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[hooves clomping]

[donkey braying]

[dramatic, swirling
orchestral music]

[brooding instrumental music]

[pulsing instrumental music]

That's an old tree.

[pulsing instrumental music]

[cheerful orchestral music]

- This is a prop from
the Wizard of Oz.

- [Woman] What does
it mean, "omrade"?

- [Voiceover] Private area.

- Hey, what is this, Big
Brother is talking to us?

[piped in foreign language]

It, it's a little bit
frightening, yeah?

I must say.

Um, there is no dog,
huh, tell me the truth.

Because if there is
a dog coming, then I.

[knocking]

- [Voiceover] Come in.

- [Voiceover] Come in.

- [Haneke] Hello.

- So we leave our shoes where?

- [Voiceover] Just
inside the door

and then you'll switch.

- Nope, that's too small.

[cheerful orchestral music]

[twangy Asian
instrumental music]

- [Woman on right]
Nice to meet you.

- Nice to meet you.

- Nice to meet you.

- Nice to meet you.

- [Woman] This is,
uh, where we are.

- Set, Bergman set.

It's hard because you ask me why

people nervous
talking about him,

especially filmmakers.

Actually, it's more
revered, it's in awe.

- [Voiceover] Okay.

- [Voiceover] Need more
time for your notes?

- No, I'm okay.

Let me, sometimes I forget the
chronology of his work, but.

- [Voiceover] Uh,
that's okay, I can.

- And who's doing this again?

- [Voiceover] We're good, right?

- I did like his movies,
I, I was saying before

I was trying to review
some of the movies

so I could be more,
you know, more, uh,

up to speed about, if you
hit me with a question,

I might be able to answer.

So now I'm at a disadvantage.

I've been carrying them
around with me, too,

and I've been trying.

I've been so busy though.

- [Voiceover] All right.
- And I will see them

but if I see you in six months,

I will have seen
them, but not now.

- What actors are,
um, are comedians

from the Bergman films?

Like any of the big,
the one that, you know,

like Gunnar, uh, Bjoörnstrand.

How do you say Bjoörnstrand?

- [Interviewer] Yes, yes.

- Um, um, uh, I don't
know how to pronounce

these names probably, I mean
do you say See-dov, right?

- [Interviewer] Uh, von Sydow.

- Von Sydow, yeah,
you don't say.

We say See-dow.

Well anyway, in America
they say Max von See-dow.

But it's See-dov, right?

Um, but, um, uh, but are
those, but none of those guys

are from a comic
tradition or are they?

[graceful instrumental music]

[shouting in foreign language]

[laughing]

[surf crashes]

- In my late teens, I saw,

the first one was
Summer with Monika.

I think, I can't remember now.

But, uh, there was such a
big fuss over it in Brooklyn

where I lived, 'cause there
was a nude scene in it.

And everybody in
the neighborhood was
running to the movies.

Not to see the movie,
to see the nude scene.

And, uh, I was no different
than anybody else.

And, and I thought it
was a very good picture.

A really excellent,
excellent movie.

And then the name Ingmar Bergman
didn't mean anything to me.

I just saw the film, never
thought about the director,

and went home.

- When I would see, like, Monika

and sexy Sweden
movies and, you know,

the pictures of the women,
like, splashed all over.

There's probably one frame
in the picture that has this,

but they splash it all
over the theater and, um,

you know, I didn't know,
I was also, you know,

very, very much involved with
Roman Catholicism at the time.

Uh, there was the
condemned list.

And most of Ingmar Bergman's
films were on those.

I read an interview,

he had a different way of
looking at things obviously.

I read an interview with the
New York Times years ago.

Um, of Bergman,
when they asked him

if he thought anything was
funny, and he said, "Yeah, sex.

"Sex is very funny."

And I guess it is.

I, I don't remember it. [laughs]

[gentle instrumental music]

[gentle instrumental music]

- I had a wonderful
two, three hours once

with Harriet Andersson.

I didn't know who she was.

I didn't know this was the
girl I had had this crush on

from age 17 to.

She was so nice.

But I didn't know who she was.

I knew she was a
Swedish actress.

She was, you know,
a mature woman.

And, but she was really nice.

And, but she was really nice.

[surf crashes]

- I remember what I felt

when I saw Monika
the first time.

I felt physically

what is it to be

a young woman.

