Original subtitles

MEETING AT FILMHUSET, MONDAY 5 SEPT 1977

Lena, you're too short, you have to sit up here.

I haven't introduced myself.

This is Ingrid. And Lena.

- Perhaps you've already met? - No, we've seen each other before.

- Should I go around and... - No, no.

Welcome, everyone.

I wrote this screenplay a year ago. More than that.

It was finished in early August...

And I had it on my mind that entire spring, which was a bit problematic.

And...

It was kind of a silly dream of mine to be able to work with...

with the old gang again some day.

And make another film.

It seemed very distant and unrealistic at the time.

Then I was all set to make a film called 7he Serpent's Egg.

Three days before shooting started, we had no star.

It was what, the fourth of September or so we were supposed to start.

We got going on 28-29 October.

During that time, what kept me going

was the thought that,

“If this project falls through, then maybe we can do Autumn Sonata.”

So thinking about that film was what kept Sven and me sane,

and I think Liv too. We talked about it a lot.

Is there anything else we need to...

I have a few boring details. Before you all leave today,

can you please let me know who of you will take their own cars to Oslo?

And who will be arranging their own accommodation?

Now then, what else?

- Have you tested this new type of film? - Yes, I have.

Not here, but I've shot with it.

- But not here? - We're doing that today.

READING, FLORAGATAN ST, WEDNESDAY 7 SEPT 1977

Now then!

- “In your wretched hatred”... - Hang on a sec...

We have some additions here.

But isn't this unnecessarily long? Doesn't Eva say the same...

Sorry, I don't take the time to think before I speak. I think later.

It doesn't bother me! But...

- “The child has been released'... - I was thinking that we don't have to...

Because that will be in Lena's line down here.

Oh, oh, I see.

- You hear the voice. See: “Eva (voice).” - That's right.

- Additions on page 177? - Right.

It's like this, see... This is how it goes.

- We have a passage of time here. - Passage of time...

- An hour has passed. - An hour...

And it's... Now it's dawn. Not just any dawn.

- The Hour of the Wolf - What was that?

- An Hour of the Wolf dawn? - More of a Cries and Whispers dawn.

We'll do one of those... We've made so many films together, this is number 19.

We only need to name the film and everyone knows what kind of dawn.

Yeah, exactly!

We want those lights and those filters on the lights and so on.

And next...

Then we're in the living room.

And Charlotta says:

- “Christ, my back hurts.” - Oh, are we there now?

Then she says, “Do you mind if I lie on the floor? Nothing else helps.”

I'm sorry, but isn't this a bit comical? Right in the middle of this...

You don't think so?

That laugh means: “Oh these stupid directors!”

“They come up with the dumbest ideas! I'm so sick of these idiots!”

People will laugh. I didn't think you wanted laughter here. Eva is so serious.

They're all up in arms, then she lies on the floor.

I asked about this before. How can anyone not remember their mother?

- Itis hard... - I remember my dad who died ages ago.

But it's not about how long it's been.

It's a kind of talent. It's about our whole contact with reality.

But what's there to remember? Eyes and a mouth.

The whole person! The ability to recreate the individual as if she were here.

Don't you remember what Linn looks like?

- We remember bits and pieces. - I'm getting confused.

That's really quite an exciting test. Strange and interesting.

I must be losing it. If I look at you and close my eyes, I don't see anything.

I don't know, maybe you're not looking right.

I can't picture people I met yesterday. I never recognize people on the street.

What's that? Yes, you mix up names, too.

I do. That must mean something.

- You called me Roberto... - She did?

I did not!

What an imagination! I think it's pure laziness that I don't remember faces.

I just can't fit in that many. My brain is full, I think.

- That's what I think. - Keep that in mind.

“Yes, I think so,” says Eva.

That's easy for me to say. “Yes, I think so.”

“Yes, it's very strange.”

- “It's very strange.” - “Strange?”

“I've always been afraid of you.”

- “I don't see why.” - “I wanted you to take care of me.”

“I wanted you to hold me in your arms and comfort me.”

- “But I was just a child.” - “Does it matter?”

“No.”

“I saw you loved me, and I wanted to love you,”

- “but I was afraid of your demands.” - “I didn't have any.”

“I thought you had demands I couldn't meet. I felt awkward and...debilitated.”

“I felt so awkward” is the point. Debilitated is what she Js.

- You think it's hard to pronounce. - Debil — Yes, it stops you up.

- Stops you up? - Debilitated. But I'll make it work.

But I mean, I've never used it myself. Debilitated.

Disabled. I feel disabled. That's what I'd say.

- Yes, but Charlotte says it every day. - Right. If you think so, I'll learn it.

- “I feel awkward and debilitated.” - You see?

- But you know, it isn't necessary. - Eva just said it.

- Just: “I felt so awkward”? - She did just say it about the mother.

Debilitated. And I repeat it. So maybe that's good.

“I felt so awkward.” Actually I'm happy to delete it. I even think it's good.

Yes, “I feel so awkward.” That's much better. It is.

- So it's out? - Yes. “Is it true?” “I don't know.”

Okay, so “Is it true?” And it is. Then we go to...?

- “ don't know.” - “l don't know.” Okay.

“I feel upset and confused. Maybe it's Leonardo's death or Lena's illness.”

“Maybe it's your wretched hatred. Eva, be kind to me. This hurts me so.”

Now a couple of lines have been taken out:

“I know it hurts” and Charlotte's “Why are you looking at me like that”.

And Charlotte's line, “Tell me what you're thinking about.”

Because it comes here: She pauses and says, “What are you thinking about?”

“Eva, be kind to me. This hurts me so.”

I have a fantastic staging for this. Wait till you see.

- Can't you tell us? - No, but it'll be damned beautiful.

And very experimental.

Because after that, these people never move an inch.

Practically until the end of the film. Up to here. They're motionless.

- But it's going to be gorgeous. - So I say, getting back to us...

You say, “This hurts me so.” There's a pause and she says:

“What are you thinking about?”

It's just as miraculous as her illness disappearing when Leonardo loved her.

So it's sort of a saint's story, in a way.

And she reaches out to her mother, who presses her head to hers.

So this is...

And then it's... The scene closes.

There!

Fade to black, then fade in. Charlotte is whispering into the phone.

“I'm sorry for calling so early, Paul. I need to keep my voice down.”

“Could you send me a telegram,”

“saying I'm needed in Paris or somewhere?”

“Or bloody anywhere!”

“I can't take one more day here. But I need an excuse. Please, Paul!”

“I need to hang up now. This is an expensive call. Good-bye.”

And Eva has heard all of this.

“Why are you looking at me in that hateful way?”

You're up to no good.

REHEARSAL, STUDIO 2 FILMHUSET, MONDAY 12 SEPT 1977

And then...

Let me think where I want you. I actually want you sitting...

You sit over here.

And you're pacing.

At first you're pacing here and no one is saying a word.

You're looking out of the window, and you say:

“Oh, Christ, my back hurts. Do you mind if I lie on the floor?”

And you take your ashtray and cigarettes,

and you lie down with your head this way and your feet that way.

- So I start talking when I'm there? - Right, around there.

Over here...

“Oh, Christ, my back hurts. Do you mind if I lie on the floor...”

- Grab your things. - “It's the only thing that helps.”

- “I hardly remember my childhood.” - Lie down...

Can I just ask you... I think — surely everyone remembers something.

Isn't it better... Can't I say, “I remember very little”?

- She's rejecting her childhood. - “l hardly remember...” Okay.

- Of course, you can say what you want. - It's just... We all remember our past.

- You mean she's lying? - No. I think that varies a lot.

It's very common that many people have blocked out their childhood memories.

I don't remember anything before age eight or nine.

That's childhood. I remember starting school, and once when I fell down.

Had to go to hospital. But I remember school. Age seven.

- All of it? - Yes.

- Detailed memories? - Intensely.

- What I don't remember is yesterday. - Do you have many memories?

You do. You? No?

- Not you either? - Not at all.

- See, it's quite... - Eight years old is childhood.

- Yes, but still... - What she means is...

I don't remember a lot. From maybe age three or four to eight or ten.

Even that's better. I don't remember much...

So we go down here. “Oh, Christ, my back hurts.”

“Do you mind if I lie on the floor? It's the only thing that helps.”

And the ashtray.

“I remember very little from my childhood.”

“My parents were mathematicians.”

Do I turn to her here? “I saw that you loved me.”

- Or do I stay in this position? - Yes, you stay —

Does it matter?

I think this is better.

Does it matter? I prefer this.

- That she turns when she says it? - No, that I stay in this position.

- So she turns on... - “I saw that you loved me.”

“I wanted to love you, but I couldn't. I was afraid of your demands.”

- “I didn't have any demands.” - “I thought you did. I felt so awkward.”

“I wanted you to know that I was just as helpless as you were.”

“I don't know...”

“I feel upset and confused. Maybe it's Leonardo's death or Lena's illness.”

“Maybe it's your wretched hatred.”

“Eva? Be kind to me.”

“This hurts me so.”

“What are you thinking about?”

“I'm thinking about Helena and Leonardo.”

“I don't understand. They barely knew each other.”

“We spent one Easter together on Bornholm.”

“You left after three days.”

“I was going to play Bartok's First with Ansermet in Geneva.” Ansermet.

Why is that so difficult? Ansermet. “Barték's First with Ansermet.”

“I wanted to get there early and go through the concerto with the old man.”

‘I may have left earlier. I remember, the weather was terrible.”

“Leonardo was in a foul mood, and you weren't very cheery either.”

“I don't know why you want to make me remember that stupid Easter.”

“You and Leonardo arrived on Thursday. We drank wine, sang and laughed.”

“Played some old game we found in a closet.”

“Helena was with us. She wasn't so ill then. She was warm and happy.”

“That made Leonardo happy. He talked and joked with her.”

“She fell head over heels in love. They sat up half the night.”

“The next morning Helena confided to me that Leonardo had kissed her.”

“That morning, Leonardo and Helena went for a drive. It was Good Friday.”

“The weather was warm, springy. Have you forgotten, Mum?”

“They came home sunburned and happy.”

“You'd been on the phone all morning.”

“When they came in and Leonardo put Helena on a chair,”

“you interrupted your call and said.”

“Now be sure and thank Leonardo for being so good to you.”

“Helena laughed and said, ‘Mum talks to me as if I were eight. Isn't that cute.”

I think I have to. Modern cinemagoers are watching to see who is really playing.

“Aha, that's someone else playing.” At least once it has to be for real.

- Don't you think? - That makes sense.

I was picturing myself sitting there playing in a melancholy mood.

- You can learn to play the prelude. - No.

