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 – 10:00:26:07

(VOICE OVER/ ENGLISH)

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

FILMCLIP

10:00:26:09 – 10:00:28:00

(ENGLISH)

Mr Farber?

What?

Michael Haneke

10:00:28:02– 10:00:32:24

(GERMAN)

I’m afraid of dying, of getting sick. The financial crisis scares me.

VOICE OVER

10:00:33:05– 10:00:38:22

(VOICE OVER/ ENGLISH)

Everything. From highbrow to lowbrow. Arthouse to grindhouse.

Films on every topic imaginable.

Wes Craven

10:00:38:22– 10:00:42:20

(ENGLISH)

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

VOICE OVER

10:00:42:22-10:00:46:20

(VOICE OVER/ ENGLISH)

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

Ridley Scott

10:00:47:00- 10:00:51:02

(ENGLISH)

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

VOICE OVER

10:00:51:05-10:00:55:21

(VOICE OVER/ ENGLISH)

The guest in Bergman’s TV-room is the Austrian master director Michael Haneke.

Michael Haneke

10:00:55:22-10:00:56:22

(ENGLISH)

Thank you very much.

Michael Haneke

10:01:36:00-10:01:54:01

(GERMAN)

It may sound a little strange but I am afraid of a thousand things.

I’m afraid of dying, of getting sick, the financial crisis scares me.

We live in a frightening world and must try to overcome our fears as best we can.

VOICE OVER

10:01:56:12 – 10:02:03:09

(VOICE OVER/ ENGLISH)

It’s late summer and Austrian director Michael Haneke, along with his wife, is on his way to Fårö for the first time.

Michael Haneke

10:02:06:06– 10:02:11:13

(GERMAN)

But we can also try to utilize our fears and work with them creatively.

FILMCLIP

10:02:14:22 – 10:02:31:22

(VOICE OVER/ ENGLISH)

Michael Haneke grew up with Bergman’s films, and Ingmar Bergman had several of Michael Haneke’s films in his video collection. Films that are provocative and moving  – specifically because they spring from the deepest and most common human fears.

VOICE OVER

10:02:41:03 – 10:02:43:08

(VOICE OVER/ ENGLISH)

Haneke’s films are often considered shocking.

FILMCLIP

10:02:44:00 – 10:02:44:14

(GERMAN)

Press!

VOICE OVER

10:02:44:23 – 10:02:49:02

(VOICE OVER/ ENGLISH)

Even though they usually don’t contain scenes of unadulterated violence.

FILMCLIP

10:02:49:04– 10:03:04:14

(GERMAN)

Coward.

You can be the coward.

Why don’t you press?

Coward.

VOICE OVER

10:08:31:14– 10:03:26:13

(VOICE OVER/ ENGLISH)

Benny’s Video from 1992, is about a teenage boy with successful, but absent parents. When the boy ends up killing a teenage girl he’s befriended with a bolt gun, and instead of reporting it hides her in the closet, the film becomes more disturbing than most horror movies. 

Michael Haneke

10:03:36:18– 10:03:54:02

(GERMAN)

Today it is much harder than before to surprise people with pictures. Blood is getting more and more common. It has reached a point where it has become emptied of meaning, so you have to think about something else.

Michael Haneke

10:04:07:01 -10:04:31:16

(GERMAN)

The reason my films sometimes are described as intense, is probably because I avoid these effects. I try to keep away from them and instead try to create the same effects with sound. This has a greater impact on the audience, than all these images that they have seen their portion of.

VOICE OVER

10:04:55:06 – 10:05:08:17

(VOICE OVER/ ENGLISH)

The fact that sound plays an important role, and can challenge the viewer just as much – if not more – than images, is clear in Haneke’s films. And he usually devotes more time to working with the sound than on the visuals.

Michael Haneke

10:05:16:17 – 10:05:34:10

(GERMAN)

Sound can create incredible an atmosphere. Not only in horror films. Editing The Pianist took three weeks, but because there is no end to what you can do with the audio, the sound mixing took three months.

Michael Haneke

10:05:36:18 – 10:05:45:16

(GERMAN)

In comparison with literature film is the weaker medium. Film robs the viewer of their personal images, and instead inserts its own.

FILMCLIP

10:05:45:22 – 10:05:59:24

(FRENCH)

What!?

Stop it please.

Shut up!!

Michael Haneke

10:06:05:06 – 10:06:28:06

(GERMAN)

How can you get around it? Well, you can consciously insert and open places in the narrative which the viewer must fill with their own imagination. Similarly, one can tease the viewer’s imagination through sound. The viewer’s imagination is always greater than the picture.