This feeling of summer, youth,

and to be in the present.

There is for me, till
today, something unique

in that film, like...

How, how many time,

maybe three time,

I wrote a script
that I called Monika.

Because I thought it's
like a magical word for me.

To say a young woman

with a

body that is alive.

I took it

as if it was made only for me.

as if it was made only for me.

[surf crashes]

[surf crashes]

[percussive instrumental music]

[percussive instrumental music]

- Well, I saw my first,
uh, Ingmar Bergman film

back in 19, uh,

it felt like 1956, 57.

That was a time
when, in America,

there were the
beginnings of art houses.

And I saw The Magician

and I saw, uh,

excuse, me, before
that, The Seventh Seal,

then The Magician,

and then, maybe I saw, later,
Smiles of a Summer, uh, Night,

and, um, that was my favorite.

I thought that was, I loved the.

The one I really responded
to as a young person

was that one.

Just the masterful
way he orchestrated,

and beautiful performances
of all the actors,

and the way it all fit
together and, you know,

just memorable,

memorable scenes that
had been prepared for

and then came to
play just to, he just

put that together
so beautifully.

[percussive instrumental music]

[wind rushes]

[wind rushes]

- [Anderson] Maybe, um,
let's see, this is actually.

[banging]

I think the back way.

- [Voiceover] That's a strange
place to have a toilet.

- [Anderson] Yeah, I know.

- I would like to know
if it's possible to, uh,

shoot you on the balcony

so we have something
to edit it with.

- [Anderson] Sure.

- [Interviewer]
Looking out at Paris.

- Yeah, that'd be fine.

[gentle instrumental music]

- Comedy's not the word you
think of, uh, with Bergman.

He is one of those
directors who can do movies

where there is not a single
joke in the whole movie

and the movie stays, and the
movie does not suffer for it.

Um, and there aren't that many.

There aren't that many
movies you can think of

where you say there
was nothing funny.

There is comic
dialogue that's sort of

archly comic and it's not like,

it isn't like
spontaneously comic.

It's more like, kind
of, very written jokes.

You know, which are probably
not hysterically funny.

But the mood does have a
lightness that goes with that

and it's all really of a piece

and it's, um, and.

You know, but it, but it,
it may not be the hand

of a, of a comedy
director doing it.

It's just such a
well done film, um,

and that's the tone of it.

I mean, maybe that, does that
make, does that sound right?

I mean, maybe that, does that
make, does that sound right?

[graceful orchestral music]

- I don't see the
films as funny.

I mean, sometimes
an exasperation.

It's like, aw, God, don't do
that and they do it. [laughs]

- We never spoke
about religion, God,

philosophy, death.

One thing that we did
speak in relation to death,

he was telling me that in some

of his most heavy moments,

uh, and when
they're doing Death,

you know, on The Seventh Seal,

the crew would be laughing

and they would be, you know,

very aware that they were making

a melodramatic
moment for everybody,

and nobody took anything
very seriously in that sense.

[pulsing instrumental music]

[pulsing instrumental music]

- One of the things
about Bergman

is he was very bold

and whenever you do something

different or for the first time,

it's very hard to understand,

for a later audience,

the impact of that.

I mean, now The Seventh Seal

is like a joke, you know.

I mean, it's, you know, the
image of Death with the scythe

and, uh, playing
chess with Death and.

The Seventh Seal, it becomes,

it's like a cliche.

But at the time,
it was so radical

and startling

and impressive,

and I still like that movie,

but there're things
in the movie now

that you've seen
satirized so much

that it's hard to see it.

- Well, he's easy to parody
'cause he's such a stylist,

and so, um,

so intense,

you know, that you
can parody him.

- I can confess and
say of Mr. Bergman's

many, many, many films.

How many features did he direct?

45, 50, 55, something like that?

A lot, he directed a lot.

And did stuff for
TV late in life.

And his wonderful, uh,
how prolific he was.

I've maybe only seen 10.

I don't think The
Seventh Seal holds up.

And that's one of
people's favorite films.

You, every, you see
Seventh Seal in college

and it's so profound
and all that.

You see it later,
and it's laughable.

But others of his films
hold up more , probably.

- There's some
films that require

some knowledge to get
the maximum out of.

And, uh, you know, a
film like The Magician

or The Seventh Seal,

it helps if you know
some philosophy.

