:26:50,443
but also without roof and walls.
293
00:26:50,526 --> 00:26:55,490
Maybe I'm enclosed in a sphere
or an ellipse, I don 7 know.
294
00:27:28,940 --> 00:27:31,609
That's better, yes.
That's better.
295
00:27:43,079 --> 00:27:47,458
From the Life of the Marionettes
is a really strange nightmare,
296
00:27:47,542 --> 00:27:49,836
a sort of white nightmare.
297
00:27:49,919 --> 00:27:52,129
It's very, very weird.
298
00:27:52,213 --> 00:27:54,966
It's close to Strindberg,
it's even worse!
299
00:27:55,049 --> 00:27:58,094
He says, and it's a beautiful image...
300
00:27:59,637 --> 00:28:04,392
that when we're locked in a room
301
00:28:04,475 --> 00:28:06,686
with no doors, no windows,
and all is dark,
302
00:28:06,769 --> 00:28:08,688
like in a Beckett play,
303
00:28:08,771 --> 00:28:12,483
that sort of enclosure,
that utter anxiety,
304
00:28:12,567 --> 00:28:18,656
we must keep one tiny door ajar.
305
00:28:19,365 --> 00:28:23,035
And it's true. In this film,
we sense such anxiety and suffering,
306
00:28:23,119 --> 00:28:24,704
really terrible pain.
307
00:28:44,348 --> 00:28:46,934
-I'll step back.
-No, don't.
308
00:28:47,018 --> 00:28:48,769
-I'll stand here.
-Yes, like that.
309
00:28:48,853 --> 00:28:50,563
And then you say —
310
00:28:50,646 --> 00:28:52,857
-She should —
-I'm almost ready.
311
00:28:57,612 --> 00:28:59,155
That's good.
Yes.
312
00:28:59,238 --> 00:29:00,740
That's it.
313
00:29:08,331 --> 00:29:11,417
-Are you looking or what are you doing?
-I'm cross-eyed, dear Sven.
314
00:29:11,500 --> 00:29:14,712
Yes, that's nice.
Interesting.
315
00:29:15,504 --> 00:29:19,175
-Do you see that?
-Yes, I've never come so close to you.
316
00:29:19,258 --> 00:29:21,636
-Look.
-I see.
317
00:29:21,719 --> 00:29:24,513
I think it's totally nuts.
318
00:29:54,085 --> 00:29:57,546
CRIES & WHISPERS
319
00:30:08,599 --> 00:30:14,522
Bergman has always
been with me, with us.
320
00:30:20,486 --> 00:30:22,279
In my memory,
321
00:30:22,989 --> 00:30:28,077
that insistent red is so obsessive —
322
00:30:29,412 --> 00:30:35,001
the one in Cries & Whispers...
323
00:30:36,168 --> 00:30:41,424
contrasting with the white clothes
the sisters wear.
324
00:30:43,592 --> 00:30:45,594
It's unforgettable.
325
00:30:45,678 --> 00:30:48,097
And it goes beyond...
326
00:30:48,180 --> 00:30:51,892
the plot of the movie
327
00:30:51,976 --> 00:30:54,353
and its psychological connotations.
328
00:30:57,982 --> 00:31:02,695
But that red and that white
convey so many things
329
00:31:02,778 --> 00:31:05,364
that words can't express.
330
00:31:15,624 --> 00:31:17,418
When I begin to write,
331
00:31:17,501 --> 00:31:23,257
I have some sort
of fundamental scene.
332
00:31:23,340 --> 00:31:25,843
In Cries & Whispers,
333
00:31:25,926 --> 00:31:29,972
for the longest time I had a scene
334
00:31:30,056 --> 00:31:34,268
with four white-clad women
in a red room.
335
00:31:34,351 --> 00:31:37,313
Then I started thinking about
why they were there
336
00:31:37,396 --> 00:31:40,441
and what they said to each other
and things like that.
337
00:31:40,524 --> 00:31:43,694
I! was a mysterious scene
and it kept re turning.
338
00:31:43,778 --> 00:31:47,823
It — how would you say it —
It wouldn't leave me alone.
339
00:32:09,220 --> 00:32:12,807
At the beginning of the film,
during the credits, I think,
340
00:32:12,890 --> 00:32:18,521
there are some stationary shots
in the garden of this large villa.
341
00:32:20,523 --> 00:32:24,985
These images are so eloquent.
342
00:32:27,029 --> 00:32:30,032
It's like being pushed...