- What? - There's no time. I can't play a note.

I don't know...the keys. The elementary principles. It would take me weeks...

- Maybe six months. - To really play. But not to /ook real.

- Is she coming today? - Tomorrow. After lunch.

I've played piano, but I quit at 13, so that really isn't much to go on.

- You must remember a bit. - I can find the keys.

That's for me.

- So, time for lunch? - What?

“I remember she was big and dark, with blue eyes, a big nose and full mouth.”

“But I can't put the pieces together. I can't see her.”

“Just as I can't see your and...Helena's”...

- I keep saying Lena instead. Is that okay? - Sure.

“I can't picture your face, or Lena's or Leonardo's. I remember...”

- Don't get up. - “l remember giving birth to you both.”

“But all I really remember is that it hurt, not what the pain tasted like.”

“Leonardo once said... I don't remember...”

“Oh right, a sense of reality is a talent, he said, and most people don't have it.”

“And maybe that's a good thing.”

- “Do you know what he meant?” - That's good. I like that you lay down.

After “maybe that's a good thing,” she lies down and turns...

- ...towards the daughter. - Lies down. Very good.

- Then there's... - I think so.

- So I'm lying down through all this... - That would be good for you.

Good. That's good.

“Leonardo was in a foul mood and so were you.”

“I don't know why you want to make me remember that stupid Easter!”

- Is that too much? - A bit, but that's about what I want.

“You and Leonardo arrived on Thursday. We drank wine, sang and laughed.”

“Played some old game we found in a closet.”

“Helena was with us. She wasn't so ill then. She was happy.”

“That made Leonardo happy. He talked and joked with her.”

“He fell head over heels in love. They sat up half the night.”

You're twisting the knife a bit more than I intended.

- I wrote that she fell in love. - And I said he!

That's my Swedish failing me...

A little Freudian slip there!

That he fell in love.

- Well, he did, didn't he? - Yes, that's true.

- But it's more important that she did. - I forgot. “She fell head over heels.”

You know, there's something I'm just not getting here.

It says that I asked Leonardo to stay a bit longer because it's good for Helena.

- That's generous. - No.

- She's trying to... - I think so.

I understand that. But this is her... It's her...

This is her fear...

Instead of staying and fighting with the daughter, the disabled daughter,

to whom Leonardo is now dedicating all of his passion,

she does the one thing she can do. She leaves.

She knows that at the moment she does, Leonardo will lose all of his...

his sense of order in his emotional world.

He'll see the craziness of the situation. She does the right thing instinctively.

- If she stayed, he could have kept... - Right. That would have been romantic.

- To hurt her, to... - ...love someone else.

But leaving him with an invalid makes him realize it's hopeless.

- And she knows that. - Instinctively, yes.

Plus she does what she always does, leaves.

- But she tells Leonardo to stay... - Yes, that gives it a sort of alibi.

She wants to appear... She's pretending to be generous.

So she tells Eva,

“I see how good this is for Helena.”

Yes, but if I've seen through her, I have to say it as if I have.

That's right, it's your responsibility.

- Do you understand that? - Yes. But it's very devious.

- But doesn't that make it fun? - Yes, it's much more fun.

I'm a hack compared to Chekhov. I'm working on his 7hree Sisters now.

- Are you putting it on in Germany? - Yes, at the Residenz.

And let me tell you, the amount of subtext,

half-expressed phrases and double entendres are enough to drive you mad.

- Things that mean something else... - All the time.

All sorts of things going on under the surface.

The whole dialogue is constantly peppered

with depths of meaning and secrets and tensions, and secret tensions. It's wild.

You know what it is? I'm referring to what she said, instead of her saying it.

That would make it... That's what's difficult.

- I can react to what you say, too. - We could do this:

We could add an extra line.

I think I can help, if my face is visible, not in the background.

If it's not from the back.

- It's not from the back. - Then the mother can react that, “Oh!”

- “My daughter saw right through me.” - But it's not a question of that.

Can't we help the audience out?

- No, we can't help them at all here. - No?

Imagine that...

Let's move on.

- Do I still stand here? - Both of you are nailed to the floor.

- “So it was my fault that Lena got ill.” - “I think so.”

“You mean that Lena's illness... You don't seriously mean...”

You're whispering now.

- So that you're barely audible. - She thinks...?

This is the abyss, you see.

Does she really think for a moment that she...

She's so influenced now that she's prepared to take the blame for anything.

Her powers of resistance are crushed. She's exposed, naked, crushed.

- So there's no aspect of “you're...” - Crazy? No.

- It's “you're right.” - This witch has bewitched her.

So now she's completely shattered. Destroyed.

And she's prepared to accept the blame for anything.

That's what's so horrific in this moment. There is no darker moment.

This is just... There are demons in the air here.

- “So it's my fault that Lena got ill?” - “I think so.”

REHEARSAL, STUDIO 2 FILMHUSET, TUESDAY 13 SEPT 1977

- Does your eye hurt? - This morning it was stuck shut.

Persson says there's an eye infection going around.

- Ingrid has had it. - Your Ingrid?

- What happens? The eye waters? - You get pus...

- And like a film over the eye. - It only lasts two days.

- Where's my script? - On your desk.

Come then, let's go. Let's drag ourselves to work.

- Come on, let's drag ourselves to work. - Yes, let's.

- What is it? - I've misplaced my script.

- At the hotel. This one has no markings. - That bloody stinks.

- You can't find it? - I'd have to go back to the hotel.

I looked for it this morning, but the car was waiting, so I took a new one here.

Ill find it. I don't think I threw it away.

“Eva, darling. Can you see if I left my glasses by the window?”

Where are you now? In the middle...

- They go back here. - Yes.

It becomes very difficult for them to find it.

That's great. Perfect.

“That was my agent. He's so sweet. My only friend in the world these days.”

“You remember him, Eva? I's good old Paul.”

“Oh, what a lovely old instrument. Excellent tone, and newly tuned.”

“Now I really feel good. I was worried about nothing.”

- “What do you mean?” - “What do you think?”

“Don't you see that I was terrified about seeing you after five years?”

“I couldn't sleep. I almost phoned and said I couldn't come.”

- “Oh, Mom!” - “Do you think I'm made of steel?”

“Decaf is terrible stuff! I see you're working on the Chopin preludes.”

- “Won't you play something for me?” - “Not now, Mom.”

“Don't be childish. It would please me so much.”

- Did you get that? - Were you on your toes, Arne?

- Can you get in behind it? - Yes, I can.

- Someone did that intentionally. - I think Arne did, to get a good shot!

Okay then.

- Okay, we're done with that. - Yes.

“Dear little Eva.”

- “Is that all you have to say?” - “No, no, I'm just so moved.”

- “Did you like it?” - “I liked you.”

- “l don't understand.” - “...what you mean.”

“Why don't you play some more?”

“No, I want to know what I did wrong.”

“You didn't do anything wrong.”

- “But you didn't like how I played it.” - “Everyone is entitled to an opinion.”

“Yes, and I want to hear yours.”

- “But why...?” - “I'm asking.”

- “You're already angry.” - “You won't even tell me your opinion.”

“Well, if you insist. Ignoring the technical aspect, which wasn't bad,”

“though you could have paid more attention to fingering.”

“Remember him, Eva? Good old Paul.”

Oh, right, er...

Old, good old, old Paul...

I want something more about him there. Because he comes back at the end.

“My only friend in the world. Good old Paul.”

“You know, we've been working together for 35 years.”

- She can say. - I'll write that down.

I'll put it in your script. “You remember good old Paul?”

“You know, we've been working together for 35 years.”

“Isn't this an amazingly fine instrument?”

You don't think they'll think she's talking about Paul? “A fine instrument”?

- We don't need the fine instrument. - Yes we do!

- Then you start playing. - But I say that as I'm walking.

Because I... We're missing some dialogue here.

“You know, we've” ...worked or been working?

- You're so silly. - Me?

Worked?

- Worked with one another? - Worked together.

For 35 years. What a fine old instrument!

“Just the first bars here.”

“It hurts, but he doesn't show it. Then a brief relief, but then it's gone.”

“Then the pain remains the same.”

“No greater, no less. Total control the whole time.”

“Chopin was proud, sarcastic,”

“fiery, tormented, enraged and very masculine.”

“Not a mawkish old woman. This second prelude should sound almost ugly.”

“It should sound wrong. A painful struggle to victory.”

“Like this, listen.”

“I see.”

- “Don't be cross with me, Eva.” - “Why would I be? On the contrary.”

“I've worked with these miserable preludes for 45 years.”

“They still have loads of secrets I don't understand.”

“When I was a child I admired you enormously.”

“Then I got tired of you. Then apparently I began admiring you again.”

- It sounds seductive. - These dangerous women...

- Wait for the kiss. - Oh yeah?

You don't have to wait for...

- I also feel this is a bit difficult. - Of course.

The situation is very bitter.

I think it's a little too “I don't even care. I'm just going to sip my coffee.”

- Can'tit be a bit awkward? - No, she's never awkward.

No, I mean... What's the word?

- She finds her way, there's still hope. - Yes, there's still hope.

- But she goes... - No, no, no.

- ...and I don't have time to sit. - No, she's thinking...

If the girl wants to sulk even though she's asked her... then let her sulk.

“Il think Eva is terribly unhappy.”

- “And one day she'll do something mad.” - “Why do you think that?”

“I'm appalled by her thinking. It's so beyond reason.”

“She spends time with the boy! She's solved the great mystery of life!”

“Well, yes.”

- “You can't let her go round like that.” - “Wait just a moment, Charlotte.”

“Let me explain how I see things.”

“Charlotte, when I asked Eva to marry me, she told me she didn't love me.”

“I asked if she loved someone else, but she said she'd never loved anyone.”

“That she was incapable of love.”

“Eva and I lived here for years before Erik was born.”

“We had given up hope of a child of our own and were discussing adopting.”

“And you see, during her pregnancy,”

“Eva underwent a complete transformation.”

“She became cheerful, gentle and outgoing.”

“She grew lazy, ignoring her parish work”...

I wonder if you shouldn't get up earlier.

“You see”... I think there's a point to his getting up.

Don't fold the tablecloth, that's too active.

But he can pace. He can take a walk around, see, and end up here.

- You see? Because it's upsetting. - Yes, it's hard...

See? Because he... Let's try it and see. “You see...”

- “Eva and I lived here”... - Is that after “You see”?

Yes, and then the bit about Erik.

- After “You see, during her pregnancy'... - That's the one.

Oh, there. “You see.”

“You see, during her pregnancy, Eva underwent a complete transformation.”