When I first saw these films,

I didn't know my
Danish philosophy

or German philosophy.

Uh, so, but I was able

to completely be
enthralled by them

because he's such a great
storyteller, you know.

And, and now I, I can see them

and, uh, understand them more.

- God.

It's such an odd idea

to walk through a landscape
at the time of the plague.

And that Death will be a chap

following you around
with a chess game.

And, uh, it'll eventually
catch you up, it'll get to you.

I thought it was so
brutal, that's what.

It was beautifully brutal.

Once I came to Royal College,
I would honestly spend

almost two or
three nights a week

in the National Film Theater

'cause there was a
student ticket price

so you could go in there
with your pack of cigarettes.

So I watched almost all
of the Bergman films,

Kurosawa, and, you know,

anything interesting
or different.

Um, Polish films, so it
was an entire door opened

on alternative cinema.

Which of course I took to

completely hook,
line, and sinker.

And Bergman's stuff,
everything about it

was, uh, he comes from
the school of everything.

I like you quoting the
school of everything.

Where those directors
are into everything.

It's not just the script,
the story, the actors,

but how it looks.

Um, it's mood is
very, very important.

My favorite one, of
course, was Seventh Seal.

Which I think was
absolutely remarkable

in its, its ideas
and, um, its journey.

Was almost like science
fiction, it was so amazing.

Was almost like science
fiction, it was so amazing.

[rhythmic piano music]

[rhythmic piano music]

It's perfect.

It's perfect.

[droning instrumental music]

- I think more than
almost anybody else,

he was very religious, and
it felt like a religion

that was similar to the
one I'd come out of, so.

Very strict and kind of,
uh, very channeled lifes

and, you know, not
doing anything that
would displease God

and having your children in
line and all of those things.

Um, but I also loved
his sense of theater.

Um, sort of the costumes.

The fact that you could
have Death as a character

and talking to
people and saying,

"Well, your time is up,

"that's why I'm sawing
down the tree you're in."

You know, that sort of feel.

You know, that sort of feel.

- [Voiceover] When did you
start thinking about death?

- Very young.

You know, it's
been an obsessive,

uh, subject with me
since I was tiny boy,

five, six years old,

and I think

that may be a big reason

why Bergman resonated
with me so much.

[quietly dramatic
instrumental music]

[quietly dramatic
instrumental music]

[pulsing instrumental music]

[pulsing instrumental music]

- There is no real way
of dealing with it.

You, you, all you can do

is distract yourself.

If you don't distract yourself,

then you're faced with
thinking about it.

When you think about it, it's a

terrifying and impossible

losing proposition.

So it's best to try

and not think about it, and
if not thinking about it

means that you turn on
a Fred Astaire movie

or you go to a football game

or you, you know,
spend your energy

trying to write a play

and figure out the problems

of the second act

and they consume you,

great, be consumed
by this trivia.

[surf crashes]

[pulsing instrumental music]

[pulsing instrumental music]

New York was showing
Wild Strawberries.

That's the first
time I knew the name.

' Cause I saw it in print.

And I saw the picture

and related it back
to Summer with Monika

and, uh, The Naked Night.

And then, very
shortly after that,

they showed, I believe
in a double feature,

The Seventh Seal
and The Magician.

And, and by that time,

I was completely,

you know, hooked.

I mean, completely.

I just thought he was

the best filmmaker
that I'd ever seen.

[pulsing instrumental music]

He was entertaining.

You know, it was not

going to a film I'm
supposed to like

'cause it's a noble film

or a worthy film.

It was actually entertaining.

The burden of
entertainment was on him.

I paid the, the dollar and
a half or whatever it was

and sat down in
the movie theater

and he grabbed me right away

and I was completely mesmerized

and suspenseful for
the whole movie,

involved in it, 'cause he
was a wonderful entertainer.

And his images were so beautiful

and dramatic and full of feeling

and potent,

and the, the content,

the intellectual
content of the movie

resonated deeply with me.

They were all,

he was touching on themes
and ideas, feelings,

that were very, very
meaningful to me personally.

that were very, very
meaningful to me personally.