343
00:32:33,202 --> 00:32:37,081
gently —
no, brutally —
344
00:32:38,457 --> 00:32:40,668
into hell,
345
00:32:40,751 --> 00:32:43,546
and then pulled out again.
346
00:32:43,629 --> 00:32:46,215
Being pushed into hell again...
347
00:32:47,842 --> 00:32:49,760
and then pulled out
348
00:32:49,844 --> 00:32:54,014
with such capable equilibrium. ..
349
00:32:55,057 --> 00:32:58,394
Such a knowledge...
350
00:33:00,729 --> 00:33:06,527
of the subconscious
fabric of the film itself.
351
00:34:08,672 --> 00:34:10,883
Can't you hear that?
352
00:34:12,259 --> 00:34:14,303
Someone's crying.
353
00:34:14,386 --> 00:34:15,888
Can't you hear it?
354
00:34:15,971 --> 00:34:18,515
Someone's crying and crying.
355
00:34:18,599 --> 00:34:21,602
The entire thing
with wide shots or close-ups
356
00:34:21,685 --> 00:34:26,106
is like an ambivalence. ..
357
00:34:27,441 --> 00:34:31,904
Within the director himself.
358
00:34:33,364 --> 00:34:37,952
Suddenly one morning,
you feel a terrible need to —
359
00:34:38,035 --> 00:34:41,455
you feel an excess of vitality —
360
00:34:41,538 --> 00:34:44,541
just to get close to them
361
00:34:44,625 --> 00:34:46,627
and to film them straight down,
362
00:34:46,710 --> 00:34:50,923
somehow to crowd them against the wall
363
00:34:51,006 --> 00:34:55,177
and to extract
their last possible expression...
364
00:34:56,929 --> 00:34:58,639
through torment.
365
00:34:58,722 --> 00:35:04,603
To get them
to reach far beyond their limits.
366
00:35:05,479 --> 00:35:11,110
Sometimes there's an incredible desire
367
00:35:11,193 --> 00:35:14,947
to break through your own
and your actors' limits.
368
00:35:16,865 --> 00:35:19,451
You should know
how incredibly revealing
369
00:35:19,535 --> 00:35:23,622
and how incredibly difficult
the close-up is.
370
00:38:02,197 --> 00:38:05,701
AUTUMN SONATA
371
00:38:06,952 --> 00:38:09,955
Welcome, everybody.
372
00:38:22,301 --> 00:38:25,179
I wrote this film a year ago.
373
00:38:25,262 --> 00:38:27,639
A bit more than that.
374
00:38:27,723 --> 00:38:30,309
It was finished
in the beginning of August.
375
00:38:31,894 --> 00:38:37,816
And I went and thought about it
376
00:38:37,900 --> 00:38:40,235
that entire spring.
377
00:38:41,737 --> 00:38:47,326
And it was some sort of wishful thinking
378
00:38:47,409 --> 00:38:51,538
to get together...
379
00:38:53,624 --> 00:38:59,004
with old collaborators again
at some point
380
00:38:59,087 --> 00:39:00,923
and to make a film.
381
00:39:09,056 --> 00:39:11,391
Pardon me if I lay down on the floor.
382
00:39:11,475 --> 00:39:13,393
Yes, and then take your things.
383
00:39:13,477 --> 00:39:16,855
Pardon me if I lay down on the floor,
but it's the only thing that helps.
384
00:39:17,898 --> 00:39:20,692
And I remember almost nothing
from my childhood.
385
00:39:20,776 --> 00:39:22,736
Yes, and then you lay down and —
386
00:39:22,819 --> 00:39:25,906
Can I ask you about that part?
387
00:39:25,989 --> 00:39:28,825
Everybody remembers something.
388
00:39:28,909 --> 00:39:33,997
Can't I say that I remember very little?
It sounds a little bit better.
389
00:39:34,081 --> 00:39:37,209
No, she remembers almost nothing.
390
00:39:37,292 --> 00:39:39,211
Almost nothing, but she does.
391
00:39:39,294 --> 00:39:42,464
You can say that, of course.
Say it the way you want it.
392
00:39:42,548 --> 00:39:44,466
It's just I think it sounds so strange.
393
00:39:44,550 --> 00:39:47,427
Everybody remembers their childhood.
You mean she's lying?
394
00:39:47,511 --> 00:39:50,931
No. That's probably
different for everybody.
395
00:39:51,014 --> 00:39:53,141
Not all people
remember their childhood.
