TV-host

10:00:01:14 – 10:00:10:01

(SWEDISH)

If this was a deserted island..which of your own films would you bring? Having to watch them constantly

Ingmar Bergman

10:00:11:18 – 10:00:13:20

(SWEDISH)

What a horrible thought!

Ingmar Bergman

10:00:15:18 – 10:00:19:12

(SWEDISH)

I would much rather watch films made by other directors.

VOICE OVER

10:00:19:20 – 10:00:25:15

(VOICE OVER/ ENGLISH)

Ingmar Bergman had 1711 videotapes in the TV-room of his island home on Fårö.

Lars von Trier

10:00:26:03 – 10:00:30:10

(DANISH)

I have written, I don’t know how many celebrating letters to Bergman, but he never responded!

VOICE OVER

10:00:30:10– 10:00:35:08

(VOICE OVER/ ENGLISH)

Everything. From highbrow to lowbrow. Arthouse to grindhouse.

Films on every topic imaginable.

Holly Hunter

10:00:35:10– 10:00:39:13

(ENGLISH)

Monks take vows of silence, there is something holy about it.

VOICE OVER

10:00:39:14– 10:00:43:22

(VOICE OVER/ ENGLISH)

This episode deals with silence in the films of Bergman’s personal collection.

Ang Lee

10:00:43:24– 10:00:49:09

(ENGLISH)

They don’t even have the language to understand what they are going through. Silence is the real deal.

VOICE OVER

10:01:36:00-10:01:53:06

(VOICE OVER/ ENGLISH)

In tonight’s episode of Bergman’s Video, French director Claire Denis will be visiting Bergman’s home on the island of Fårö. Denis has felt a strong relationship to the Swedish director ever since she was a child, and remembers the first time she saw one of Bergman’s films.

Claire Denis

10:01:54:14 - 10:02:28:24

(ENGLISH)

I remember what I felt when I saw Monika for the first time, I felt physically what it is to be a young woman. This feeling of summer, youth and to be in the present. I took it as if it was made only for me.

VOICE OVER

10:02:35:03-10:02:46:01

(VOICE OVER/ ENGLISH)

Today, Claire Denis is herself one of Europe’s most popular and respected directors, with a dozen or so feature films under her belt.

But getting there was no easy journey.

Claire Denis

10:02:47:03-10:03:33:21

(ENGLISH)

My dream was to enter the world of cinema like a smuggler, like, let’s say there is a barrier, a wall, and there is a field: the holy field of cinema with the professional players and the people who are sort of heroes of cinema and to be a smuggler is to be someone who passes the fence, do not pay and somehow can be, like we say in France, contraband. Break in, take something, run away and say: hey, I made a film, you know, on the side.

VOICE OVER

10:03:38:16 – 10:03:58:19

(VOICE OVER/ ENGLISH)

Claire Denis worked as an assistant for a long time before she found the courage to take the plunge herself in 1988. The result – her debut film Chocolat - became a deeply personal and autobiographical story, and when Denis learned that the film was in Bergman’s personal collection, she decided to visit the director’s island home on Fårö.

Claire Denis

10:04:02:05-10:04:40:04

(ENGLISH)

Pr..privat område. What does it mean- område?

Private area.

Private property. Please leave the area.

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

Private property. Please leave the area.

It’s a little bit frightening, I must say.

There is no dog, right? Tell me the truth. Because if there is a dog coming..

Private property. Please leave the area.

VOICE OVER

10:05:04:11 – 10:05:00:06

(VOICE OVER/ ENGLISH)

Star Wars is one of many classic adventure films in Ingmar Bergman’s collection, a space epic with heroes, rebels, battles and protagonists who grow wiser as the journey progresses.

VOICE OVER

10:05:04:03– 10:05:20:18

(VOICE OVER/ ENGLISH)

In The Silence from 1963, Ingmar Bergman peeled away the dialogue and let the images speak for themselves.