[pulsing instrumental music]

[pulsing instrumental music]

[rhythmic instrumental music]

[rhythmic instrumental music]

- I didn't like Virgin
Spring when I saw it

'cause I thought

this is like a
medieval revenge play,

and then I realized,
oh, wait a minute,

it is a medieval
revenge play. [laughs]

[tinkling instrumental music]

- I checked out Virgin
of Spring again recently

to see was it a little,

um, naive.

Not at all.

All his stuff still
stands right there.

It still holds up.

- In The Virgin Spring,
things get tougher, stronger.

The real fascinating
part of that story

and the way it's
done, which, uh,

is, uh, the association.

There seems to be always
something in his work

that has something
that's pre-Christian.

As pre-Christian as
something that comes out

of that landscape.

That is, um, of a different

culture and mindset.

That is something that may
have been almost wiped away

by, by conversion
to Christianity,

almost but not quite.

You know, out of, I
don't know, Scandinavia,

Iceland, you know.

And that seems to
always be fighting.

There seems to be a tension, uh,

with his characters.

And Virgin Spring has that
flat-out, you see it completely.

You feel it and, uh,

I guess one just has to.

At that time, I didn't
know, I was young.

But one has to
read, you know, the.

You read the Sagas or
the Icelandic Sagas

and you get a sense of what
that world might've been like.

You know, and then
you impose, uh,

Christianity on it.

And, uh, watch the fun.

And, uh, watch the fun.

- The Virgin Spring was
such a perfect story frame.

Um, of, you know, a
family that's religious,

a child that's innocent,

going off on a, uh, pilgrimage,

ending up with the
rape and murder.

The perfect people,
the religious people
becoming savage,

and the savages becoming fearful
and frightened and crying

and being at the
mercy of somebody else

that's being violent.

Just struck me as an
incredibly powerful paradigm

for so much of life
that involves violence.

- Every time a
Bergman film came out,

which was very frequent,

you knew that there
was another level

you had to reach to with him

or he was gonna take you.

He may leave you
behind a lot maybe,

but you knew there
was something special

that you were gonna see.

And it was going to, uh,
provoke you creatively,

especially if you
decided to start

to make your own pictures.

The major influence,
I would say,

was the inspiration
of a Bergman,

the, um, opening of the
mind if at all possible,

making you feel that
anything can be done.

Uh, storytelling, visually,

and, uh, with dialogue.

Looking right at the
camera, speaking,

all of this sort of thing.

Uh, this was, this
was the key element.

I mean, uh, for me, um,

of Bergman.

But, primarily, what was
most inspiring all along

was the, of course, the
constant, uh, debate

about the, the spiritual
debate, the transcendent debate.

That's what really started

a compulsion to see
the Bergman pictures,

even though I didn't understand
a lot of what was happening.

Each one of the films
was like a little, like a

conversation with himself.

It's almost as if he didn't
care to see the pictures.

I mean, you know,
of course you did.

Of course, I'm sure he cared.

People saw the films,

but at a certain point, uh,

he just made them

one continuous
conversation with himself

and the people around him.

And we still grapple
with those ideas.

They're all there,
that's why his pictures

are not gonna be out
of, out of fashion.

[creeping instrumental music]

[creeping instrumental music]

- Mm hmm, wow.

- Mm hmm, wow.

- [Voiceover] You
who wanted my life.

- Mm, wow.

Wow.

- [Voiceover] And I don't
know the difference really.

But.

It means that he got mail.

- [Iñárritu] Wow.

- [Iñárritu] Wow.

[pulsing instrumental music]

- [Voiceover] So
horrible dreams nowadays.

Uh, they're not merciful.

Sit night.

Here it says, "I'm
doing a great career

"and I can't sleep."

I guess these also.

Here, "Afraid, afraid, afraid."

[pulsing instrumental music]

- The end of 1973, I was 18.

That's a day I never,
I can never forget.

That's the day of my
epiphany, so to speak.

Um, actually it was.

I think back then
there's only one film,

Bergman film,
available in Taiwan,

in the early '70s.

I saw it with my
friends in a film club,

in the screening room.

I saw it twice in a row.

And I couldn't move.

I felt my virginity
was taken. [laughs]

By this man.

Uh, I, I didn't get it.

I was just in awe.

I had never seen
anything like that

growing up in Taiwan.

Pretty academically, you
know, being a good boy.

Don't think about
anything fancy, you know.

Just do your homework
and get to a college,

and I failed that.