396
00:39:53,225 --> 00:39:58,647
It's actually pretty common
that people repress their childhood.
397
00:39:58,730 --> 00:39:59,898
I don't recall.
398
00:39:59,982 --> 00:40:02,776
-For example.
-Not until I was eight or nine.
399
00:40:02,859 --> 00:40:05,529
Yes, but of course.
I don't think I remember-
400
00:40:05,612 --> 00:40:08,865
I remember when I started school.
I mean, I hurt myself right here
401
00:40:08,949 --> 00:40:12,494
and had to go to the hospital,
but after that I remember school.
402
00:40:12,578 --> 00:40:14,162
At that time, I was seven.
403
00:40:14,246 --> 00:40:16,164
-All of school?
-Yes, I remember it all.
404
00:40:16,248 --> 00:40:20,419
-Do you have vivid —
-Incredibly.
405
00:40:20,502 --> 00:40:22,087
What I don't remember
is what I did yesterday.
406
00:40:22,170 --> 00:40:23,463
How about you?
407
00:40:23,547 --> 00:40:25,674
Do you have memories
of your childhood?
408
00:40:25,757 --> 00:40:28,468
-You do. How about you?
-No.
409
00:40:28,552 --> 00:40:32,389
-And you don't either.
-Absolutely not.
410
00:40:33,223 --> 00:40:35,267
Wide forehead.
411
00:40:36,685 --> 00:40:39,688
But I can't get
the different pieces to fit.
412
00:40:39,771 --> 00:40:41,648
I can't see her.
413
00:40:41,732 --> 00:40:46,361
It's just as impossible for me
to see yours, or Helena's —
414
00:40:46,445 --> 00:40:50,782
I keep saying Lena. Can I do that?
I think it's sweeter.
415
00:40:51,575 --> 00:40:55,495
I don't see your face,
Lena's or Leonardo's.
416
00:40:57,331 --> 00:40:58,999
-I remember-
-No, lie down.
417
00:40:59,082 --> 00:41:01,960
I remember giving birth
to you and your sister,
418
00:41:02,044 --> 00:41:06,298
but all I remember about it
is that it was painful.
419
00:41:06,381 --> 00:41:09,635
But the pain, what did it taste like?
420
00:41:10,761 --> 00:41:12,262
I don't remember.
421
00:41:14,181 --> 00:41:16,099
Leonardo once said —
422
00:41:18,143 --> 00:41:19,603
No, I don't remember.
423
00:41:19,686 --> 00:41:24,066
Yes. “lt requires talent
to sense reality,” he said.
424
00:41:24,149 --> 00:41:27,611
“Most people lack this talent...
425
00:41:29,446 --> 00:41:31,448
and maybe that's a good thing.”
426
00:41:33,992 --> 00:41:36,953
-Do you understand what he meant?
-Yes, that's good. Really nice.
427
00:41:37,037 --> 00:41:39,831
I like that you lay down there.
428
00:41:40,916 --> 00:41:44,461
After, “Maybe that's a good thing,”
you lie down.
429
00:41:44,544 --> 00:41:47,381
-And turn towards —
-The daughter.
430
00:41:47,464 --> 00:41:51,301
Lies down. Very good.
431
00:41:52,135 --> 00:41:56,056
Here's something I don't understand.
432
00:41:57,557 --> 00:42:00,560
Here she sees that I've asked Leonardo
to stay a bit longer
433
00:42:00,644 --> 00:42:02,688
because I say it
after Helena's already left.
434
00:42:05,816 --> 00:42:08,485
-Is that nice?
-No.
435
00:42:09,611 --> 00:42:12,155
-She wants to show —
-I would have done that.
436
00:42:12,239 --> 00:42:15,033
And you just did.
437
00:42:15,117 --> 00:42:17,160
This is her —
438
00:42:17,244 --> 00:42:19,121
it's her -
439
00:42:19,204 --> 00:42:22,040
This is her fear.
440
00:42:22,124 --> 00:42:26,670
Instead of staying
and battling it out with this daughter,
441
00:42:26,753 --> 00:42:29,631
this crippled daughter,
442
00:42:29,715 --> 00:42:35,679
who Leonardo turns
his entire passion towards,
443
00:42:35,762 --> 00:42:39,683
she does the only genuine thing:
444
00:42:40,809 --> 00:42:41,977
She leaves.
445
00:42:42,060 --> 00:42:44,104
Yes, but she tells Leonardo to stay.