In the film, two estranged sisters and a little boy have checked into a hotel in a foreign country, where they do not speak a word of the language...

FILMCLIP

10:05:22:13 – 10:05:32:14

(FRENCH/ ENGLISH/ GERMAN)

Parlez-vous Francais?

Do you speak English?

Sprechen sie Deutsch?

VOICE OVER

10:05:48:06 – 10:06:01:06

(VOICE OVER/ ENGLISH)

Bergman often worked with looks and glances rather than with words, but he’s not alone. In the world of film, silence is perhaps the most effective and frequently used methods of creating a mood.

FILMCLIP

10:06:07:01 – 10:06:36:19

(ENGLISH)

Don’t you hate that?

Hate what?

Uncomfortable silences.

Why do we feel it is necessary to yack about bullshit, only to be comfortable?

I don’t know. That’s a good question.

That’s when you know you’ve found somebody really special, when you can just shut the fuck up for a minute and comfortably share silence.

Well I don’t think we’re quite there yet, but don’t feel bad, we just met each other.

VOICE OVER

10:06:55:13 – 10:07:19:20

(VOICE OVER/ ENGLISH)

Ingmar Bergman told Ang Lee that his film The Ice Storm from 1997 was a masterpiece.

The film was about the breakdown of a family unit when an ice storm hits the East Coast of the US in the 70s, and is based on Rick Moody’s book of the same name. Like many other of Ang Lee’s films, it is full of momentous silences.

Ang Lee

10:07:25:13– 10:07:58:05

(ENGLISH)

It is not a movie material. The book doesn’t have a story. It is 8 chapters of different characters and they blend together in the ice stormy night. I remember page 200, the kid gets electrified, sliding down the ice. Just somehow, that image made me want to make a movie.  I was very reluctant to think about that scene. I have two boys, almost close to that age.

Ang Lee

10:08:31:14– 10:08:36:12

(ENGLISH)

Silence is a great tool in cinema, maybe in all kinds of art film.

Ang Lee

10:08:42:18– 10:09:08:20

(ENGLISH)

I think when I use silence, I don’t purposely use that, but I kind of use them quite a bit. I think that has something to do with my Chinese background, my Asian background. The western art deal with matter a lot and we deal with space a lot. It is just by tradition so I think I like that form quite a bit. That is the way I will use silence.

VOICE OVER

10:09:31:04-10:09:41:07

(VOICE OVER/ ENGLISH)

Another of Ang Lee’s films in which silence plays an important role is Brokeback Mountain from 2005. The film deals with the impossible love between two cowboys. 

Ang Lee

10:09:47:03 – 10:10:28:09

(ENGLISH)

Brokeback Mountain is very different. The first thing you want to talk about west, is not guns or attitudes, but space. Not only big space, in nature, in between people but time-space. Cowboys are really shy, they’re socially improper and the yare gay cowboys. Back then, in the 60s, they don’t even have the language to understand what they are going through. There is no language for that. So you have got to leave space in between their lines, and you have to leave space in the music too. Lots of sparse music, the silence is the real deal.

FILMCLIP

10:10:29:03 – 10:10:30:17

(ENGLISH)

Jack fucking Twist!

VOICE OVER

10:11:13:00 – 10:11:24:21

(VOICE OVER/ ENGLISH)

Both Ang Lee and Ingmar Bergman grew up in strict religious households. Perhaps that’s why Bergman’s films have moved Ang Lee. He particularly remembers how he saw Bergman’s The Virgin Spring when he was a teenager.

Ang Lee

10:11:27:16 – 10:11:52:12

(ENGLISH)

My mother is a fervent Christian. She took me to church every Sunday and I prayed four times a day. And when I was fourteen, at lunch-time at school, people just giggled when they saw me doing that..They just felt funny and then finally I had enough it, so I stopped it and two weeks later, nothing happened. I didn’t pray!