- “She became cheerful, gentle”... - Let's see. Maybe keep pacing?

“She became cheerful, gentle and outgoing. She grew lazy,”

“ignoring her parish work and her piano playing.”

“She would just sit there watching the light play over the fell and the fjord.”

Let's see now.

- You're kind of tense. - Yeah...

“You see, during her pregnancy, Eva underwent a complete transformation.”

“She became cheerful, gentle and outgoing.”

“She grew lazy, ignoring her parish work and her piano playing.”

No, no, that's no good.

- ..."the piano”... - I like that he walks away from her here.

- Don't you? - Yes, I do.

“You see, during her pregnancy, Eva underwent a complete transformation.”

“She became cheerful, gentle and outgoing.”

The tablecloth is here. So you can't go so far.

The tablecloth is here.

If you stop there...

That's a clear protest against...

PIANO LESSON TUESDAY 13 SEPT 1977

I don't know how you want Eva to play. My thinking is that...

I think Eva looks a lot at the sheet music.

Sort of...a little tense and a lot of movement. I have many students,

and they constantly think the emotion comes from doing this.

- And it's wrong. She sits very still. - No, she sits...

- Charlotte is motionless. - Completely.

That's very important. I was thinking when I played this piece:

In films you always see pianists moving a lot. But they only move their eyes.

The eyes have to move. You're constantly checking...

So the eyes go back and forth a lot. As soon as the harmony changes...

The eyes move.

“It hurts,” see. And she's bloody nervous. She's playing for her mother.

- I think she should tense her mouth. - Yes. Always, at a certain passage...

- No... - Yes! My friend is so funny to watch.

- Do I have to do...? - They do all kinds of mouth movements.

- So it plays along? - Yes, it plays along.

- Like when a child is cutting paper. - Right! Not only kids!

Yes. And the other thing is, when I play this piece...

I's not easy to play like someone else would do, but...

You want the music?

- Just these first bars. - You mean these, at the very beginning.

“It hurts,” she says, “but he doesn't show it. Then a brief relief.”

- And that sentence is... - When the note comes.

- “Then the pain remains the same.” - Yes, exactly.

Exactly.

For the camera or to students. You can't concentrate...

For example, the first two bars are feverish.

But if I think of the word feverish, the concept, I can't play it.

Interesting!

- In films they're always talking... - Hang on now.

I've heard that... but okay...

But... What if she does like this.

So the thing is...

She looks at the first bars. And she starts to play.

- And it has to sound realistic. - You can say the line while playing that.

- Those two bars, yes. But no more. - “Then a brief relief.” And she plays it.

- And doesn't say anything. - No, exactly.

And then she points at the music and says, “But then it's gone.”

“Then the pain remains the same.”

She can say “No greater and no less” while she plays, can't she?

- Can't she? - Possibly. Not at that pace.

No, but she should be able to.

Then she stops and says, “Total control the whole time.”

We'll have to make some exceptions.

I can't talk when I'm playing. That's what drives me crazy in musical films.

I haven't seen those. But we'll do it your way.

- But the first line can be said. - In the first bars, yes.

“It hurts, but he doesn't show it. Then a brief relief.” Then you play that.

Then you stop: “But then it's gone. Then the pain remains”...

- And she plays that. - Perfect.

“Total control the whole time.” Then that's that. That's great.

And then “It should sound wrong. A painful struggle to victory.”

“Like this. Listen.” And she plays the whole piece from the beginning.

- You can go now. - I can't learn the notes...

- How many? Four bars of it? - Get a little of this on camera.

- Do you mind them shooting this? - No. Do you have your script?

Whose paper is this? It's ruining the shot.

He's sitting round reading comics here.

You're heading out there now?

- You're heading out? - Yeah, then to Floragatan St.

Okay. I just need to see that this goes smoothly.

- Isn't she sitting too low? - It doesn't matter.

- No, the height is okay. - We're working on fingering.

So, you have this movement through the whole piece.

- Like this. - Yes. All in the same place.

So you hold your hand here.

You're only touching these keys. Sometimes a bit more.

But it's all in the same place, SO you're not moving your arm.

- This is an awful noise. - It's great!

- Inspiring. - Thudding.

- You don't have to press down. - Yes I do!

Okay, start out sitting very, very still. And don't look...

Four times. ...Two, three, four.

Now slowly lift.

Now look left and right.

Nothing is visible here. This is just barely moving.

Now we go lower.

This is the relief. Sit completely still.

Now you come to the next position. Lean your upper body this way.

Just a little...

It's the same thing the whole time. Except the eyes.

Now take away your left hand.

Now it gets more serious.

And now this part...

Sit completely still.

Now you need to tense up because you have a recitative here.

It's as if you're speaking.

And now it's important that you are completely motionless.

Now this is the only soft place. Loosen your body up.

Like a choral.

And a heavy sigh.

MAKEUP AND COSTUME TEST, FILMHUSET, MONDAY 12 SEPT 1977

A glimpse into Ingmar's world.

What is it with Ingmar's world?

- We don't know! - No?

- We do, but we won't say. - That we're in Ingmar's world?

He sees that.

We watch each other.

We understand each other.

You can't get away from these cameras.

And I do the make-up the way he wants, too.

Now we have cameras before we even go to see him, to get used to it.

- That's kind of him. - It's more than kind.

- Only someone like him would allow it. - Exactly.

You have to look good in a documentary. Filmed from your good side.

- You know Joakim? The driver? - Driver?

- Who was he? - A racing car driver. Killed in a crash.

- An airplane crash? - No, ina car, in a race.

- He was racing. - A driver! I thought you said diver.

- He was a brother of Kjelle's. - Yes.

- Are you taking that off? - Yes, I need to do your neck.

- We're not going to be in costume. - That's why I need to do your neck.

Say, that Rune Edstrém isn't of any interest, is he?

I've got to say — Right, Inger? He's the dullest person on earth.

- I told her before. - I had dinner with him. He was sweet.

- No thanks! - Later...

You're so naive. The sweet ones are the dangerous ones.

- Why? - 'Cause they're sure to be bloody liars.

Oh, I told him that. Everything he said was nothing but lies, I said.

- That's just typical. - But why is he dull?

- Just watch some of his programs. - That's all it takes. Then you'll see.

- He's... pathetic? - Smart, funny people, yes. Sweet, no.

- But if they're smart and sweet? - But he's not. You can see that.

- If only he were. - 'm going out for some air.

- For some air? - Yes.

- Hang on, hang on. - Remember those hot lights yesterday?

- Where was that? - On TV.

Just for an interview? That's ridiculous.

- What's this? - Hot lights at the TV station.

- It can take a long time, too. - Yes!

They weren't ready and the lights were boiling and we had to re-shoot...

- It took ages. - Odd. And not very professional.

- No. - I don't think they are professional.

- This is going well. - I think I'm falling asleep.

I did an interview once. The bloke was so nervous.

He spent six hours getting the lighting right on my face.

Then he was so nervous he could barely do the interview.

Panning... I took a close-up of you, Liv.

- Can you get both of us in? - We'll get that too.

Because that was kind of the idea.

Zooming in for a close-up of Ingrid. Zooming out to frame you both.

Could you stand a little closer together?

And Ingrid, could you turn your head... to your left. Thanks

Now I'm going in for a close-up of Liv. Really close. Then I'll...

Could you give me a bit of a profile, Liv? That's it.

There.

Now I'm going to do the same extreme close-up of Ingrid.

And I'll finish off with a shot of the both of you.

- Should we write something... - Oh yes!

I think this will look much nicer.

- Should I pull out the sweater sleeve? - No, not that much.

- There. This is the arrival. - Camera rolling.

Could you just turn... Yes, that's it. Perfect.

- Take off the jacket. - We did that.

No, that was the close-up.

Are we really going to do this? That's not pretty.

- No, no. I really don't... Can someone... - Let's just do it and see how it looks.

You never know. The screen changes things.

It's the color. I's not good at all.

One moment... This will show the color.

- We could tuck it in here. - Right, and strangle her!

- This looks okay, doesn't it? - Great. It's just the color.

- Ingrid, how about a scarf? - No.

- Have you said hello to Daniel? - Yes. No... yes.

- Are we going to have that party? - What's that?

- Dinner on Wednesday. - Oh. Yes.

- What time does it start? - When we get there!

- Going to be fashionably late? - Again!

I do know the camera's on.

- What are we looking for here? - It's a fabric test.

Then I'll back up a bit.

It's Candid Camera! Ingmar wants to see what we do when he's not here.

- So Arne is his spy! - He has a camera and a mic running.

That's good. So we have to get on Arne's good side.

- Should we move those things? - Leave the blanket there!

Camera. Costume test, fabric test, pajamas.

- Stay close to the face. - Is this for the long dress?

- No, I'm coming with that. - I like this.

- Should we bring in the blanket? - I think so too.

Sven is about to faint now... This is just for fun.

Just in case. It could be a hit.

The blanket isn't in the shot because he's just doing the face.

I'll pick it up later. After we do the color test.

- There'll be a blanket in the shot later. - A blanket. Okay.

Great color!

- I'm leaving now. - Ingrid, the fabric you have there...

And now the green.

- What's this for? - The evening gown.

We have a little double shadow here.

- ...the red dress. - You never know.

It might be good to have.

- Should I write a take number? - Yes, we only have one pair today.

- Shoes 1. - That coat is beautiful.

Is Gisela here?

MAKEUP TEST, FILMHUSET, WEDNESDAY 14 SEPT 1977

- That's black and white too. - There. That looks more finished.

- They're too shiny. - We can fix that.

- They're a bit big, too. - I'll bring my own tomorrow.

I don't know if we have any more tests to do today.

- It does take a lot of time. - You have to get the colors right.

You never know when you're going to make it home.

I usually talk to the actor while we're working.

- We'll shoot a few seconds, then... - Then I turn to someone there.

Apparently this is an international test...

- You want to see my hair, right? - Sven will tell you when to turn.

DRESS REHEARSAL, FILMHUSET, SATURDAY 17 SEPT 1977

It's bloody hard to get a word in when you're around.

That's usually the case. But I didn't know that about Sara Leander...

- She didn't talk much. - No, right. But...

- Is that where we go in? - Yes.

Age before beauty.

- She must have had bloody dentures. - It's got to be that. It can't be...

- So Red Dress walks in... - Yes, right.

- I'm going to fall down the stairs. - That's a hard thing to start with.

- Everything's hard at first. - 'm just picturing me falling!

- So what do we start with? - We'll start with that.

- You've got so much to do. This hall... - Yes.

But then we get to Lena and the mother in Leonardo's arms too early.