446
00:42:44,187 --> 00:42:48,900
Yes, but that's
to provide an alibi for —
447
00:42:50,152 --> 00:42:52,988
To make her seem —
She's pretending to be generous.
448
00:42:53,071 --> 00:42:54,990
She's so sophisticated.
449
00:42:55,073 --> 00:42:58,243
Yes, but if I know that now,
that means I've seen through it.
450
00:42:58,326 --> 00:43:00,078
Then it has to turn out the way I said.
451
00:43:00,162 --> 00:43:03,707
That's right. So the responsibility
actually falls on you.
452
00:43:08,795 --> 00:43:10,213
Do you understand?
453
00:43:10,297 --> 00:43:13,467
Yes, but it's terribly ingenious.
454
00:43:13,550 --> 00:43:16,762
-Yes, but isn't that fun?
-Yes, it is.
455
00:43:16,845 --> 00:43:18,263
It's more fun.
456
00:43:19,723 --> 00:43:22,726
Frozen in place, it says.
457
00:43:22,809 --> 00:43:25,812
So it was my fault that Lena fell ill?
458
00:43:27,731 --> 00:43:29,232
Yes, I believe so.
459
00:43:30,358 --> 00:43:33,278
You mean that Lena's illness —
460
00:43:33,361 --> 00:43:36,239
-Yes.
-You can't be serious.
461
00:43:37,949 --> 00:43:40,076
-You whisper these lines.
-Really?
462
00:43:40,160 --> 00:43:41,870
“You can't be serious.”
463
00:43:43,121 --> 00:43:45,081
You speak so low
that it's almost inaudible.
464
00:43:45,165 --> 00:43:47,417
Yes, so she —
465
00:43:47,501 --> 00:43:50,504
This is the abyss.
466
00:43:52,005 --> 00:43:55,717
Does she for a moment believe
that she could have been —
467
00:43:55,801 --> 00:44:01,640
She's so influenced now that
she's ready to believe anything.
468
00:44:01,723 --> 00:44:04,518
-Her entire resistance is shattered.
-Really?
469
00:44:04,601 --> 00:44:06,853
Now she's fractured, naked, shattered.
470
00:44:06,937 --> 00:44:10,440
So it's not in the least —
You're simply —
471
00:44:11,107 --> 00:44:12,567
Crazy? No.
472
00:44:12,651 --> 00:44:13,610
She's right?
473
00:44:13,693 --> 00:44:17,781
You see this witch
has now bewitched her
474
00:44:17,864 --> 00:44:21,368
so she's now
completely destroyed.
475
00:44:21,451 --> 00:44:22,994
-Yes.
-Crushed.
476
00:44:23,078 --> 00:44:27,165
So she's prepared
to accept any and all blame.
477
00:44:28,416 --> 00:44:30,961
That's what's so scary
about this moment.
478
00:44:31,044 --> 00:44:33,797
This is so dark.
There is nothing darker.
479
00:44:33,880 --> 00:44:38,844
And here the demons hover in the air.
480
00:44:44,933 --> 00:44:46,685
So it was my fault that Lena —
481
00:44:46,768 --> 00:44:52,482
Being opinionated
is something I've struggled with
482
00:44:52,566 --> 00:44:58,655
and I'm an authoritarian by nature.
483
00:44:58,738 --> 00:45:02,450
My democratic spirit is something...
484
00:45:04,244 --> 00:45:06,746
that's a bit underdeveloped
485
00:45:06,830 --> 00:45:09,499
as a result of my occupation.
486
00:45:10,709 --> 00:45:15,755
But as you become
more and more aware of that
487
00:45:15,839 --> 00:45:21,303
and find it more and more tiring,
you stop doing it.
488
00:45:21,386 --> 00:45:26,516
The moment I force the actors
489
00:45:26,600 --> 00:45:30,145
they may very well do as I wish,
490
00:45:30,228 --> 00:45:36,985
but on the other hand,
I know the result will be catastrophic.
491
00:45:38,945 --> 00:45:41,698
The sentence next.
The first sentence next.
492
00:45:41,781 --> 00:45:42,991
Yes, right.
493
00:45:43,074 --> 00:45:45,493
-It's the only thing that helps.
-Right.
494
00:45:45,577 --> 00:45:47,704
Excuse me if I lay —
Where should I lay down?
495
00:45:47,787 --> 00:45:49,915
Let's see where you should lay down.