Ang Lee

10:11:54:23 – 10:12:17:00

(ENGLISH)

I think back then there was only one Bergman film available in Taiwan, I saw it twice in a row and I couldn’t move. The innocence I had about life, the naivity was all of a suddenly taken away because I started thinking, I started feeling the world in a very different way.

FILMCLIP

10:12:17:17 – 10:12:20:22

(SWEDISH)

Here, by the dead body of my only child..

VOICE OVER

10:12:22:00-10:12:36:11

(VOICE OVER/ ENGLISH)

In The Virgin Spring, a young woman is raped and murdered –

the film depicts her father’s grief, hunger for revenge, and his rage at God’s silence. The images made a big impression on Ang Lee and in Brokeback Mountain it is obvious how.

FILMCLIP

10:12:38:05-10:12:39:22

(SWEDISH)

And with these, my hands..

Ang Lee

10:12:39:24-10:12:55:23

(ENGLISH)

I remember the shot towards the end, It still affects me today, when I shoot something contemplative I always shoot it from the back of people’s head. That’s the shot exactly from here where the father looks up and says: God, why?

FILMCLIP

10:13:29:06-10:13:45:06

(ENGLISH)

There’s a one shot thing we got going on here.

It’s nobody’s business but ours.

You know I ain’t queer.

Me neither.

VOICE OVER

10:13:47:22-10:14:05:11

(VOICE OVER/ ENGLISH)

In 2005, Ang Lee went into a depression and considered bowing out of his work on the epic film Lust, Caution and even – despite all his awards, Oscars and tributes – giving up directing altogether. But then he travelled to Fårö and got to meet Ingmar Bergman.

Ang Lee

10:14:08:13-10:14:35:03

(ENGLISH)

My producer said: what happened to you? You went away totally in depression, you come back like a child. Your eyes are sparkling, what happened to you? He hugged me. Suddenly I said to myself I got to bring this movie to him,  and then when I was mixing, the final stage..One day I was driving to work and I hear the news that he passed away, I was..

Claire Denis

10:15:25:01-10:15:36:15

(ENGLISH)

It is beautiful. Beautiful and sad, because no one is living here.

VOICE OVER

10:15:41:21-10:16:04:15

(VOICE OVER/ ENGLISH)

One of Claire Denis’s bestknown films is White Material from 2009. In that film, Isabelle Huppert plays a woman who refuses to leave the family plantation in an unnamed country in Africa – despite an approaching civil war… and Denis chose to tell the story of her unwillingness to leave the country she calls home through images rather than with words.

Claire Denis

10:16:16:21-10:16:39:09

(ENGLISH)

We always start with a lot of dialogue, but most of the time some are just not necessary anymore. And on the set, watching the actors, well, you don’t need to say that line because the look meant even more, you know?

VOICE OVER

10:16:45:22-10:17:03:15

(VOICE OVER/ ENGLISH)

All of Claire Denis’s films have sparse dialogue.

She trusts in the audience’s ability to understand the characters’ feelings, and it’s no accident that she often screens Bergman’s The Silence for her team before starting work on a film. 

Ingmar Bergman has inspired Claire Denis in many ways:

Claire Denis

10:17:10:07-10:18:12:05

(ENGLISH)

He was a film maker who expressed the body in a different way, not like a decoration, a beautiful body or a fragile body but like..A body in a Bergman film can be sick also. It can suffer pain, needs medicine, needs drug, needs alcohol. I think for me it was the first time I was confronted in cinema with that reality. I thought it was only problem of people I knew, like in my family, to be depressive, to have pain in the stomack. And then I realized Bergman will consider that very important also.

VOICE OVER

10:18:16:09-10:18:27:14

(VOICE OVER/ ENGLISH)

Claire Denis’s family and childhood have played an important role in her filmmaking. Most of her films are set in Africa where she grew up and where her interest in films first took root.