- We'll save that. - I thought so...

- We'll do that as a package later. - So we're saving that?

Ingrid's first day is the Dior dress and her arrival with her suitcases.

We're doing the arrival with suitcases first?

- Arrival with suitcases? - You know, in the hall.

- We'll start with the arrival. - And we'll redo it later.

- You were saying? - Well, I was...

Just before I came here, I shot some scenes with Hasse and Tage a few days.

They'd been working on the film for three or four weeks,

SO everyone was in the groove, and here I come.

The shoot is so concentrated that everything has to go like that.

And the whole first day I just hated —

Tage was the director — and I hated him and Goésta.

I thought he had a miserable attitude and everyone was phony and awful.

And that carried over into my role. I was so incredibly grumpy.

I thought everything was just so awful. Then the next day

suddenly I thought everything was great. Such nice people.

But there was no time to redo the previous day. What was done was done.

- Couldn't they re-shoot that day? - Not with 500,000 people in the film.

Okay then.

Ready. Action.

- “This will be your room.” - “You have a lovely home.”

- “l hope you like it.” - “What a beautiful view.”

- “The bathroom is here. And the closet.” - “This is just fine.”

“I'm completely exhausted. I sat with Leonardo his whole last day.”

“He was in terrible pain even though he had injections every hour.”

“He cried a few times. Not out of fear, but out of pain.”

If I could interrupt you a moment. I think we should make that transition...

- It just flew off. - I'll be damned, flying pens.

- So... - Yes.

She says, “Oh, Christ, my back hurts. Such a backache.”

She groans a little until she's sitting down. “I was up all night”...

So don't start that while you're up, wait until you're sitting.

Shall we try it again? Just the actual... Let's start when you go in.

“Helena has a cold and she doesn't want to give it to you.”

“m not afraid of germs. I haven't had a cold in 20 years.”

“You have a lovely room. Lovely view. I have the same view from my room.”

- “Hold my head.” - “Helena wants you to hold her head.”

- “So she can see you. And look at her.” - “There. Is this good?”

“Yes.”

Line? “I'm so happy that you're here and that Eva is taking care of you.”

“I thought you were still in that home. This is much better, isn't it?”

“Now we can see each other every day.”

Right? “We can be together every day.”

- “Are you in pain?” - “No.”

- “And your hair is darling.” - “l had it done for you, Mom.”

- “Would you like me to read to you?” - “Yes.”

“And then we can go for a drive. I've never been in this region before.”

- “Mom must be tired.” - “Lena says not to overtax yourself.”

- “Mommy has been good.” - “Lena says you've been good.”

- “Doesn't Lena have a watch?” - “She has a clock on the table.”

“Let me give you mine. I got it from an admirer who thought I was always late.”

- “Will Lena eat dinner with us?” - “No, lunch is her main meal.”

‘Anyway, Lena is on a diet. She ate far too much at the home.”

- Bye! Good luck, I'll cross my fingers. - See you soon.

- I'll be thinking of you! - We'll be thinking of you too.

You need to know it's going to be very quiet...

Are you taking time? Can I interrupt?

- I can turn it off. - Good. Now what was my question...

Oh right...

FIRST DAY, JAR, MONDAY 19 SEPT 1977

Then we'll have to move it to that car.

There's Hans.

Hans, the briefcase. Shall we take everything to the hotel?

- Ingmar's coat. - He won't need that.

- What do you mean? - You don't need a coat!

Hi!

Hello.

- We should find... - A moment.

He went to buy something. He'll be right back.

- Don't you want to see your office? - I'd love to.

Let's go on ahead.

Well then!

- Do you have time for the lighting? - Already on it.

- I think it's a bit too dark. - Yes...

And there's one there, too, good. That's a nice rug.

There's something wrong here...

- You put in two windows here, Anna? - Yes?

- There was only one window before. - No, that's always been that way.

- I see. Weren't there two chairs here? - Yes, during the rehearsals. But then...

We can put in another one. Okay, we will.

- Kerstin said something about... - Oh yes, that's damned important.

Yes. And over here...

- We need sheet music. - It was covered to protect it.

And one of those...

- A metronome. - Metronome. I can never remember it.

I was at a concert once in Véaxjé where a new grand piano was being inaugurated.

And the idea was...

The municipal council leader would say:

“With the opening of this piano, I declare it inaugurated.”

And he opened this and went round the piano

and he started pulling and pulling and getting redder and redder in the face.

Finally some kind soul came and said, “Here.”

It has a nice sound, I think.

We could slide the rug this way... But we can decide that later.

- More books. - Even more?

And piled up on top. Everywhere. Unbound books. All these are bound.

And all lying like this, fairly jumbled.

Can't this sofa be...

And some geraniums. There should be quite a few flowers. Geraniums.

- Isn't that what they're called? - Yes.

This is over here...and this is here...

Why don't we blacken the fireplace a bit - it looks too new.

At some point they'd have forgotten to close the grate.

Blacken the front and along the edge. But it's a nice, cozy fireplace.

- And I see it actually works. - Yes, we made a fire on Friday.

- And? - It was nice. It went well.

- Did the smoke come in? - No, but...

By afternoon it started to get a bit hazy.

They're fixing the chimney connector.

I see. Well, it will work out. These things happen. Moving on, then.

How about a bowl of roses in the middle of the table. A flat one.

- A low bowl, yes. - With red and yellow roses. You think?

And not that big chamber pot. Maybe at some point, but...

- It would be prettier with the flowers. - We've talked about something like that.

Good.

That table lamp there, I think it's really overpowering there.

Don't you think so? Can't we try to find a smaller one?

- A more modest lamp. - Yes.

- Shall we try that, Kaj? - Okay, but she needs good lighting too.

That's true, I just think that lamp is too big.

It just bloody takes over the scene.

But we could have it in some scenes. Give Kerstin more work.

- Say, Kaj. - Yes.

That reading lamp is a bit cocky.

Though we could keep that and get rid of the...

- What's the problem? It's too small? - I think so, but Sven doesn't.

You know, when you're looking — Where's Sven? There you are.

First I think it's not noticeable in the scene, but with your damned close-ups,

people will say, “Why the hell did they buy that rug?”

- But it's a nice rug. We bought it? - Yes, we bought it.

PRESS CONFERENCE, SAS HOTEL OSLO, MONDAY 19 SEPT 1977

Let's goin.

It's like a school field trip...

- Where do we sit? - You take the middle and I'll sit there.

Hang on... Let's all move down a step.

- They all sit as far away as possible... - It's weird being up here.

- We have to see each other. - Can we sit down there?

Move your chair forward a bit.

Gents. Can we say that we take pictures afterwards instead? Okay?

I think that's better.

- Can we get one shot of you? - Okay, but no flash.

And not while we're talking. And don't block the view.

Let's do it this way. Could you take your chairs and move in towards the middle?

There. Let's all sit a bit closer. This group, too.

And all of that group. Bring your chairs.

And could the photographers please move a bit.

There's a perfect central aisle here. Everyone move closer together.

There's plenty of space.

Don't you want to come closer?

So, welcome to our little meeting here today.

A press conference, or whatever you might call it.

Meetings between the press and the performers are always complicated.

Members of the press naturally want something special that's all their own.

And of course the performers each want to do their best.

More than half of the cast is Norwegian. Parts of the film will be shot in Jar.

- To what degree is it a Norwegian film? - This is not a Norwegian film.

The actors, the Norwegian actors involved in the film

are all in one specific scene that's a flashback.

You understand what I mean?

And their roles are silent.

Or rather, you'll see them talking, but these two girls here

say what they're saying.

Why does it take place in autumn?

- Why is that? - Why not? It is autumn.

It's all a part of the overall atmosphere in the film.

With this incredible...

One of the first things I pictured when I...

when I conceived the film,

was this Norwegian landscape.

The fell and the fjord and the late-autumn landscape.

It all fits into the mood of the film.

- What if it snows? - Perfect. Can you arrange that?

I'd love that. Not a lot, not so you have to plow through it. But a bit.

It was a year ago already that I learned we were going to make this film.

So, 13 years ago, were you working together then?

Yes, we met over a lunch, and then...

We were discussing Hjalmar Bergman's book Chefen Fru Ingeborg.

But then Ingmar became director of the Royal Dramatic Theatre.

I've learned a lot through a new perspective on my own aggressions.

How unreasonable a child's aggressions towards its mother can be,

when I hear myself say the lines. Do you understand?

It's deeply personal and hard to talk about, especially to strangers.

We can't even talk to our parents about it, it's just not possible.

- You've already got pictures. - We look the same off stage.

- We want to talk to... - Wait until we're done.

- What? - Several photographers were...

Okay, why don't we go out and take some shots out there. We're coming.

- Now where did Liv go? - There she is.

Hey, can you try to bring Liv over here?

Is this good?

- The downside of fame. - Definitely.

What's wrong? You don't have enough light?

Direct sunlight will only be worse.

And if we go into the shade, the pictures will be all blue.

We need to go back and talk to the others too.

Maybe here?

NINTH DAY, JAR, WEDNESDAY 28 SEPT 1977

Ready...

Action.

“When I asked Eva to marry me, she told me she didn't love me.”

- “What do you mean?” - “I asked if she loved someone else,”

“but she said she'd never loved anyone. That she was incapable of love.”

“Eva and I lived here for years before Erik was born.”

“We had given up hope of a child of our own and were discussing adopting.”

“You see, during her pregnancy, Eva underwent a complete transformation.”

“She became cheerful, gentle and outgoing.”

“She grew lazy, ignoring her parish work and her piano playing.”

“She would just sit there watching the light play over the fell and the fjord.”

“Suddenly we were very happy.”

“Im much older than Eva,”

“and I felt as if a gray film were settling over my life.”

Don't sound so poetic.

“I felt as if a gray film were settling over my life.”

“I felt as if I could say, ‘So, this is my life, this is how it's going to be.”

“But then everything changed.”

“She was extremely...”

“She was extremely...”

“I'm sorry, Charlotte, it's still hard for me to...”

“We had a few years that were very rich.”

“You should have seen Eva. You really should have seen her.”

“I remember the time around Erik's birth. I was recording all of Mozart's piano”...

“I was recording all of Mozart's sonatas and piano concertos. I was so busy.”

“That's right. We invited you repeatedly, but you never had time.”

Cut.

Ingrid, we can't see the pack. You put the cigarette...

I'd like a little change in the “we were very happy” line.

You were sort of intoning, a bit too poetic.

And you sit like that.

I think that's bloody fantastic.

- And then... Halvar? - Yes.

- Okay then... - Are we done with that scene?

- Yes, it's done. - So this should be lit now.