And my mother is a
fervent Christian.

She took me to
church every Sunday.

And I prayed four times
a day till I was 14

and I just quit, I don't.

"Why am I doing this?"

Um, so that was my background.

And I saw Virgin Spring.

I never saw art film before.

Can you imagine the impact?

I was dumbstruck.

I didn't know what hit me.

Um, I never know

you can ask question
about faith.

I never

could imagine somebody.

I remember the shot
toward the end of.

It still affect
me till this days.

When I shoot something
contemplative,

I always shoot from people,
the back of people's head.

That's the shot, like
exactly from here.

The father look up
and say, "God, why?"

And when the father's
contemplating murder,

he just go up and
there's a small tree

by the hill.

I don't know why that shot
hit me like a sledgehammer.

And he's just look
at a tree and go.

And he's just look
at a tree and go.

[quiet instrumental music]

[quiet instrumental music]

- It's a very, very
powerful movie.

And, I mean, I know
that when it came out,

it was, you know,
extremely taboo.

Um, but it kind of
still is quite shocking.

Uh, I mean, Bergman, Bergman
was just so unafraid.

So unafraid

of just putting the camera
in just the most intimate

angle to absorb someone.

For me, you know,
watching The Silence,

it invited me into
the private realm

of each of these,
those three characters.

You know, who, who are
the people in that story.

Um, and they each go on
these silent journies.

And some of them
into a deep, deep

abiding loneliness

that feels unsoothable.

Except for maybe with music.

[halting instrumental music]

That's the beauty
of film anyway.

That's, that's the
language of film, really,

is what you're seeing.

You know, 'cause also
dialogue names the thing.

It's not infinite
anymore, it has limits,

it has a ceiling.

You know, and when
things are not spoken,

you know, anything is possible.

It could, it has endless depths

and, you know,

it keeps going in
all directions.

- Silence is a great
tool in cinema,

maybe in all kinds of art film.

I think when I use silence,

I don't purposefully use it,

but I kinda use
them quite a bit.

I think that has
something to do with

my, my Chinese background.

The Asian background.

The western art deal
with matters a lot,

and we deal with space a lot.

It's just by tradition.

So I, I think I like
that form quite a bit.

That's, that's the way
I will use silence.

Uh, but silence sometimes,

whether it willful or willful,

can be really powerful.

Especially in Bergman films.

[dark drumming music]

[dark drumming music]

[dark drumming music]

- This is a real luxury, to
have a library like this.

Now were these his labels?

These are Bergman's labels?

He put those on?
- [Voiceover] Yeah.

- He was just prolific.

Persona I've seen
three or four times

and I really enjoy that picture.

And I saw my friend Greg
who just was like [snores].

You know, and I
was really, like,

"Well do you see how
she's becoming her

"and they can't
tell, it's like."

I'm really into it, he's
like, "You're nuts." [laughs]

But, you know, movies, that's
the thing about movies,

they're completely subjective.

And everything about a movie,

and this is something.

There's two things I find
that people don't understand.

One is, it's not about ideas.

No one gets that,
it's not about ideas.

Because ideas are a dime a dozen

and there's no such
thing as a new idea.

It's about execution.

Do you know what I mean?

It's about the realization
of it, how it's done.

And that's one, and two,

is everything about a
film, especially cinema,

is who you are, the viewer,

how old you are, where
you are, when you view it.

And when you ask people
their favorite movie.

"What's the best,
your favorite movie?"

They can always tell you
when and where they saw it.

Who they saw it with.

Because it's so much
of the experience.

And, plus, you know,
as you grow old.

It's a strange word.

I mean, you could say, mature,

grow more sophisticated,
grow more worldly.

But the truth is as you
age, you experience more.

And things are different.

You know, so many, so many
movies that people love,

I say, "Don't see it again."

'Cause if they see it again,
they'll go, "Ooh, it's lousy."

[laughs] You know.

That's wonderful
that in your library

you have a shelf
of books about you.

Which is great.

I wonder if he read them.

- [Voiceover] I think he did.

[pulsing instrumental music]

[pulsing instrumental music]

- Yeah, I'm almost
sure that the track

has to be around
here because it's,

it's kind of the same.

- [Voiceover] Yeah?

- Yeah, it was
between the bushes.

Wow!

This is amazing because
he, it seems like, uh,

like a old, uh, railroad.