496
00:45:51,124 --> 00:45:53,585
Is it clean?
497
00:45:57,714 --> 00:45:58,632
There.
498
00:45:59,215 --> 00:46:01,551
There you lay down. Like that.
499
00:46:04,763 --> 00:46:08,141
No, I remember very little
of my parents.
500
00:46:08,224 --> 00:46:09,476
“Of your childhood.”
501
00:46:09,559 --> 00:46:12,062
I remember very little
of my childhood.
502
00:46:13,313 --> 00:46:18,276
I don't remember if my parents
ever touched me,
503
00:46:19,152 --> 00:46:21,154
be it caresses or touches —
504
00:46:21,237 --> 00:46:23,198
Caresses or punishments.
505
00:46:24,282 --> 00:46:26,493
Do you mind if I lie down on the floor?
506
00:46:28,078 --> 00:46:30,080
It's the only thing that helps.
507
00:46:34,167 --> 00:46:36,836
I remember very little
of my childhood.
508
00:46:37,754 --> 00:46:42,217
I can't recall my parents
ever touching me,
509
00:46:42,300 --> 00:46:45,512
either to caress me or to punish me.
510
00:46:47,097 --> 00:46:50,433
I didn't know anything about love,
511
00:46:51,518 --> 00:46:56,481
tenderness, contact, intimacy, warmth.
512
00:47:00,235 --> 00:47:05,490
Only through music did I have
a chance to show my feelings.
513
00:47:06,408 --> 00:47:09,911
I just want to note
that I had no contact with her.
514
00:47:09,995 --> 00:47:13,248
Complete distance.
515
00:47:13,331 --> 00:47:15,750
-You're not friendly yet?
-No.
516
00:47:18,044 --> 00:47:20,922
-Should I look uninvolved?
-No, it looks terrible.
517
00:47:21,006 --> 00:47:24,634
But now she's going to start
a new attack.
518
00:47:24,718 --> 00:47:27,637
So I can't sit here
and listen with interest.
519
00:47:27,721 --> 00:47:32,017
I don't mean with disinterest,
but to show —
520
00:47:32,100 --> 00:47:33,810
I don't care.
521
00:47:33,893 --> 00:47:35,729
I need a little bit more.
522
00:47:35,812 --> 00:47:37,772
Because she understands
this pretty well.
523
00:47:39,274 --> 00:47:42,152
This is all you do.
524
00:47:42,235 --> 00:47:44,029
Occasionally, it's more.
525
00:47:44,112 --> 00:47:45,572
But the entire time —
526
00:47:45,655 --> 00:47:48,742
-Try not to look down.
-You have to do it.
527
00:47:48,825 --> 00:47:50,952
It's impossible to not look down.
528
00:47:55,582 --> 00:47:59,210
Four times.
One, two, three, four.
529
00:47:59,294 --> 00:48:01,171
And now you slowly raise —
530
00:48:04,674 --> 00:48:06,885
Now look at both left and right.
531
00:49:45,608 --> 00:49:46,693
She goes to the mirror.
532
00:49:46,776 --> 00:49:49,320
She goes there.
533
00:49:50,530 --> 00:49:52,323
There, and then you say —
534
00:49:52,407 --> 00:49:55,034
-Blah, blah, blah, I say.
-Yes, and then this.
535
00:49:55,118 --> 00:49:58,454
He didn't like that I was gray haired,
but otherwise I look the same.
536
00:49:58,538 --> 00:50:02,125
Don't you think?
Is it that direction I turn?
537
00:50:02,208 --> 00:50:04,878
But otherwise I look the same.
Don't you think?
538
00:50:04,961 --> 00:50:08,423
You look exactly the same.
539
00:50:08,506 --> 00:50:09,883
That's where you'll stand.
540
00:50:09,966 --> 00:50:14,053
Your line follows, “The last few years
we didn't see each other.”
541
00:50:14,137 --> 00:50:15,972
“No, no. You look exactly the same.”
542
00:50:16,055 --> 00:50:18,516
-That's all you say.
-Then you'll stand here.
543
00:50:18,600 --> 00:50:20,435
-That works.
-What?
544
00:50:20,518 --> 00:50:22,103
It works?
545
00:50:22,187 --> 00:50:24,731
-You see both ladies? What?
-Yes.
546
00:50:24,814 --> 00:50:28,109
And then she says —
547
00:50:28,193 --> 00:50:31,738
I'm supposed to speak
to the mirror again?