Claire Denis

10:18:32:01-10:19:05:05

(ENGLISH)

When I grew up in Africa it was very rare to see a film and my mother, she was reading a lot and she said: there is one thing I like as much as reading is to go to see film. And then I realized when I was maybe 13 or 14, I, by myself, like film, you know.

FILMCLIP

10:19:22:18-10:19:32:23

(ENGLISH)

It is a bit ruff out there, could be they can’t get through to you in this weather. Do you have things for shelter?

She says thank you.

VOICE OVER

10:19:35:19-10:19:47:17

(VOICE OVER/ ENGLISH)

One film standing on Bergman’s video shelf, is The Piano from 1993. In it, actress Holly Hunter plays the role of Ada, a woman who doesn’t say a word throughout the entire film.

FILMCLIP

10:19:51:07-10:20:01:12

(ENGLISH)

She says no. She says she would rather be boiled alive by natives then get back on your stinking tub.

You’re damn fortune I don’t smack your..young missy!

VOICE OVER

10:20:02:06 -10:20:12:00

(VOICE OVER/ ENGLISH)

The year is 1815, when Ada arrives in New Zealand from Scotland to marry a man she’s never met. She’s a voluntary mute.

Holly Hunter

10:20:16:15-10:21:10:00

(ENGLISH)

Well, not speaking is a great entrance into a private realm. I think that when you don’t speak it engages a really profound, private interior room inside yourself. You know monks take vows of silence, there is something holy about is as well. You know, it allows you to enter a holy place in yourself. You communicate deeply when you are silent. So I found that to be true with the character of Ada in The Piano and it was. And once again, because of that I also believe that experience resides in me in a place that no other movie ever as or ever will.

VOICE OVER

10:21:12:10 -10:21:29:01

(VOICE OVER/ ENGLISH)

Ada is an exceptionally strong and willful woman. Once her mind is made up, she cannot be swayed – especially when it comes to her choice in men. She falls in love with an other man – and even though she doesn’t speak, they are capable of unparalleled communication.

Holly Hunter

10:21:32:23 -10:21:57:23

(ENGLISH)

The fact that the character doesn’t speak and that she elects not to speak..It is not that she can’t, she decided that she doesn’t want to..I mean, that is big. To make that decision in your life.

And I also thought that the other thing that invites a certain holiness is music.

Holly Hunter

10:22:02:08 -10:22:22:17

(ENGLISH)

Music can create this really private, large place inside you and so she had both. Silence and the outlet of music, that was this incredible expression for her.

FILMCLIP

10:22:24:00 -10:22:32:17

(ENGLISH)

Higher!

Higher!

Lift it higher.

VOICE OVER

10:22:34:00 -10:22:50:12

(VOICE OVER/ ENGLISH)

Ada speaks with her eyes, with her hands, through her daughter, but above all through her piano playing. The strength of the role lies in the fact that she has no lines, and Holly Hunter and director Jane Campion had to work with tools other than the written word.

Holly Hunter

10:23:08:23 -10:23:56:01

(ENGLISH)

I loved that and I know that Jane did too. Jane and I would sometimes really stand back and look at Ada as almost she was as though a science project. In what is unspoken, I mean that is the beauty of film anyway, that is the language of film really is what you’re seeing. Because also dialogue names the thing, suddenly it is not infinite anymore, it has limits, it has a ceiling. When things are not spoken, anything is possible. It has endless depths. And, you know, it keeps going in all directions.

Holly Hunter

10:24:05:14 -10:24:15:02

(ENGLISH)

It’s a way into your soul. It has breath in it. It allows a movie to be told through what you are seeing, rather than what your hearing.  

Holly Hunter

10:24:22:01 -10:24:31:20

(ENGLISH)

People make movies brilliantly using sound as well, but there is something that just goes straight to the heart of you when it is silent.

FILMCLIP

10:24:37:22 -10:24:54:12

(ENGLISH)

Do you love him?

Do you?

Is it him you love?

No!!! Mother. Mother.