You know what I mean?

I mean, you will never
believe that this was used

for a film shot.

I mean, this is like,
look at this work.

[elegant piano music]

[elegant piano music]

[film reel clicking]

[eerie instrumental music]

[eerie instrumental music]

[film reel clicking]

[eerie instrumental music]

- He redefined cinema.

Andy Warhol was
doing it his way.

In the early '60s.

Uh, so many others,
Godard of course.

You know, Truffaut was
settling into another style

by that time, by mid-60s.

By '66 this was, I think.

Persona, just, just the
montage in the beginning.

You know, you, I
don't know if it's,

I don't know if it's the
kind of thing you say,

"Well, I enjoy watching."

In other words, but
if you do watch it,

you can't stop watching it.

- I was, kind of starting
with this high point

of European cinema
that went to America,

and that's what I was
reading all about,

and that movie is
actually such a,

um,

not an anomaly,
but it's quite an,

you know, in the body
of Bergman's work,

it's not really, you know,

it's one that he went so.

There's such a range of, uh,

kinds of films
that Bergman made.

They're all his stories.

But, um, that one has
this kind of experimental

energy that sort of, you know,

it's just, uh, deconstructs
right in front of you.

Um, and it's not really

like, like so much of his work.

Um, but, um, but that one,

I was very taken with.

[delicate guitar music]

- It struck me how,

how much he is what
I wanted to be,

a playwright who got to make

what he wrote as films.

I always wanted
to write something

and then get to make it,

which was, which was the
blessing Bergman had.

He had his little island

and he would write these
original screenplays, plays.

Some of them, I guess,
had been plays even.

And got to do that.

So that was very attractive
in his career for me.

Most of the other great three
filmmakers of that period

was Fellini, Bergman,
and Kurosawa.

And they wrote, but
they really wrote

with a handful of collaborators.

Bergman really wrote it himself.

So if he wanted
something weird to happen

in his script, he
could just do it.

I go through that all the time,

when I would get to
a point and I'd say,

"I really like to."

Then I say, "Well what the
hell, I'm just gonna do it.

"Doesn't matter."

[rhythmic instrumental music]

[rhythmic instrumental music]

[wistful piano music]

- He liked to, uh,
when I spoke to him,

he liked to, when
he was on Faro,

see a film every day.

And that was his, uh, that
was his entertainment.

And I'm sure he had a
tremendous collection,

'cause there he was
isolated on this island.

And he would talk
to me about how he

couldn't go to sleep
at night unless he

watched some kind of junk movie

for a little while, you know,

watch a little bit of,
like, a James Bond thing

or that kind of movie,
just to pacify him.

or that kind of movie,
just to pacify him.

Thank you very much.

- [Voiceover] You're welcome.

- [Voiceover] You're welcome.

[gentle instrumental music]

[scratchy voice over intercom]

- Please, please stop him.

- [Denis] I think
I'm going to faint.

- [Voiceover] Yes?

- [Denis] No, it, it's like.

It was like too much for
me to enter this house.

I don't know what.
- [Voiceover] Okay.

- [Denis] I feel terrible.
- [Voiceover] Well, we'll take

as much time as you need.

- Do you wanna lie
down somewhere?

- [Denis] No, no, no, I
don't want to lay down.

I don't want to be
in the house anymore.

I think it's frightening for me.

- [Voiceover] It's frightening.

Oh, I think it's too intimate.

I think I.

I think we could leave.

[tense piano music]

[tense piano music]

[surf crashes]

[eerie instrumental music]

[eerie instrumental music]

[screaming]

[tense, dramatic
instrumental music]

[tense, dramatic
instrumental music]

[jagged instrumental music]

- He did the best
dreams along with, uh.

He did the best fantasies
and dreams in movies.

Uh, he made things work.

People with no face
and that sort of thing

that you could
normally see the makeup

or the costuming.

Uh, it didn't matter.

He made it work.

In Hour of the Wolf,
he goes, I think,

probably, he pushes it,

and I think he seemed
to be playing around

with, uh, with images

from, uh, the Italian
horror films at the time.

Or some of the Hammer
films, you know.

- Blood From the Mummy's Tomb.

[chuckles] This is a
terrible Hammer film.