VOICE OVER

10:06:55:00-10:07:08:19

(VOICE OVER/ ENGLISH)

Ingmar Bergman called them his demons – his fears, angst, and neuroses. The dread that haunted him throughout his life and was the cause of many a sleepless nights..

VOICE OVER

10:07:16:15-10:07:27:08

(VOICE OVER/ ENGLISH)

But film provided him with a release for those fears, and his video collection was full of horror films, such as Steven Spielberg’s JAWS from 1975...

VOICE OVER

10:07:56:19-10:08:12:13

(VOICE OVER/ ENGLISH)

Of Bergman’s own films, Hour of the Wolf is probably the most scary, but also one of his most personal. Since the film is about a man who  – like Bergman himself – withdraws to an isolated island and is plagued by nightmares.

VOICE OVER

10:08:19:12-10:08:30:10

(VOICE OVER/ ENGLISH)

For Ingmar Bergman, as for many of the directors in tonight’s episode, filmmaking was a way for him to take control of his fears when reality felt too scary.

VOICE OVER

10:09:06:20-10:09:21:10

(VOICE OVER/ ENGLISH)

One horror film in Bergman’s collection is Alien from 1979.

The film follows the crew of the spaceship Nostromo, who discover that they have stowaway onboard.

VOICE OVER

10:09:33:02-10:09:58:08

(VOICE OVER/ ENGLISH)

Director Ridley Scott got his breakthrough with Alien, which is now regarded as a classic of the horror genre. But it all began when Scott saw a film by another young director – George Lucas, who came out with his first Star Wars film in 1977.

Ridley Scott

10:09:59:06-10:10:29:05

(ENGLISH)

I had never seen experienced, honestly, such rocknroll of an audience participation, I’d never seen anything like that. And I was planning to do Tristan and Isolde and rightly or wrongly I pulled it and said I don’t know how I can do this when I’ve just seen what this guy did. Then this script called Alien came in and I read it and went “wow” and I was standing in Hollywood within 22 hours.

VOICE OVER

10:10:30:11-10:10:45:08

(VOICE OVER/ ENGLISH)

Ridley Scott knew exactly how he wanted the film to look right from the start. After having storyboarded – or drawn - every scene in the film, Scott managed to double the budget for it. And after that he was essentially given free hands.

Ridley Scott

10:10:45:11-10:11:00:15

(ENGLISH)

The very opening scene, everyone os talking and you can’t tell what the hell they are saying, every one is talking over every one else. And Fox tried to make me open it up and I said no! I said I want every one talking over every one else so I am getting the audience aggrevated and on edge when they go: What did he say?

Ridley Scott

10:11:02:05-10:11:30:01

(ENGLISH)

In those days it was one camera, not two and I never thought of shooting two cameras at that point. I edged into two cameras after a while. It took a while to realize what am I doing? I am wasting the actor by shooting it all that way and that way, why don’t I do that – because I know where the light is coming from, cause in those days I would certainly be 15 takes or so. Now I am two take Charlie, I don’t know how you do 90 takes, it means you don’t know what you’re doing.

Ridley Scott

10:11:35:08-10:11:50:16

(ENGLISH)

Commercial advertising was my film school, I couldn’t have had a better film school because in a film school there is no clock going  and when the clock’s going the money is going “tick tock tick tock” and so you know. If a director says I’m not interested in the clock don’t hire him.

Ridley Scott

10:11:53:00-10:12:24:02

(ENGLISH)

You got to know what you want so every morning I am 45 minutes at the back of the car, and literally boarding what I am going to do that day. So I get to the studio, get out of the car, walk in ad hand it to 1^st AD, 1^st AD gets them copied, distribution, come to the trailer, talk. Talk takes about 20 minutes, while we are having breakfast, then I go and see the actors, walk around, talk to who is doing what that day. And – any questions? No, see you in 40 minutes you’re on the set. And I’m saying “action” usually by 9 o’clock.

VOICE OVER

10:12:26:07-10:12:34:23

(VOICE OVER/ ENGLISH)

But it was neither sound, locations, nor actors that proved the greatest challenge in Alien.

It was something else altogether.

Ridley Scott

10:12:37:01-10:13:01:12

(ENGLISH)

How do we avoid clichés? You know, what is a monster like? I got lucky because I pulled off that beast who really was the Alien.

That was it, everything else was secondary because he was so important and the cast was marvelous but he was maybe the most important member of the cast because he was terrifying.

FILMCLIP

10:13:06:05-10:13:21:05

(ENGLISH)

I want to get the hell out of here.

It’s moving right towards you.

Move, get out of there!