And I was sitting like this. No, like this.

- That's right. - Now don't say I don't like children.

Do I start with Erik's drowning?

“When Erik drowned, the gray film turned even grayer.”

- “It was different for Eva.” - “Different? In what way?”

“Her feelings live on, uncorrupted. Or so it seems.”

“Charlotte... If she feels that her son is alive and near her,”

“then perhaps that's the case. We don't talk about it much.”

“She's afraid it will hurt me, and I suppose it does.”

- “Her words ring true. I believe her.” - “Of course you do. You're a minister.”

“What faith I have is on her terms.”

Not before... Look away on “You're a minister.”

You see? You can't look at him. “Of course, you're a minister.”

- So you want me to... - And then you regret what you said.

Spon — Suddenly. His reply is what makes you...

what touches you. Do you see?

- Not until he says that. - So I say, “You're a minister.”

- Yes. - “Of course you do. You're a minister.”

- “What faith I have is on her terms.” - Now?

- That's it! - “I'm sorry if I hurt your feelings.”

- “It's all right.” - Like this?

“Unlike you and Eva, I'm vague and insecure. It's my own fault.”

Excellent.

- But when he talks about the boy... - That was great. Stay like that.

That's just great.

“Because her words ring true. I believe her.”

- “l believe her.” - “Of course you do. You're a minister.”

“What faith I have is on her terms.”

- “I'm sorry if I hurt your feelings.” - “It's all right.”

- “Unlike you'... - Pat her hand!

“Unlike you and Eva, I'm vague and insecure. It's my own fault.”

Great. That's great.

I think we should do it that way.

We don't want any problems there.

- Yes, I stole your seat. - I was in my dressing room.

- Oh? What were you doing there? - Looking at myself in the mirror.

- Now that's one bloody honest actor! - Watching my eyebrows while I talked.

- And? - Well, you know, sometimes...

You're not like Bo Widerberg. I knew him when he was quite young.

Back when he was writing scripts. And he had tics.

Once he said to me, “I used to have awful tics, but I'm better now.”

- Have you ever worked with him? - A bit.

- The Bathers was a damn fine film. - A bit too nice, but yes, I liked it.

- Bloody good film, that. - lwas init.

- It was my first feature. - No!

- And you got through it? - Yes, although there was one day...

- There was one day that wasn't good. - Oh? What happened?

- Harry Schein watching the sex scene? - No, that was okay.

Oh, I have to tell a story! I had a sex scene with Ingrid Thulin.

I was playing an ironmonger.

Ingrid's husband Harry Schein had demanded to be present at the shoot.

So, while I'm undressing her and incredibly randy,

I'm supposed to be pumping up an air mattress while undoing her buttons.

- And undressing myself. - All at once?

Yes. Toss the air mattress on the floor, shove it with my foot, toss her on it.

So I get my shirt off, finish pumping up the mattress and stick in the plug,

and then I'm to take her pants off and toss them so they land on a dung fork.

Very tricky!

So we get going and all of a sudden the plug popped out. It was like this:

With a cloud of talcum powder.

She was wearing two layers of pants, which was a requirement from Schein.

He wanted her in double pants?

And I'm supposed to start pumping and look at Ingrid.

But Harry was sitting so close that I was looking at him instead.

It completely threw me off. We had to do so many retakes

that eventually she had no pants at all on.

- The whole day was a mess, wasn't it? - Not for me.

This is hard. It was really good, but a little too...

- Maybe you felt it yourself? - Yes.

Is the lighting right now? Is it?

With that first one. Is it? Good.

Silence.

Strange, isn't it? Bloody strange is what it is.

Okay, then...

It's time to thank Ms. Bergman for a good job.

No, we have more to do.

We're actually going to take a little extra shot here.

But we don't need you for it. We might need him.

Okay.

But you can go, and thank you for today.

SIXTEENTH DAY, JAR, WEDNESDAY 5 OCT 1977

The camera is really low now.

I'm just thinking... Can you pan up?

- But when she's here, is she on screen? - Yes.

- Up here? - Yes.

- You get it all? - Yes.

Well then. Kudos!

- What's that? - We're not shooting everything at once?

Yes.

“I wonder if other people feel the same way,”

“or if some people have a greater talent for life.”

“Some people just” —

No, “That some people never live, they just exist.”

“And then I get... there's a... Then I'm seized with anxiety.”

Seized with anxiety. Seized with anxiety.

Should I leave out “ever'?

- l can't - - It's all right.

“I can't recall either of my parents ever touching me.” I'll keep “ever.”

“Not to caress or punish.”

“I was completely ignorant of anything to do with love.”

“Touching, intimacy, affection, warmth.”

“Affection, touching, intimacy, warmth. Music was my only emotional outlet.”

“Sometimes when I lie awake at night,”

“I wonder whether I've lived at all.”

“I wonder whether it's the same for all people, if some people”...

“or if some people have a greater talent for living.”

“Or if some people never live, but simply exist.”

“And it gives me such a... Then I'm seized by a curious anxiety.”

“A sense of reality is a talent,' he said.”

“Most people don't have it, and maybe that's good.”

- What do I do here? - Lie on the floor.

Yes, but do I lie down right away?

Pretty much right away.

- I had a backache. - It's almost the first sentence.

- That's right. - “It's the only thing that helps.”

- “Would you mind”... Where do I lie? - Let's see where you should lie.

Is it vacuumed?

Lie down now and we'll see.

Could you slide a bit this way, dear Ingrid.

- Down? - Yes, that way. Northwest.

Ingrid — Liv? Could you please sit in the chair you were in before?

There. Curl up in it.

Let me show you a picture of how you sat.

- That's a bit different. - It was different, but it was very good.

- There. No, you were — - Excuse me.

Like that, and that. It looked comfy.

- The other chair was a bit bigger. - Actually, it wasn't.

It was different. I could stick my feet out further.

... and a full mouth.”

“Full nose.”

I keep using the same word, but maybe it doesn't matter.

That's an indictment of the author!

“She was big and dark, with a big nose and a full mouth.” And blue eyes.

“She was big and dark, with blue eyes, a big nose and full mouth.”

- “But I can't make the pieces go”... - ...“put the pieces together.”

“I can't put the pieces together.”

Then you come into the picture there.

And go down there.

“I remember very little of my parents. from my childhood.”

“I remember very little from my childhood.”

“I can't recall either of my parents touching me, to caress or touch”...

- “To caress or punish.” - Let's see here...

- Am I in the right place? - A little more this way.

Hang on now. And move the tape, too.

- There's one tape that's... - There, let's see if that works.

Lie down on that and we'll see.

Move a little more this way, towards us. A bit more... that's it.

- Bottom down. - This isn't right.

There, let's see.

Like this?

- Yes. And focus. We can focus on it? - Of course.

That looks great. Come and see.

Look there.

Is it uncomfortable having your arms up like that?

That's what Kébi said.

Yes, and that really looks good, too. Yes.

So if you could do it, that would be great.

Like that.

- Let's adjust the lighting. - “l have no memory of”...

“I can't remember either of my parents ever touching me”...

- Can you see me? - We have a shot before.

It starts out on the big clock and then glides over to you.

So it starts there, then we see your back, and then you go in.

Should I start here?

You're not being clear. Do I pace, or...?

I want you pacing.

Here, want to play Indian?

There. You were leaning over before. That's it.

Good.

- There. Do you like that lamp, Sven? - No.

- I don't want it completely dark. - No, neither do I.

- I'll see if I can find something else. - You do that.

- It'll be like before. - Okay, places.

- Is my hand in the shot? - Yes.

- It shouldn't be, if we're going from — - No, but you don't have to worry.

- Hold the hand down in the shot. - But if it's going to match the later...

So hands here. Then the cigarettes won't be visible.

I say we forget the ashtray.

There.

From the top.

“Christ, my back hurts.”

“Do you mind if I lie on the floor? It's the only thing that helps.”

“I remember very little from my childhood.”

So is this going to be edited later? No? Then it's a retake.

It gives a great... a great continuity,

if you try to do it all in one take.

I think it's nicer for the actors too. - Definitely. It just takes time.

- Editing afterwards is an option. - That's the sport of it.

That's the sport of it.

That's what's fun about it,

sort of editing the film while you're shooting it.

You spend eight weeks shooting and suddenly you've got three hours of film.

- And you can't edit it. - Never. It's never happened to me.

- It's never happened to me. - It happened to Minnelli.

- Never... - Two hours and 25 minutes.

“I remember she was big and dark and had blue eyes.”

“Big nose, full mouth, but I...”

“But I can't put the pieces together.”

“I can't see her. Just as I can't see your and Helena's and Leonardo's faces.”

“I remember giving birth to you both. But all I remember is that it hurt,”

“not what the pain tasted like. I can't remember that.”

“Leonardo once said... I don't rememb — Yes.”

“A sense of reality is a talent,' he said,”

“and most people don't have it.”

“And maybe that's a good thing. Do you know what he meant?”

“Yes...”

“I think so.” - Don't sound so sleepy.

- You're paying close attention. - I wasn't trying to sound sleepy.

No? Well, it sounded that way.

I want to clearly show that I'm not making any connection with her.

I'm constantly distancing myself from her.

She's about to try a new approach.

So she can't listen with interest. Not with disinterest either, but showing:

- “l don't care about you.” - She understands fairly well.

She understands very well.

What's the line? “Do you understand what he meant?”

EIGHTEENTH DAY, JAR, FRIDAY 7 OCT 1977

Let's adjust the camera now, while the actors are here.

You get here, stop an instant, then run.

And you come right after her.

Keep going, keep going, keep going. Good.

- Then you go up and... off camera. - I see. Okay.

- Just stop very briefly. - Hesitate.

- Do you want an explanation? - I hear her cry —

- You see her there. - That's what I wondered! I see her?

Yes, you see her.

I mean, it's...

You need to look that way.

Hesitating.

- ...try to find some space. - If Daniel moves we'll have space.

Well, good day, madam. Hello, hello.

Could you come with me?

We had talked about another light.

But I don't think we need it anymore.

I was going to sit where Daniel is, but I won't disturb him.

- Ingrid comes down first. - Stop there. Right there.

There?

Can she just do that movement?

There. Sorry for pushing you.

- You want me moving the whole time? - Yes, exactly.

Silence.

Action.

- Am I too close? - No, I don't think...

I got there a bit faster this time. Maybe I should...

You can start a bit farther away.

That's it. That's it.

Silence.

- They need the clapper board. - It's behind your back.

Places.

- Camera. - Rolling.

- It's tiresome waiting out there. - I Know.