[droning instrumental music]

- Uh, I think it's
very difficult to make

a horror film that in some way

isn't commenting on
some part of the culture

and is relevant to a certain,

certain group of people

that can see beyond just
the shock value of it.

[droning instrumental music]

[droning instrumental music]

[droning instrumental music]

[droning instrumental music]

[pulsing instrumental music]

[pulsing instrumental music]

[droning instrumental music]

[droning instrumental music]

[people chatting in
foreign language]

[people chatting in
foreign language]

- She actually, I think,

slipped a little
note in his pocket

when we were at
the film festival,

saying, "We are the
two known Swedes,

"and we have never
worked together

"and I think we should try."

Then Ingmar came out with
the idea of Autumn Sonata.

And Mama was so
tremendously pleased.

Uh, she really saw, and it
became the farewell film

of her career.

I mean, she was already
sick with cancer,

so she knew she wasn't
going to survive for long.

so she knew she wasn't
going to survive for long.

[gentle piano music]

[gentle piano music]

- I imagine that he was
inspired a little bit

by her life, so he
imagined a woman

that was very successful,
very taken with her career.

Uh, she was a pianist in the
film instead of an actress.

But she was very
glamorous, very beautiful,

traveled the world, and she
has, back home, two children

that she has neglected.

Mother was, uh,

pleased to work with him

but a little bit irritated by

the theory that, uh, inevitably,

a career woman would have
to neglect her family.

She thought that was very
old fashioned of Ingmar

and put up a certain
amount of resistance.

- She, I think, suffered in
her life of being accused

of, uh, having sacrificed
us or her husbands

or other aspect of her life

to have a career.

Something that a man would not
be automatically scolded for.

[droning instrumental music]

[droning instrumental music]

[children screaming]

[children screaming]

[laughing]

[laughing]

[knocking]

[knocking]

[screaming and laughing]

[screaming and laughing]

[film reel clicking]

- You know, I, he
said to me once,

"I have this dream always
that I show up on the set

"and I don't know where
to put the camera.

"I don't know what to do."

And, uh, you know, and that's
a typical anxiety dream

that I have, you
know, making film.

that I have, you
know, making film.

- I think the most important
thing for any director

is that they give you a sense

of, um, of not being
able to do anything wrong

so that you can do stuff wrong,

you can try stuff but
you're not afraid to try,

you're not, you're
not afraid to be,

uh, sat on, you're not afraid

that you're going to be sat on.

It's important that
not only the actors,

but all the creative people,

everybody, uh, on the set,

is able to feel comfortable.

Uh, so that they
can do their best,

and if something
isn't quite working,

then you figure it out

and the director would
be the first to say,

"Look, I don't know either
but let's figure this out."

[subdued instrumental music]

- My grandmother, she
loved Ingmar Bergman.

And so when I was 11
years old, I believe,

a film had come out called
Fanny and Alexander.

And she took me to see it.

And I remember as I entered
the world of Bergman,

at a very young,

at an age that I was starting
to want to become an actor,

what I think she connected
to from his films

that meant so much to me,

is everything was seamless.

The performances
felt so deeply true

that you never saw actors.

Everything was so real
that it was almost magical.

So real that it
was almost elusive

because it was like
you couldn't believe

you were watching a film.

You felt like you were peeking
inside someone else's life.

And it was also my
introduction to Liv Ullmann,

who, uh, I think at that age,

she and Jill Clayburgh,

there are few actresses who
were so deeply authentic

and so real that
almost their breath

and the pores in their skin

made you feel everything
the character was feeling.

Uh, and so he was an
immense inspiration

for me

in the kind of actor
I would want to be

and the kinds of filmmakers
I could sort of dream up,

wishing to get
to, uh, work with.

- [Voiceover] If he was
alive, and he called you up

and said, "Well, I'm gonna
do this film about, you know,

"the existence of
God and infidelity.

"You wanna have a lead here?"

- I'd say, "Well what
do you intend to do?

"Show me the script
or the outline."

I'd say, "Yeah, okay,"
you know, "okay."

Um, I'd probably say
it because it's him

and then I'd say, you know,

"Whatever your reasons
are that's great.

"We'll, we'll, I'll figure
out what I have to do.

"You figure it, you have
your reasons, I have mine,

"and we'll come together."

I mean, with Marty
Scorsese, it's the same.

We do things.