Claire Denis

10:25:14:01 -10:25:18:08

(ENGLISH)

Oh! This is interesting. This is a meditation room.

VOICE OVER

10:25:27:09 -10:25:42:23

(VOICE OVER/ ENGLISH)

Claire Denis grew up in East Africa, with her itinerant parents. This experience growing up left its mark on her filmmaking, and she has made a number of highly charged films set in African countries under colonial rule, on the verge of liberation.

VOICE OVER

10:25:45:24 -10:25:55:15

(VOICE OVER/ ENGLISH)

Her debut film Chocolat is about a little girl who breaks with convention, and develops a close friendship with the family’s household servant, played by Isaac de Bancolé.

FILMCLIP

10:25:59:21 -10:26:06:21

(FRENCH)

1991 when..

Why don’t you set the tray down?

Claire Denis

10:26:08:22 -10:26:22:07

(ENGLISH)

I was raised in a time where the question of being a white person with black domestic in Africa was politically indefendable, you know.

VOICE OVER

10:26:22:10-10:26:37:03

(VOICE OVER/ ENGLISH)

Denis has received a lot of praise for her depictions of Africa. In particular, she is commended for depicting black characters that are much deeper and more complex than audiences are used to in Western filmmaking. She herself would like to take this even further.

Claire Denis

10:28:38:10 -10:27:28:12

(ENGLISH)

I thought you can not always describe black characters that are angels or doctors or teacher, you know. At a certain point..I remember telling Isaac de Bancolé: I wish one day I could make you a pedofile raping a little girl. You know? It would be great, in terms of society. But I don’t want my films to be messages, I like to make films, and if I have to defend a cause I will go in the street with a banner. I don’t like to do both.

VOICE OVER

10:27:32:13 -10:27:43:00

(VOICE OVER/ ENGLISH)

But Claire Denis has also been criticized. Many felt, for example, that White Material from 2009 only perpetuated a negative stereotype image of Africa.

VOICE OVER

10:27:47:08 -10:28:01:23

(VOICE OVER/ ENGLISH)

Even though she’s mostly received positive reactions, especially for her everyday dramas with black protagonists.

In 35 Shots of Rum, she tells the story of the close relationship between a father and his daughter who is about to leave home.

FILMCLIP

10:28:08:18 -10:28:09:15

(FRENCH)

Thank you.

VOICE OVER

10:28:10:08 -10:28:18:05

(VOICE OVER/ ENGLISH)

The film explores the painful yet beautiful experience of allowing a child that has grown up, to go off on its own, choose its own path.

Claire Denis

10:28:20:02 -10:28:57:19

(ENGLISH)

It is the real story of my grandfather and my mother. My grandfather was from Brazil and he was a soldier in France and his wife died just after she gave birth to my mother and my grandfather decided to stay in France and to raise alone my mother. I made a promise to myself and I knew my parents were old so I decided I was going to make it for my mother.

VOICE OVER

10:29:31:12 -10:30:02:16

(VOICE OVER/ ENGLISH)

Lars von Trier loves Ingmar Bergman, and has seen everything he ever made. But Von Trier is also quite angry with Ingmar Bergman. Especially with his silence. Von Trier wrote Bergman countless letters, but never received a reply. Now he’s sitting in Filmbyen – the studio complex he’s built up around his production company Zentropa – discussing the love-hate relationship he’s had with Bergman, that has been going on for as long as Von Trier has been directing.

Lars von Trier/ Interviewer

10:30:02:21 -10:30:29:15

(DANISH)

His cinematographer, what was his name?

Sven Nykvist.

“He was fantastic!”

Because he could put greaseproof paper on a lamp and everything worked. But so can all photographers! Idiot.

You have to be a technological idiot to think that is an achievement. But Bergman thought it was so amazing.

And he has said that over and over again. Shut up already.

FILMCLIP

10:30:39:24 -10:30:44:20

(SWEDISH)

He wants them to hold hands and walk in a long row..