- Have to do a little TV now and then. - Do a little TV.

We can do a little TV outside or at the restaurant.

Is that camera on? We can't get away!

Nope. What's Liv doing?

Reading letters. I've done that and read the paper and I'm sick of it all.

Should I say the dialogue in English now?

I love when Kerstin wants to look into the camera. A guy always lifts her up.

You know you can lower the monitor?

I don't dare do anything.

Go ahead, try it.

- Do you see the same thing? - Yes, it's quite amazing.

So you can lower it for short photographers?

And so we go right over the dining room table.

It would be even funnier if you slide across it.

There. I feel it too.

Come now, old bag!

Pish? You allow yourself to say pish?

Okay, silence!

Don't you agree, Sven? Make the lighting more interesting.

- We're waiting for Kerstin to finish. - I thought I'd take a...

Action.

Now!

Cut.

You can stop a little longer, as if you're hesitating.

- Okay, that much. - I's a bit strong, but it's not my call.

- Sven. There. - The light's too strong?

- I was already on my way. - You just wanted to make me say it.

- Has anyone seen my purse? - You left it by Arne.

It happens that we read each other's minds.

Let's go back in. That was a wash.

Has anyone seen a red purse?

Places.

- Camera. - Rolling.

Clap.

- Maybe I run up the stairs too fast. - You do trip a bit.

Is that...?

What is that thing there called?

- I don't know. Rubber boob. - Rubber boob.

- Rubber boob. - Your new word for the day.

- Trip-tit. - Trip-tit! That's much better.

But you'll have to explain what it is.

- Are you documenting all of this? - Yes.

We'll see who buys it.

PREPARATIONS, STUDIO 2 JAR, TUESDAY 11 OCT 1977

It's crap.

You know what we'll do?

We'll attach it up here,

but then no matter what she does here, it will be controlled externally.

I's not a huge rush, but that's how it has to be.

Let's go have coffee.

- I said, “Let's go have coffee.” - Okay.

- Sorry. - That's okay.

Coffee!

They hung up the lamp.

It looks a bit small. Can you lower it a bit?

So I get light all the way up here.

- Yes. - Can you turn the lights on?

- It's fairly light outside. - Right, so we get light from there.

We can tone it down a bit.

And if you light the one on the backdrop you'll see.

The lamps. I saw one out there.

Can we make do with three?

- Can we make do with three? - Lights?

We need one by the window. Two there.

Take down the other light. We need it in the Bornholm scene too.

And we're done in there, unless there's a retake.

- I just thought we could rearrange them. - We can do that too.

- It takes two people. - Okay then, wait. We can do without...

- How do we turn down this light? - I'll do it. Can we use the little ones?

- Do you want a filter? - No, just a bit cloudy.

Bring in a few filters.

Number 85, half and quarter.

I think that's all. Okay then.

We need a backdrop outside the other window.

Both windows will be in the same shot.

I think there is one.

Has anyone seen another backdrop?

There's one here, but the other one?

We need another backdrop here.

TWENTY-THIRD DAY, JAR, WEDNESDAY 12 OCT 1977

Isn't this nice? And she has the lights on to make it more homely.

- It's daytime, but it looks nicer. - Yes, that's what you do.

- Good morning! - We've already said hello, but hello!

- I's a bit crowded today. - And a bit warm, I heard.

- Do you think it's warm? - Not yet, but I heard there's no fan.

- No, there isn't. - Well, I'm well dressed for heat.

Isn't this nice! Very pretty.

- I think it's quite nice. - Much nicer than at Filminstitutet.

I think this is good. Time to think now...

- She is good, the decorator. - I's almost too nice for a vicarage.

No, there are only simple things here. She's fixed it up for her mother.

- It's nicer here than downstairs. - She's cleaned it up, too.

- It's very pretty. - What were you girls carrying?

What were we carrying? I don't remember.

Then let's just shoot the scenery first.

Without cargo.

I don't remember the scenery either, but we'll try to remember.

I did have to move the mirror there, but that shouldn't be a problem.

So, you start out and you come in.

I had two big suitcases.

- Should we shoot the door opening? - No. It doesn't sound like a real door.

- You come in, turn and say: - “So, this is your room.”

- And you go in and put the bags down. - I say, “What a wonderful view.”

“And this is the bathroom.”

- “Very attractive and modern.” - “The closet. I hope it's big enough.”

- Then I'm tired and I go... - That happens over here, right?

Up there. Okay.

- “So modern.” - “l hope the closet is big enough.”

“It's fine. I'm very tired. I sat with Leonardo his last day.”

Good.

- There. How are you doing? - Fine.

Just a bit further that way and we'll have it. Perfect.

Let's raise the camera a hair.

- What did we call that again? - Trip-tit.

- Now. - “This is your room, Mom.”

- Walk right past the camera. - Okay.

- “This is your room” and you're excited. - “It's charming. Wonderful view.”

Although I can't see it. The view. It doesn't matter, but...

- But we see the light. - Yes, I understand that.

If you go a bit...

- Is this good? - Yes, I get a bit of the window too.

- That's great. And Liv too? - What an awfully thick curtain.

- Yes, that's good. - Let's mark the spot with tape.

And Liv over there, so it looks natural.

Don't bother marking. She has the door.

- “This is the bathroom.” - “Very modern.”

Say, can you make sure the lights are on in the bathroom?

- Okay. - Isn't that better?

- “This is the bathroom.” - “Very modern.”

We are in the countryside!

- “Here's the closet.” - “It's fine. I'm tired.”

“I sat with Leonardo his last 24 hours.”

“He was in terrible pain.” And so on.

Now it starts. The next aria!

“He was in terrible pain.” And so on.

- And all that other stuff... - Can we have a thinner curtain?

In case you ever shoot in that direction?

Sven put all his heart and soul into making that curtain.

A little more light here.

- Should I lower the light? - This is a nice place. I want to stay.

It is very nice.

- But Brecht was thrown out. - He left on his own.

- He was hoping... - Yes, he left.

He was hoping this would be his big break. But you know...

- It wasn't? - No.

- Did they ever put it on? - Never.

Al Pacino put it on recently in Boston. And at some workshop in New York.

He was accused of un-American activity during the McCarthy era.

He got in a lot of hot water.

After the war, he came home and started his theater there,

and he became their big act.

In the GDR, East Germany.

He opened a Swiss bank account that West Germans could pay into.

He did come to London. Not him, but his wife.

- She played Mother Courage. - That was a truly horrible film.

That Helene Weigel? The world's worst actress.

- What will give us only good reviews? - Anne Frank.

Oh, that's good.

An excellent play.

They never wrote anything else, the people who wrote that. I don't think so.

- Okay. - My first position is where?

You come in with her. And now you have Liv over there.

And Liv comes forward and you say, “How do I look?”

“Have I changed much since we last met?”

Mark this spot.

- It's all right, I'll remember. - It's best to tape it. You never know.

Okay. And then she goes over there and you stand at the mirror.

And she goes... There.

- And you say... - “Bla, bla, bla, bla,” I say.

- And then this. - “Gray hair, but otherwise the same.”

- And I turn towards that camera? - “Otherwise I'm unchanged. Right?”

You don't look the same at all!

- And you're standing there. - You speak after “since we last met.”

“You're exactly the same.”

- And you stand there. - That's perfect.

You get both ladies in the shot?

- And then she says: - Still talking to the mirror?

“I bought this trouser suit in Zurich.”

“I wanted something comfortable for the long drive. I found it in a shop window.”

“It was a perfect fit and astonishingly cheap.”

- “Do you like it?” - “It's beautiful, Mom.”

- “Dearest Mom, it's beautiful.” - Again?

“Dearest Mom, it's beautiful.”

“Let's unpack. Give me a hand, my back hurts so.”

- Do I say that here so we can sit here? - Yes, sure.

Then I say: “Can we find a board to put under the mattress?”

No need to mess with this. Or is that a problem?

No, not if Ingrid sits a bit more to the left.

Can you lean forward again, Ingrid.

Okay. “Can we...?”

- “...put a board under the mattress?” - “It's already there.”

“Wonderful!”

- “What's wrong?” Is that in this scene? - Yes.

“Eva dear, are you crying? Did I say something wrong?”

“No, I'm just so happy to see you.”

- Should I be at the mirror? - No, we're done there.

That's all bloody great.

Why are you mirror gazing?

You were primping.

“Do you like it?”

- “It was astonishingly cheap.” - That's it.

“Let's unpack. Can you give me a hand?”

“My back hurts so.”

“Can we put a board under the mattress, for my back?”

- “It's already there.” - “Wonderful!”

- “Eva dear, what is it? Are you crying?” - Stay right there.

Wait a second. There.

“Did I say something wrong? You know how I talk.”

- “I'm just so happy to see you again.” - “Let me hug you like I used to.”

“Here I am talking. Sit down and tell me about you.”

“Tell me about your life, dear Eva.”

Okay, hang on. Let's turn the board the other way,

so it's under both of them when they sit. Otherwise one will sink down.

- You understand? - Yes.

There.

Besides, it's nicer for the actor to sit on a hard surface.

You don't have to do that. It isn't visible.

- That's good. There. - It's soft anyway.

- For some reason. - But I think this is much better.

Isn't it? Try it out, isn't it better to sit on?

- A bit better. - We can put a pillow under you.

- Only if it looks too soft. - No, it's fine.

TWENTY-EIGHTH DAY, JAR, MONDAY 17 OCT 1977

- Did you get something to eat? - Yes, a tough piece of meat.

- I think I'd rather have just had yogurt. - Tough?

- I think they always are here. - That's too bad.

But the reindeer steaks are fantastic. I'll take Ingrid out for one of those.

Yes, you must.

They don't have good meat here. Am I too close to the edge?

Let me just — No, come the other way.

- Then you have to — - We'll have to raise the camera.

And we can go a bit closer still.

- I can raise the clock up. - That would be good.

- You can't see what it's on. - There. Nice.

That's it.

- This should be a bit closer. - I feel bad for him.

- What is it? - A breakup or divorce.

His girlfriend...

Oh, that's nothing. He can find a new girlfriend. I thought he was ill.

- I know what you can do. - I think Lena needs to move down.

- That way. - But she needs to move up later.

- It will be really... - This is okay. This will work.

Then she reaches out to her mother's face.

Then you come over... and kiss her.

There.

- And then she screams. - I scream?

And you stay — Lie heavily, trying to lie by her side. You understand?

- And she screams. - Should I struggle...

Struggle like mad. She's weighing down on you and you scream.

And she turns on the lamp.

“Get away!”

- Should I sit up? - After you turn on the light, yes.

She's over there and there's a gap here.