Marty'll have certain
things that's he doing.

I have that I do.

We come together.

- I never understood quite
what a playwright he was.

I, you know, I didn't
bother when I was a kid

to say, "Well who wrote this,"

and realize it's
just Ingmar Bergman.

I like the very much,

very intrigued by Franny
and, Fanny and Alexander.

It gets very strange at the end.

But I see many things
where, as the playwright,

he says, "Well, I'm
just gonna do that."

You know, and Bergman
himself has a kind of,

uh, you know, Goethe
Wilhelm Meister story.

Fanny and Alexander are sort of,

story of a little kid who
plays with puppets, Goethe.

Then when he grows up he
encounters Shakespeare

and they do, they do
Hamlet and they analyze it.

It's wonderful to read
Goethe's analysis.

I'm sure Wilhelm Meister
had a big influence

on Bergman, but of
course Strindberg did.

[scattered instrumental music]

[scattered instrumental music]

[spacey instrumental music]

- There's some thing
that you can't copy.

And Bergman had that.

You know, I could
shoot a closeup.

Some other director
can shoot a closeup.

And Bergman can shoot a closeup.

And his closeup
burns off the screen.

It just is, because, you know.

And I could be the same
distance from the actor

and it can be a good actor,

and it's just that
he has something,

had something that, uh,

that every great artist has,

and that is an intangible gift.

and that is an intangible gift.

[rapid drumming music]

[rapid drumming music]

- Now does this,
does this island

have these kinds of
sunsets all summer?

So this is, Ingmar
did this for me?

There are certain
world-class filmmakers

that share something, which
is they are recognized

as world-class artists,

but not in their own country.

And I was with Fellini in Rome,

and he had no respect in Italy.

His last two or three
movies hadn't made money.

So he was not
considered bankable.

And it was like, you
know, Fellini, eh.

The Italians.

And I'm going, "It's Fellini!"

You know. [laughs]

Same thing with Bergman,
same thing with, um,

you know, Satyajit Ray in India.

They still don't
like Satyajit Ray

and he is like their
greatest filmmaker.

He is a world-class artist,
no respect in India.

This leads me to two things
that are interesting.

One is this weird

lack of respect in
your own country,

which I don't know
what that's about

but it's, but it's
international.

But then the other
remarkable thing to me,

because unfortunately
I've lived through this,

where people I
know and work with

then die and become
mythological.

And that's a very strange thing.

They become these, these legend,
these mythological figures.

And I don't know what
I think about that.

I don't, I don't know.

I don't know if that's bad.

But it's, but I know it's weird.

And I think that, you know,
being here at Bergman's house,

from now on when I
think of Ingmar Bergman,

I'm gonna think of his films,

but now I'm also gonna think
of his incredible house,

the incredible place.

Man, he's left this,

this body of work

that's forever.

that's forever.

- She's here and she's
gonna walk you down

when you're ready to go.

- [Voiceover] Perfect.
- You guys, thanks so much.

- [Voiceover]
Thank you, bye bye.

- [Voiceover] Bye.

- Bye.
- [Voiceover] Bye.

[dramatic instrumental music]

[dramatic instrumental music]

[dramatic instrumental music]

[dramatic instrumental music]

[pulsing instrumental music]

[pulsing instrumental music]

- I had an interesting
experience.

I don't know if this anecdote

is useful, but it is
about the death of Bergman

in the sense that.

I had just met my young wife

and she hadn't seen
any of his movies.

And some morning
in my summer house,

in the middle of
the sun actually,

I showed her Fanny
and Alexander.

Which was weird
because it was morning,

but that's what we did, and,

and she wept and she said,

"This must be the best
film I've ever seen,"

and blah, blah, blah,
so it still worked.

And then on, like an hour later,

the phone rings.

And it's from an
English newspaper.

I think it was from
Independent saying,

wanting to do an
interview about Bergman.

And I said, "It's funny because
we just watched this movie,"

and blah, blah, blah.

And we put ourselves
into the car,

going back to Copenhagen.

The interview went on
for one and a half hour,

or one hour or something.

And I said, at the
end of it I said,

"Why are you calling me to
talk about Bergman today?"

And she said, "Oh,
didn't you know?

"He passed away this morning."

So we actually
watched this movie

as he passed away, which was a,

an interesting experience.

[haunting instrumental music]