Michael Haneke

10:13:59:12-10:14:08:05

(GERMAN)

The kitchen..

And here is the famous fireplace.

VOICE OVER

10:14:08:05-10:14:21:06

(VOICE OVER/ ENGLISH)

Michael Haneke is one of the few directors whose films have been given a rating in Bergman’s collection. Some of the videotapes were marked with x’s and Haneke’s The Piano Teacher got almost full marks.                      

Michael Haneke

10:14:22:03-10:14:36:00

(GERMAN)

Four stars, not five.

Ah, forget about it!

Thank you very much,

VOICE OVER

10:14:37:10 -10:14:47:21

(VOICE OVER/ ENGLISH)

Another of Haneke’s films that can be found in Bergman’s collection is Funny Games – Michael Haneke’s best known film, in which he explores how we are affected by violence in the media.

Michael Haneke

10:14:50:04 -10:15:06:18

(GERMAN)

The idea for Funny Games was born out of a newspaper report I read about some young people who had committed violent crimes.

And when asked why they did it, they replied: I wanted to know what it was like.

FILMCLIP

10:15:08:18 -10:15:27:07

(ENGLISH)

You’d better watch your tongue young man.

You’d better be careful old man, or I’ll break your eggs.

Now, please leave. Right now.

Mr Farber?

What?

Dad!

Is it broken?

VOICE OVER

10:15:30:23 -10:15:38:20

(VOICE OVER/ ENGLISH)

Funny Games is about a family whose lives take a dramatic turn when two young men invade and destroy their idyllic home.

FILMCLIP

10:15:38:19 -10:15:59:06

(ENGLISH)

I don’t want to hurt you!

You have to behave yourself.

Mom!
Baby..

Mam, stay where you are ok?

Please, stay.

He slapped me in the face.

Yeah, he started it.

Michael Haneke

10:16:04:19 -10:16:26:22

(GERMAN)

It is difficult to make violence seem unattractive. Especially today, when movies thrive on action and violence. I wanted to portray violence as it really is, which means showing the pain and the suffering of the victim.

FILMCLIP

10:16:29:16 -10:17:17:17

(ENGLISH)

How old do you think she is?

30? 37?

No jelly-roles. Let’s be generous, let’s say 35.

Ok?

You agree? She agrees.

So, who do you want to start with?

With her? Good.

Now, I’ll get something to eat.

One, two, three, four, five, six, seven..

Does anyone want anything?

Michael Haneke

10:17:31:21 -10:18:09:17

(GERMAN)

In violent action films it is the norm to depict violence from the perpetrator’s perspective. In Funny Games I tried to portray the violence as it looks in real life. People who manage to sit through the film have earned the right to it. The worst thing is people who see the movie and then are upset about it.

Why do they stay?

They wanted to know how it ended.

VOICE OVER

10:18:10:18 -10:18:27:17

(VOICE OVER/ ENGLISH)

Funny Games received a mixed response. Some thought that the film questioned and criticised violence in the media, and praised it. Others felt that Haneke was playing to the gallery, and that he was revelling in gratuitous violence in an effort to get attention. 

Michael Haneke

10:18:28:06 -10:18:46:08

(GERMAN)

When you bring attention to topics such as this, there is always the danger of being misunderstood, that the film will obtain cult status among the wrong kind of people. The alternative is of course to not bring up the subject at all.

VOICE OVER

10:19:15:16 -10:19:25:10

(VOICE OVER/ ENGLISH)

A Nightmare on Elm Street, the story of Freddy Kreuger, the child murderer with razor blades for fingers - is perhaps among the best-known horror films ever made.

VOICE OVER

10:19:26:13 -10:19:32:02

(VOICE OVER/ ENGLISH)

The director behind these films is Wes Craven, one of Ingmar Bergman’s most fervent admirers.

FILMCLIP

10:19:32:14 -10:19:36:21

(ENGLISH)

Please God..

This..is God..

Wes Craven

10:19:52:15 -10:20:12:01

(ENGLISH)

I kind of fell in love with films when I was teaching at college, I used to be a college teacher. And before that time, believe it or not, I had seen very very few films because I was raised ina very strict church, and I went to a Christian college that forbid students seeing films, believe it or not

VOICE OVER

10:20:16:17-10:20:26:13

(VOICE OVER/ ENGLISH)

Like Ingmar Bergman, Wes Craven grew up in a deeply devout environment. Perhaps that’s why he – after years without any film work – got in touch with the Swedish director.

Wes Craven

10:20:36:12 -10:20:48:03

(ENGLISH)

I think I saw pretty much everything that Bergman did in those decades of the 60s and early 70s, I think almost more than anybody else, he was very religious and it felt like a religion that was similar to the one I had come out of.