548
00:50:33,489 --> 00:50:35,658
How are you?
549
00:50:37,076 --> 00:50:38,995
-So sweet.
-Thanks.
550
00:50:39,078 --> 00:50:40,747
What sort of mischief
are you up to tonight?
551
00:50:40,830 --> 00:50:43,166
No mischief at all.
I've got nothing to do.
552
00:50:43,249 --> 00:50:45,043
-I don't know what to do.
-Nobody to get in trouble with?
553
00:50:45,126 --> 00:50:46,711
No, nobody.
554
00:50:47,629 --> 00:50:50,381
-I'll just go see a movie.
-How silly.
555
00:50:51,341 --> 00:50:54,010
-Yes, but no theater.
-No, there's only garbage.
556
00:50:54,093 --> 00:50:56,387
No, I mean there are no shows
on Monday.
557
00:50:56,471 --> 00:50:58,223
No, there aren't.
558
00:50:59,849 --> 00:51:00,934
What time is it?
559
00:51:01,017 --> 00:51:04,020
I'm just wondering about the dress
for tomorrow. I've only tried it once.
560
00:51:04,103 --> 00:51:06,648
-Almost 4:30.
-4:30.
561
00:51:08,483 --> 00:51:13,780
I think it is pan'
of a directoris responsibilities. ..
562
00:51:15,823 --> 00:51:20,620
To have a good working temperament.
563
00:51:21,704 --> 00:51:28,044
To create a kind of...
564
00:51:28,127 --> 00:51:33,007
friendly working environment.
565
00:51:33,633 --> 00:51:38,596
But there's also something called
an “instructive outburst.”
566
00:51:40,014 --> 00:51:43,810
And that's something
you might need to use on occasion.
567
00:51:43,893 --> 00:51:49,023
But they're premeditated
568
00:51:49,107 --> 00:51:51,025
outbursts of anger.
569
00:51:51,109 --> 00:51:53,278
They're very thought out.
570
00:51:53,361 --> 00:51:55,905
They're used to make a point.
571
00:51:55,989 --> 00:51:58,783
Because they're needed.
572
00:51:59,742 --> 00:52:03,329
It can't become too cozy.
573
00:52:07,000 --> 00:52:10,336
-Say hello to Lily.
-I certainly will.
574
00:52:13,006 --> 00:52:16,384
And what's the name
of your complimentary —
575
00:52:16,467 --> 00:52:18,720
I don't remember.
576
00:52:21,264 --> 00:52:24,017
-The necrophiliac.
-Necrophiliac.
577
00:52:25,560 --> 00:52:27,729
LAST PERSON TO LEAVE
TURN OFF LIGHTS AND LOCK UP
578
00:52:29,981 --> 00:52:33,443
SCENES FROM A MARRIAGE
579
00:52:40,700 --> 00:52:43,870
-Aren't you going to set the alarm?
-I've got it in my hand.
580
00:52:50,793 --> 00:52:53,379
If you like, you can make love to me.
581
00:52:54,547 --> 00:52:57,091
Thanks for the offer,
but I'm too tired.
582
00:54:24,053 --> 00:54:26,806
What was it that Bergman could do?
583
00:54:30,476 --> 00:54:34,397
A movie like that
was like a full meal.
584
00:54:34,480 --> 00:54:36,482
You got a bit of this
and a bit of that.
585
00:54:36,566 --> 00:54:40,486
And at the same time,
the atmosphere was so insanely beautiful.
586
00:54:40,570 --> 00:54:45,366
You can see in almost every frame
that it's Bergman.
587
00:54:45,450 --> 00:54:50,788
And definitely when the characters speak,
it's very obvious.
588
00:54:55,126 --> 00:54:58,296
I came here to tell you something.
589
00:55:02,800 --> 00:55:05,303
I've gone and fallen in love.
590
00:55:07,013 --> 00:55:09,849
It's absurd,
and probably a big mistake.
591
00:55:09,932 --> 00:55:12,226
Most probably a big mistake.
592
00:55:16,189 --> 00:55:20,151
I met her at that convention in June.
593
00:55:21,486 --> 00:55:23,738
She was the interpreter and secretary.
594
00:55:23,821 --> 00:55:28,659
Actually, she's studying for her degree.
She's going to teach Slavic languages.
595
00:55:32,788 --> 00:55:35,458
She's nothing much to look at.
596
00:55:35,541 --> 00:55:38,336
You would probably think she's ugly.