Lars von Trier

10:30:46:04 -10:31:27:18

(DANISH)

But for fuck’s sake. The Seventh Seal.

When you see the knights and the other figures.

It was an improvisation, it wasn’t in the script.

What I mean was that his talent wasn’t in his images.

That is not what I remember him for.

I remember him for the feeling and the mood.

The characters, the dialogue, the style dammit!

But to say that he was a master at creating images that’s just not true.

Lars von Trier

10:31:39:06 -10:32:08:20

(DANISH)

My mother gave me a film camera, it was too advanced for her.

The technology was so inspiring.

Long before I started thinking about content, it was the technology that was interesting. Just later I came to understand the need for

content in films. And that is where I am right now, I believe.

VOICE OVER

10:32:12:02 -10:32:16:06

(VOICE OVER/ ENGLISH)

Lars Von Trier has adopted a very special technique in making his films.

Lars von Trier

10:32:17:14 -10:33:02:09

(DANISH)

We do the same scenes over and over again, changing the angle a bit each time. Finally I edit it all together. This means I don’t get a realistic picture of their acting. I try to find many different kinds of acting and the result is what it is. You get more life this way. But it is not a life that the actors are in control of. Instead I am in control. The greatest gift I can get from an actor is that he or she is willing to make mistakes, big mistakes.

FILMCLIP

10:33:03:01 -10:33:18:20

(DANISH)

I think we should talk about it.

Axel, don’t stand there and piss on the municipal car! Again.

I am sorry. Do you have any jumper cables?

I need to borrow jumper cables.

VOICE OVER

10:33:19:10-10:33:36:16

(VOICE OVER/ ENGLISH)

Von Trier’s films are often made in accordance with a specific set of rules that were laid out in his much-discussed Dogma 95 Manifesto. These include, for example, that no sound be added after shooting, no sets or props be used, and that all cameras must be hand held.

FILMCLIP

10:33:37:07-10:33:45:15

(DANISH)

Now he’ll get a shock! Piss-idiot!

Gas, more gas!

VOICE OVER

10:33:47:04-10:33:58:08

(VOICE OVER/ ENGLISH)

The Idiots from 1998, is the first of his films to be made according to the Dogma rules, and is one of the two films he has made that Von Trier actually likes himself.

Lars von Trier

10:34:00:09-10:34:26:18

(DANISH)

The artistic, creative challenge consists of everything you don’t say. All things not seen. What is cut out. Everything outside the canvas when painting a painting. Therefore it is natural to describe what you have left out. You have then defined the scope of what you are doing.

VOICE OVER

10:34:35:03 -10:34:41:07

(VOICE OVER/ ENGLISH)

In Dogville from 2003, for example, the key to the film is what Nicole Kidman DOESN’T say.

Lars von Trier

10:34:45:15-10:35:36:00

(DANISH)

Any time something works dramaturgically, you are cheating.

Because the only reason, and no one has said this about Dogville so far, the only reason why there is a conflict in the film is because she keeps her mouth shut. If only she had said: This is the man who raped me. Then there would have been a discussion. But she is so unbelievably good. So, she says nothing. Nothing, she doesn’t say anything. And in the end she becomes the evil one. The one who completely wipes out the village.

FILMCLIP

10:35:37:07 -10:35:53:15

(ENGLISH)

Grace chose to remain silent in the face of these new charges, and then Bill, who had lately proved his engineering skills to an astonishing degree, had by way of his first design, implemented a kind of escape prevention mechanism.

VOICE OVER

10:35:54:06-10:36:09:17

(VOICE OVER/ ENGLISH)

The other of his films that Von Trier likes himself is Dogville. Here Nicole Kidman plays Grace – a woman who is hiding out in a small American town, who suffers total humiliation and, like Holly Hunter in The Piano, ends up on the chopping block.