Your hand is almost like a little animal, longing for more.

Then you open your eyes. Not until she gets here.

Then you open your eyes and see Lena here.

Like that. And then you move.

Now you start slowly moving the hand.

Cut.

- Should I zoom out a bit then? - Yes, just when...

Can you repeat that last movement, Ingrid?

There, right there.

About there. Show about this much.

But when Ingrid opens her eyes there, shouldn't I zoom out a bit?

Yes, definitely.

- When do you see the hand? - Eh... Now.

You see her hand there.

- Should I wait a second after “how”? - No, start when he says it.

- It's all right! - Maybe I should make room for you.

Arne Karlsson. Was it you...

Just a thought... Could you stop a bit,

just an instant on her face before you move on?

So it's not this kind of movement,

but more like this, sort of... Do you understand?

- The lamp is... - That's okay.

- It did light up? - Yes, but the switch doesn't work.

That's all right, we'll cut right at the movement, see.

Let's take it once more.

Can you try to keep your hand in her face when you jump on her?

I'm so far away that I have to crawl up on one arm.

Yes, that's...

- I could throw myself... - Yes, and crush her.

Yes.

Let me see how that would look.

The only way — But maybe you can't. Take down your arm instead.

Unless you used her body. Like this, so that...

Yes, like that!

Like you suddenly go wild.

Pull her towards you. Try it that way.

I'll grab you.

Is this right?

She's already fought with Liv, now she can fight with you!

TWENTY-NINTH DAY, JAR, TUESDAY 18 OCT 1977

...and the mother sees... You know what I mean?

- You don't see me. - This is my...

That's good, that's good.

Good. Good.

Then... hang on...

You open the door... and you stand there.

And then the mother comes in.

“Oh, Lena! My dear..."

“Oh, I've thought of you so often, every day!”

“I have a cold. I don't want to give it to you.”

“Helena doesn't want to give you her cold.”

“I've never been afraid of germs. I haven't had a cold in 20 years.”

“You have a lovely room. And the same view as from my room.”

- “Hold my head.” - “Helena wants you to hold her head.”

- Oh yes, how do you say that? - I say —-

- Okay. It's just — - I need a little more time.

- That's what I want. - Yes, I'd like that.

- That's just what I want. - I understand.

- We aren't doing any more than this. - “Hold my head”?

We'll do her entrance, the sitting down...

and the first lines.

So everyone is in position. Then we go in for the close-ups.

Let's try it again.

Slow down now... There, by the curtain rod there should be a shadow.

A little more to the side. Now let's see if Ingrid has light.

Not much. Let's...

Liv stands here. We need more light. Turn it up a bit.

Stand there.

- Then we had to wait for two months. - Six weeks.

- But I thought you were so skinny... - No, it was just that dress.

You were skinny as a rail.

An animal's life...

- They look happy. - They have company and a big cage.

They're not cramped in a tiny space.

- Well, Sven? - Just checking the sound.

- Do you get all this? - Yes.

- Do you want the light like this or this? - The other way. No, wait...

It's better that way. The other way is too bright. That's good.

Then everything is set here.

“Dearest Helena.”

“I've thought of you so often, every day!”

“... have... a... c...”

“Helena has a cold. She's afraid she'll give it to you.”

“I've never been afraid of germs. I haven't had a cold in 20 years.”

Cut. Can you start a bit earlier, Lena.

- You really want to warn Mom. - Yes, I thought...

And you take her hand like this.

And you kiss her hand like that.

Forget about the butterfly.

He looks happy!

- Your butterfly... - We'll use the other butterfly.

I hadn't heard that. I must have been drunk when I went to bed.

Is that on Bornholm?

- Can we move that a bit? - No, we're taking it all down.

- Okay. - Can I take some pictures first?

Maybe we should include some of these backgrounds.

We can move things alongside it. The chair first...

- Let's untie Lena now. - That would be very nice!

- Could I take my pictures first? - Before...?

- Could you lean over a bit more here? - Okay.

Camera up on Liv, down on her, then down to the clock.

To keep things moving. A bit tricky for you, though.

It's no problem.

- No problem? - As long as it's okay with Ingrid.

- Like this. - And you have Liv...

- If Liv can get lower. - Can Liv get lower. Like that.

- Right, like that. What do you say? - Good.

- Do you have glare from her glasses? - I don't really have good light yet.

We should definitely have that. We can't put lights on you.

No, but I will get attention. After what we saw yesterday.

- There is no photographer like that. - No?

I think it's unbelievable.

Look at that cabaret film, with all that fog.

It created the atmosphere.

There was no mess at all.

We didn't want that junk.

- “Will Lena eat dinner with us?” - “No, lunch is her main meal.”

‘Anyway, Lena is on a diet. She ate too much at the home.”

- “ want to touch...” - “Helena says she wants to touch...”

- Good. Let's see now. - You want all three hands in the shot?

Yes.

Now let's see when Liv can sit down. Because I want her...

...to get as close as possible.

- She can take that chair. - We can have a chair here.

You can just sit here. You'll have to sit on one cheek, can you do that?

- The other one will hang off the seat. - Both of mine will fit!

- There. Is this good? - That's fine.

- “And I've been so good.” - “Helena says you've been very good.”

- “Doesn't she have a watch?” - “There's a clock...”

“Let me give you mine. I got it from an admirer who thought I was always late.”

- “Will Lena eat dinner with us?” - “No, lunch is her main meal.”

‘Anyway, Lena is on a diet. She ate too much at the home.”

“I want to touch...”

“Ate too much” is an inside joke with you two, so put your hand on her.

- Can I ruffle her hair? - Yes, definitely. And you both laugh.

- “She ate far too much at the home.” - Yes.

- “I want to touch...” - “Helena wants to touch you.”

- Cut. Is that good? - Sure.

- What does she say? - She says...

After “Now Mom is tired.”

I's a big joke between you. “Helena is on a diet”, and you both laugh.

You have a lot of fun together. You're good company for each other.

Helena says: “Mom has been good.”

That's bloody beautiful. Damned beautiful.

He isn't so bad after all. He has his moments.

- So in this scene my hand is here? - Right.

- Is the camera down here now? - No, we're not doing that.

- We do have time. It's both hands. - Forget it.

“Doesn't Eva” — No, “Doesn't Lena have a watch?”

“She has a clock on her nightstand.”

“You can have mine. I got it from an admirer who thought I was always late.”

- “Will Lena eat dinner with us?” - “No, lunch is her main meal.”

‘Anyway, Lena is on a diet. She ate far too much at the home.”

- “No, I want to touch Mom.” - “It's all right, I understood her.”

I don't touch her. “No, I understood her. Lena wants to touch me.”

Cut. That's great.

LADIES' NIGHT, MAKEUP ROOM CORRIDOR, FRIDAY 21 OCT 1977

We only have ten bottles.

We should leave them for the next film!

- I mean the next film shoot. - Yes, we're going to leave them there.

This is how far we got with Autumn Sonata.

It was unusually short.

- But it was a short shoot, too. - This is actually our last Friday here.

I think she took the rust-colored one.

I brought a chain to wear with it, because it's so attractive.

- The only thing I forgot to bring... - I need to write something down.

I need to write something down.

No, it's like calcium. You're expelling calcium from your body.

- I can buy that on Monday. - You can.

- How many do you want? - Just one.

Then I'll take calcium in the morning.

You only want one?

- Not one for tomorrow and for Monday? - Sure!

- Liv, what's that good for? - It drives out water and slims you down.

- Any plans this weekend, Kerstin? - Dieting. I'll be dieting.

I'm an extra in a scene on Monday, so I need to diet over the weekend.

Toilet's free! Next!

- Just take one in the morning. - Then you pee like mad.

It depends on how much water retention you have.

There are no cups left, but there's one here.

You can take Karro's.

- Isn't she allowed any more? - She doesn't want any more.

- Who do I talk to? - Me?

Sven!

- Sven! - Coming!

No, no. Close the door! Keep him out!

Hi there, lads.

No men allowed here!

Nope, no men allowed.

- Mocking me because I'm not a girl. - It's Ladies' Night.

They let you in? The exception that proves the rule.

- That's not fair! - He's getting paid in champagne.

- When is Sven buying the champagne? - Yeah!

Thursday, when we come back from Bygde, you'll bring champagne, right?

- Come back from...? - Bygde.

- Is that on Thursday? - Yes. And you'll buy four bottles.

- Since that's our last day in Norway. - Okay!

We can take care of the shopping, if you give me the money.

THIRTY-FIFTH DAY, JAR, MONDAY 24 OCT 1977

- We need another chair. - It's on its way.

Hey! We have this little sun chair. Here itis. This is a great chair.

This? It's an old potty chair.

Oh, it's so cute!

It might not take your weight.

Well, it's... I don't know. What do you say, Lars-Olof?

Come and see. There.

And he sits down with...

...the cardboard sheet inside and you look in the slot.

The effect is created by the light falling through the holes.

- Was that the first movie? - He had an understanding of light.

I'd forgotten about the interview, until Lena Hansson said, “See you at 6:00.”

“6:00?” Ingrid had just arrived, too.

So I was already in a bad mood and then a photographer came! My hair was all...

In the magazine it just looked like you were upset about being photographed.

But when you know the story...

Get rid of all this too.

- Get rid of all this too. - All of this?

What about these? I mean, I know we're going to use them, but where?

Is this okay?

That's fine. It's good.

Like that?

I think it's quite lovely. What's wrong?

- To the right. - Like this?

Hey, can you play a bit of the beginning so he can tune his... Thanks.

Here it comes.

They need to tune...

- Again. - One more time!

Thanks. That's fine.

Ingrid has explained the situation.

I just told them that I have a director here.

That's what it's all about, eh? You don't have time for that.

Do we have two upstrokes before we start playing?

Just a second. Play the beginning.

You'll hear blip, blip, blip.

- Three? - Yes, three. Start the tape.

One more time.

- Is that what you need? - Is it a 4/4 beat?

No, play it again. You have to give all three.

- Now! - Coming.

That's great. Prepare however you like.

On the third tone. Perfect.

AFTERNOON COFFEE, JAR, MONDAY 24 OCT 1977

- There's a purse here. Whose is it? - Mine. Leave it.

- This is so nice. - It's very pretty.

In a way it's very human.

It's a nice proposal. Nice human propo —

- Ingrid, little sister, come and sit. - “Little sissy”?

No, sister, I said!

- Liv, sit here. - I'd rather...

No, you have to sit here!

FORTY-SECOND DAY, FILMHUSET STUDIO 1, MONDAY 31 OCT 1977

How were the shots? Louis? The ones you just developed.