597
00:55:41,422 --> 00:55:43,799
I have no idea what this will lead to.
598
00:55:45,051 --> 00:55:47,887
I have no idea about anything.
599
00:55:47,970 --> 00:55:49,972
I'm utterly bewildered.
600
00:55:54,101 --> 00:55:56,145
Of course, I'm happy in one way.
601
00:55:56,229 --> 00:55:59,106
But I do feel damn guilty
about you and the children.
602
00:56:00,149 --> 00:56:02,318
We've always gotten along so well.
603
00:56:05,571 --> 00:56:10,785
Things have been
no better and no worse
604
00:56:10,868 --> 00:56:12,787
than for the average family.
605
00:56:17,917 --> 00:56:19,210
Say something, for Christ's sake.
606
00:56:23,047 --> 00:56:25,299
I don't know what to say.
607
00:56:33,349 --> 00:56:36,060
Bergman is so insanely good
at writing lines.
608
00:56:36,143 --> 00:56:37,853
Insanely good.
609
00:56:40,064 --> 00:56:47,488
I don't think he would be very good
at getting improvisation from the actors.
610
00:56:47,572 --> 00:56:50,908
I can't imagine,
because he —
611
00:56:50,992 --> 00:56:54,912
His lines are so precise,
and they are so entertaining.
612
00:57:03,504 --> 00:57:07,383
An advantage of Bergman's production
is that he made so many movies.
613
00:57:07,466 --> 00:57:09,885
They came out in a steady stream.
614
00:57:09,969 --> 00:57:13,306
He can't really ha ve given
many of them a whole lot of thought.
615
00:57:13,389 --> 00:57:15,224
It just happened.
616
00:57:15,308 --> 00:57:20,146
I'm almost in too deep
to talk about what he can do,
617
00:57:20,229 --> 00:57:22,982
because I haven't really analyzed it,
I just enjoyed it.
618
00:57:48,674 --> 00:57:52,136
SARABAND
619
00:57:52,720 --> 00:57:55,765
Then you do it to —
You'll be late.
620
00:57:55,848 --> 00:57:57,767
Let's do one more.
621
00:57:59,769 --> 00:58:01,937
-It's off from the start, right?
-What?
622
00:58:02,021 --> 00:58:04,315
-Turn it on.
-Now I'll turn it on.
623
00:58:05,274 --> 00:58:08,444
No, you were ahead.
I'll turn it off.
624
00:58:09,612 --> 00:58:11,572
Now I'll —
Turn it on.
625
00:58:13,032 --> 00:58:14,617
Now I'll turn it off.
626
00:58:24,835 --> 00:58:27,421
There. And now you look in the mirror.
627
00:58:44,814 --> 00:58:46,399
The entire night.
628
00:59:02,832 --> 00:59:05,668
Is somebody going to tell me
when we're ready?
629
00:59:07,086 --> 00:59:08,129
Shortly.
630
00:59:09,463 --> 00:59:11,674
Look. God, how horrific.
631
00:59:13,551 --> 00:59:16,262
What's that'? Oh, that's Efland.
632
00:59:16,345 --> 00:59:18,639
This is a better monitor.
633
00:59:20,266 --> 00:59:22,101
And there she is.
634
00:59:23,102 --> 00:59:27,022
The camera is very loud.
635
00:59:27,106 --> 00:59:29,775
But it can't understand or think.
636
01:00:20,701 --> 01:00:22,661
-Of November?
-October.
637
01:00:25,956 --> 01:00:29,710
-Good night again.
-Good night.
638
01:00:31,337 --> 01:00:34,632
Let's make it pitch dark.
639
01:00:34,715 --> 01:00:37,134
-What are you doing?
-Pitch black.
640
01:00:38,761 --> 01:00:40,137
Marianne.
641
01:00:41,597 --> 01:00:45,017
Marianne! Sorry to wake you up.
642
01:00:45,100 --> 01:00:48,604
That's all right.
I'll fall back asleep.
643
01:00:51,690 --> 01:00:55,277
Johan, is something wrong?
644
01:00:55,361 --> 01:00:57,154
I don't know.
645
01:00:58,239 --> 01:01:02,618
I think it's some kind of anxiety.
646
01:01:02,701 --> 01:01:06,413
Anxiety? What kind of anxiety?
647
01:01:07,581 --> 01:01:09,166
Now I see. You're sad —
648
01:01:09,250 --> 01:01:12,419
-You're sad.
-I'm not sad.