FILMCLIP

10:36:10:08 -10:36:19:23

(ENGLISH)

Grace?

We don’t like doing this.

But we don’t have much of a choice, if we are to protect our community.

VOICE OVER

10:36:31:23 -10:36:40:17

(VOICE OVER/ ENGLISH)

Even though Lars von Trier is not a big fan of Bergman’s visuals, he nevertheless has a little altar dedicated to the Swedish director on his desk.

Lars von Trier

10:36:42:13 -10:37:51:08 

(DANISH)

Pan in here! Come up with the camera.

And you’ll get a little more ass.

This woman has been standing like this for five years.

She is arranged to stand on top of a book by Bergman, where he is wearing his knitted cap. And with his viewfinder. I bought one just like it, only because of him. One must assume he used it for something. Anyway, the installation is here to remind me of Bergman and his cock. The cock was a big problem for him. To be so incredibly horny. Even when he aged.

Picture that old Bergman, and I want you to include this in the program, picture the old Bergman masturbating like crazy.

On Fårö island. In his monastery, in his great library and cinema.

On top of the Swedish cultural elite. With all the power in the world..Sat an old fool and jerked off like crazy.

Lars von Trier

10:37:52:00 -10:38:32:11

(DANISH)

He has said himself that it was hard to get old and still be as horny. He must have masturbated a lot. It is impossible to think otherwise. But perhaps I shouldn’t highlight this, in a program on Bergman. Bergman probably thought about it a lot. Probably he had a very small seminal vesicle. Meaning he had to wait several days to save enough sperm to get an ejaculation. Poor old man.

Lars von Trier

10:38:34:17 -10:39:53:14

(DANISH)

But he means the world to me, that stupid pig. I don’t know how many tribute letters I have written to Bergman. Without getting an answer. I understand, I don’t answer all letters. And finally I thought: Fuck Bergman, I don’t care anymore. But then I saw “Wild Strawberries” again. And again I wrote to him: what a fantastic film. I didn’t care if he answered, and of course he didn’t.

I don’t respond to all the letters I get. But I guess eventually you get enough. He is dead now, so. Fuck Bergman. I am 55 years old, I can live my own life. If he didn’t want any contact with me, fine.

Let’s just forget about it. It is the same thing with my father, who wasn’t really my father. He died before I got a chance to talk to him. I had the same relationship with Bergman. It annoys me.

All the bastard had to do was to say: come to Fårö and we’ll talk for an hour. I am sad he never did. But I love him deeply.

Lars von Trier/ Interviewer

10:40:00:04 -10:40:11:19

(DANISH)

Are you tired?

Yes.

Thank you.

I better shut up now.

I am totally sick.

Fuck Bergman.

Claire Denis

10:40:41:23 -10:40:56:10

(ENGLISH)

Film making is like you have a drug in the blood, there is a sort of extra power and extra weakness in the same time.

Claire Denis

10:41:03:01 -10:42:10:21

(ENGLISH)

When the film released, this is hard. To be judged. To be judged and to judge one self. By the end of the day I can say: Oh, I am proud of this film, but I know not enough people saw it. It is like to receive an arrow in the chest. For weeks. Every morning.

I am afraid no actor wants to work with me no more, nobody wants to produce my film or suddenly I have no ideas for scriptwriting. So the only fear is not to make another film, really.

FILMCLIP

10:42:20:24-10:42:25:10

(ENGLISH)

Now, please leave. Right now.

Mr Farber?

What?

Michael Haneke

10:42:25:18-10:42:31:09

(GERMAN)

I am afraid of a thousand things. I’m afraid of dying, of getting sick. The financial crisis scares me.

Wes Craven

10:42:34:24-10:42:38:24

(ENGLISH)

It could be very scary in the theatre but it is not the same as being terrified in real life.

Ridley Scott

10:42:41:06-10:42:45:15

(ENGLISH)

I don’t know how you do 90 takes, it means you don’t know what you’re doing.