Yeah, too red. You took out the red and you're making a new copy as usual.

There was something wrong with the light filter. I'll call again tomorrow.

Right. And then we want a new copy.

Okay. How about the negatives from the nursery?

Yes, okay.

Just don't make it quite so red this time.

Okay, good.

“Paul, you're a good soul. What would I do without you?”

“You know what a trying time you have with your violinists.”

That's it. And sit like that.

Then she turns and pauses. And looks out. Then she turns...

Then she turns and looks out of the window. Now let go of him.

That's it. Then look out of the window.

- Then I have to get up. - No, no. Like this.

You sit like this first. And then like this.

Then we see...the image transitions to the reflection.

That's it, see. And it ends up looking exactly like that.

- You see? - Yes.

The camera closes in and eventually there's just the reflection in the dark.

There. And then... Right, then you look out.

And then we zoom in. Sit like that.

That's bloody gorgeous, Sven. Lock the image there.

That's it.

- You see Ingrid there. Nice, eh? - Wonderful.

Okay then.

- What will you do with... - Forget it.

Then I'll go over my lines.

Remember how we changed every detail? Socks, shoes...

And then, Ingrid, Gustav said, “We'll deal with this. We have many hands.”

In Hollywood I'm under strict orders not to mess with the props. I can't help it!

Okay, hang on. Didn't she — You've got your hands wrong.

“You know what a hell of a job you have with your violinists”...

Is this okay? If I have a screen here you won't get through with the mic.

And she sighs... Now turn away a bit.

That's it. Suddenly serious.

Now let go of Gunnar.

And Ingrid, a bit to the left.

- Can we tape that so it doesn't shake? - It doesn't matter.

Someone clap the clapboard from that side.

- Is my hand visible? - Can you get closer to Lasse?

- That's the transition to the reflection. - Right.

I have to — We can't have so many fingers there.

Great. Wonderful.

- This is fun! - We've had a fun day.

See you tomorrow, then.

- I'm all done. - Thanks, everyone. I'm going soon.

9:00 tomorrow?

- With long hair! - Yes, and 20 years younger! Fun!

You need to have memorized the Chopin etudes by then.

- You're sweet. - Bye.

- What mischief are you up to tonight? - None at all.

- No one to play with? - No one. Maybe I'll go to the cinema.

- Shame. - Yes. No theater.

- Or they don't play on Mondays. - No, not anymore.

What time is it? I need to try on tomorrow's dress.

I've got 4:30.

- Gisela! The green dress. - You want to try it on?

- I've only tried it once. - Then we ought to look at it.

- And scream if you don't like the fit. - I'll do that! See you later.

- Thanks for today. - You too.

- You must come to our wrap party. - You mean it?

Yes, you must. I think it's next... not this Thursday, but the next one.

- That would be really nice. - You must come.

- Give Lillie my love. - I will.

LAST ONE OUT LOCK THE DOOR

FORTY-THIRD DAY, FILMHUSET STUDIO 1, TUESDAY 1 NOV 1977

Pick up the coffee pot, then go right in.

Mom says, “Run along and play now. Don't bother Mommy.”

Then you get up. Right...

And walk out.

“Close the door behind you,” says Mom. You grasp it here, on the inside.

- I don't close it before she says to? - No.

You close the door, and you're a bit sad, but only inside.

- Am I sad then, or the whole time? - Just when you go out.

When she sends you away, see. But you don't show it, you only think it.

- You understand? - Like this?

- Here comes Ingrid. - Like this.

You close this one. There. And then this one. There.

- Then go that way. - Here?

Then you open the door and ring the bell.

And when you open the door, watch your fingers.

Do it this way. Because I smashed my fingers. I got them caught.

Good morning!

- But first I have to do this. - Hold it here instead, that's better.

You can't catch your fingers there. And hold it here to close it.

- But at first I have to hold it here. - Right, just watch your fingers.

I smashed these two.

- Hello, sweetheart. - Good morning!

- Here's your daughter. - Yes, I saw you in the makeup room.

What are we doing now?

I'm doing scales.

Action.

Now!

- “Hello, sweetheart.” - “Hi, Mommy.”

“Thank you.”

“Why don't you run outside and play. Mommy would like to be alone.”

Cut! Great! That was very nice.

- But I held the door wrong. - That's okay. Let's shoot it again.

Ingrid! Let her sit a bit longer. Just a little bit.

Should I look at her or drink my coffee?

There. Like that. Good.

No, forget that. Okay, silence.

- Camera. - Rolling.

Action.

Now!

- “Hello, sweetheart.” - “Hi, Mommy.”

“Thank you.”

“Mommy would like to be alone. Why don't you go out and play?”

Cut!

Great. That was great.

- Wasn't that nice? - Excellent.

And the hug here.

This chair is broken.

Can we fix that? Paint over it or something?

Or do we have another chair that looks nice?

So here you need good lighting.

Linn, run after her, fast! And stop right there. There. Perfect.

Now!

Cut!

Let's try it once more.

I won't tell you when to run next time. I gave you the signal too early.

- Did I do something wrong? - You did exactly right. But at the door?

Don't change position when you get there. You know?

Don't correct your footing. You changed your position. You see?

Just stop, see? Don't change your feet or anything.

- Like this. - Exactly.

I won't tell you when to run this time. You run when you think it's right.

Once she's gone. I gave the signal too soon.

Okay, one more time. Silence.

It looks good when they hug each other, eh?

Silence.

- Camera! - Rolling.

Action.

Good-bye. I'm sure I'll see you soon.

Cut! Good.

Excellent.

I ended up in a weird position!

That's it! That's all the fun for today.

I thought it looked good. A little clumsy.

You fumble a bit with each other.

- Both of you... - Yes.

I forgot what Sven told me.

Okay. Let's see, lads.

What time is it? 2:00.

Isn't it almost time for coffee?

Oh, yes. It's 3:00!

Let's turn on the overhead lights and turn off the lamps.

Turn on the overheads.

Arne?

This will have to do.

Look at Erland. In the camera. Turn towards Arne.

- Turn a bit. - Ah, how nice.

Hang on...

- And you say, “Where is Eva?” - “Where is Eva?”

And you say... And everyone stops what they're doing.

- And you go slowly, slowly. - “Eva, there you are!”

Good. You stop. Erland stands still.

And you say... You say...

- Kiss her on the cheeks. - Turned that way?

“Eva doesn't seem very happy to have her mother back home.”

- Should I pick her up? - No, no. That's fine.

No, you stay seated.

- Can I pick her up and hug her? - Let me see.

- Could I have the fur? It's so clumsy. - Yes, you should have that.

See how much I can hug her with it on.

- Now I'm wearing the big cat. - Big cat.

- You say, “Where is...” - “Where is Eva?”

Wait! Wait! Is that a good position?

- Yes, it's... - There!

- “Where is Eva?” - “Where is Eva?”

“There you are! Eva, dear! Won't you give Mommy a hug?”

“Eva doesn't seem very happy to have her mother back home.”

Perfect.

It's like she's nailed to the...

The way you're holding your feet is great. She's hiding here, see.

So everyone has said their hellos. Now where do I want you...

- There! Is this good? - Back up a bit.

There?

Hi, Sven! Nice to see you!

- And you've said hi to Arne? - Yes.

There.

Oh, sorry! Let's get this show rolling.

Now let's see.

We need the suitcases. Where are they?

Get your bags.

- Take them. - There.

Take them and just take a small step forward.

When Ingrid starts walking.

Otherwise, the scene is completely motionless.

She feels as if everyone is staring at her.

But her mother forgets her.

The daughter is the last thing she thinks of.

How does this look, Sven?

Looks great. Really good.

- But the white apron is trouble. - We fixed that.

- Action. - “Where is Eva?”

“There you are, Eva! Won't you give Mommy a kiss?”

“Eva doesn't seem very happy to have her mother back home.”

Cut.

Marianne, you need to laugh a bit when the mother comes home.

You laugh a bit, the way people do. A bit more.

Once more.

FORTY-NINTH DAY, MOLDE, MONDAY 7 NOV 1977

Why don't we start there?

- We'll start where she goes down. - Okay.

Or should we start with her sitting?

- Let's do it chronologically. - Okay. Lads. We'll do it chrono —

Because the light is fading.

Pardon us for walking here.

- Let's see. Where is the headstone? - Around the corner.

Sven!

You stand, after...

You count one, two, three, four — You count to three.

So you sort of hesitate.

- There are two here. - There's the number 25 filter.

- I think that's — - You think it's too...

We can try it, but I think it seems really odd.

I think this is it.

Like that. And then pan a bit so you get the roof.

PRESS CONFERENCE MOLDE

We had to work quickly because the light fades so fast.

We never know what the weather will be like tomorrow.

It could be foggy.

But we were very lucky today.

- It's so beautiful here. - Yes, wonderful.

- How did you get this location? - It was like this. I had two...

Two employees, who were traveling and scouting sites

in April, May and June, all along the coast.

I wanted fjords and a graveyard.

- And they found... - And they found several...

They came home with ten alternatives.

The landscape is meant to be an accompaniment

to the mood the actors are trying to create.

- Why didn't Ingrid Bergman come? - She had a new theatrical piece...

in England, and since she only had one brief scene here,

we shot that in Oslo so she could have a much-needed week to rest.

What do you talk about between scenes?

Food.

- So no pep talks? - No, no, quite the opposite.

- Quite the opposite. We talk... - It's just friendly chats.

I don't think we ever talk about the film behind the scenes. That's done.

It's a finished chapter. It's more like...

What's important for the actor... Well, it's not my place to say, really.

But they need to relax between takes.

And then, as you saw here,

when they focus, it's all instantaneous.

They become calm and focused at once.

- Is it hard to get into a role? - It depends.

In scenes like this, you're inspired by the light.

So it's situational?

Sometimes when we're shooting in the studio it can be hard to concentrate.

So it's easier to concentrate when shooting a scene here than in a studio?

I think you can say that. If...

It depends a bit on the circumstances.

Exterior shots can be difficult, with a lot of disruptions.

But there were no disruptions here.

FIFTIETH DAY, MOLDE, TUESDAY 8 NOV 1977

Strange ferry. I don't understand why it's going uphill.

- Just look over there. - Oh, wow.

That's a truly majestic sight.

It certainly makes you think.

Yes, I heard that. But the weather seems to be exactly what you need.

Just a tad on the cloudy side.

Good thing I'm in such good shape!

Hello.

Hans! We need to retake that shot. The sun is coming out.

We've got light now. You and Arne take the Mercedes down.

- Maybe we're in the way? - You sure are. You might get run over.