649
01:01:12,503 --> 01:01:14,672
It's worse.
It's a hellish anxiety.
650
01:01:15,339 --> 01:01:19,218
It's bigger than me.
651
01:01:19,301 --> 01:01:21,929
It's trying to push its way out
through every orifice —
652
01:01:22,012 --> 01:01:26,559
my eyes, my skin, my asshole.
653
01:01:27,601 --> 01:01:31,605
It's like a gigantic,
total mental diarrhea!
654
01:01:36,527 --> 01:01:39,738
It's coming out everywhere.
I'm too small for my anxiety.
655
01:01:39,822 --> 01:01:41,574
Are you afraid of death?
656
01:01:41,657 --> 01:01:44,201
More than anything,
I'd just like to scream.
657
01:01:45,077 --> 01:01:48,873
What do you do
with a bawling baby
658
01:01:48,956 --> 01:01:50,749
that won't be comforted?
659
01:01:50,833 --> 01:01:55,296
-Come lie next to me.
-There's no room.
660
01:01:55,379 --> 01:02:00,759
-We've slept in narrower beds.
-We won't be able to sleep.
661
01:02:01,802 --> 01:02:06,140
As if that makes any difference
in the last days.
662
01:02:06,223 --> 01:02:08,559
I have to take off my nightshirt.
663
01:02:08,642 --> 01:02:11,979
It's damp from my... indisposition.
664
01:02:12,062 --> 01:02:12,938
Go ahead.
665
01:02:19,778 --> 01:02:24,158
-You have to take yours off, too.
-I do?
666
01:02:26,201 --> 01:02:27,536
All right.
667
01:02:56,065 --> 01:02:59,902
There. Settle. Action.
668
01:03:06,408 --> 01:03:08,953
Perhaps you're wondering
how it turned out.
669
01:03:09,036 --> 01:03:11,080
Then you turn the photograph.
670
01:03:11,830 --> 01:03:16,460
I stayed with Johan
until the beginning of October.
671
01:03:17,628 --> 01:03:22,007
We promised to keep in touch.
672
01:03:22,091 --> 01:03:27,888
I think we even fantasized about
a trip to Florence the next spring.
673
01:03:27,972 --> 01:03:29,848
With a little bit of irony.
674
01:03:30,766 --> 01:03:32,851
Just a touch of irony.
675
01:03:32,935 --> 01:03:36,855
-I even think we —
-“We” — That's it.
676
01:03:36,939 --> 01:03:38,107
We promised —
677
01:04:25,863 --> 01:04:29,366
And then look at —
Like that.
678
01:04:32,828 --> 01:04:34,038
Zoom in.
679
01:04:34,121 --> 01:04:36,749
More, more.
680
01:04:36,832 --> 01:04:39,585
Pan slightly to the right.
681
01:04:39,668 --> 01:04:41,712
There. Like that.
682
01:04:41,795 --> 01:04:43,714
There it is.
683
01:04:46,425 --> 01:04:50,179
That's good, you make
that little gesture with your mouth.
684
01:04:53,640 --> 01:04:55,851
-Is this good?
-Yes.
685
01:04:55,934 --> 01:04:58,604
Kerstin says
that you look like Peter Sellers.
686
01:05:00,230 --> 01:05:02,524
Yes, I can see that.
687
01:05:03,317 --> 01:05:05,360
Not like Ingmar Bergman, but like —
688
01:06:00,457 --> 01:06:04,336
You see that's the finesse
of this entire group.
689
01:06:06,213 --> 01:06:08,006
That's really good.
690
01:06:10,008 --> 01:06:14,972
And then he suddenly appeared
in the doorway...
691
01:06:16,890 --> 01:06:18,684
to the studio.
692
01:06:18,767 --> 01:06:21,937
And then he said, “Good-bye.”
693
01:06:23,522 --> 01:06:27,860
And then he left
and caught a flight to Férii.
694
01:06:27,943 --> 01:06:29,486
And never returned
695
01:06:29,570 --> 01:06:32,447
to the studio or Stockholm.
696
01:06:32,531 --> 01:06:34,324
He remained on Férii.
697
01:06:43,041 --> 01:06:47,462
That's how his film career ended.
698
01:06:48,755 --> 01:06:53,343
And that's how the great adventure
ended for all those...
699
01:06:57,472 --> 01:06:59,516
who got to work with him.
700
01:08:35,237 --> 01:08:39,324
“Theater is my wife,
but film is my mistress.”
51854
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