Wes Craven

10:20:50:24 -10:21:07:18

(ENGLISH)

Bergman’s images were very powerful and about good and evil and about God and the devil and it was like there was an artist out there that kind of spoke a language that I recognized and was very specific and unusual but he was there and thank God he was there.

VOICE OVER

10:21:12:09 -10:21:18:06

(VOICE OVER/ ENGLISH)

The film that had perhaps the most profound effect on Craven is The Virgin Spring from 1960.

Wes Craven

10:21:21:15 -10:22:02:16

(ENGLISH)

The Virgin Spring was such a perfect story frame of a family that is religious, a child that is innocent, going of on a pilgrimage and ending up with a 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 is being violent just struck me as an incredibly powerful paradigm for so much of life that involves violence.

Years later when I the time came to write something scary I just fell upon that as, I think as Bergman must have from the 13^th century fable. It was just such a perfect story.

VOICE OVER

10:22:08:17 -10:22:21:19

(VOICE OVER/ ENGLISH)

The Virgin Spring didn’t just inspire Wes Craven’s first feature film – Last House on the Left - it also provided the model for it. A horror movie that Craven and his producer, Sean Cunningham, made to order.

Wes Craven

10:22:24:02 -10:22:42:14

(ENGLISH)

I remember saying to Sean: I don’t know anything about scary movies, how can I write something and he said well, you were raised as a fundamentalist, just pull all the skeletons out of your closet. And that was a good instinct on his part and that is basically what I did in that script, using of course The Virgin Spring as the framework.

VOICE OVER

10:22:46:03 -10:23:06:24

(VOICE OVER/ ENGLISH)

Last House on the Left is about two teenage girls who are raped and murdered after a rock concert by a pair of escaped criminals. Unaware of where they’ve ended up, the criminals take refuge in the home of one of the girls, where her parents exact a terrible revenge. The similarities with The Virgin Spring are striking.

Wes Craven

10:23:11:10 -10:23:54:23

(ENGLISH)

The sort of conflict with the girl going off to see rocknroll as a girl in the past might have gone off on a pilgrimage. Her pilgrimage was to go see a band that sang about murder in Mayhem according to the father, whether God protects you or not, you are a child of God in a sense. Whether people that do really terrible things also have very human feelings. And I think being raised in a very fundamentalist church I had this sense, conviction if you will, that you know the fundamentalist, religious way of looking at the world is quite narrow and can be very, kind of like a prison and could have a lot of anger under the surface and lot of judgement that, you know, wasn’t so pretty.

VOICE OVER

10:23:57:12 -10:24:15:12

(VOICE OVER/ ENGLISH)

Last House on the Left quickly gained cult status when it first came out in 1972 – even though it was censored and widely panned by the critics.

A reception that led to Craven being labelled a horror film director, and made it difficult for him to get the backing for film ideas on other themes.

Wes Craven

10:24:16:20 -10:24:42:03 

(ENGLISH)

Nobody was interested, whatsoever. And everybody was: if you want to make another film like Last House on the left we will give you money. It felt for a long time my only opportunity was to do that kind of film so why not make the most interesting kind of films in the genre and I think Nightmare on Elmstreet came out of that. Just if I can put as much of my own philosophy into it as I want, as long as I can entertain the audience and scare them I can also make them laugh and I can make them think.

VOICE OVER

10:24:52:19 -10:25:15:04

(VOICE OVER/ ENGLISH)

Wes Craven decided to make horror on his own terms, and A Nightmare on Elm Street provided him with his blockbuster breakthrough. At first glance, it looks like a classic horror film, but if you scratch the surface you can see that Craven is also trying to convey a deeper philosophical message – among other things through the main character Nancy.

Wes Craven

10:25:33:16 -10:26:02:09

(ENGLISH)

The idea of everybody around Nancy, who was the central character who saw Freddie and believed it was real. Everybody wants to escape by sex or by eating or by declaring it is not real or alcohol. Everybody in that movie is walking out the door to get away from reality and Nancy kept going until she was able to confront the monster. So, to me it was very pleasing to have that, my kind of view of life that I had, and to be able to put it into a horror movie, where nobody ever was aware any of that stuff was in it but just had a good time.

VOICE OVER

10:26:07:01 -10:26:29:17

(VOICE OVER/ ENGLISH)

Unlike many other directors within the genre, Wes Craven has managed to make horror movies that attract a large audience.

Historically, horror films have otherwise been considered a narrow genre often criticised for its graphic content.

But Craven defends all types of horror films - even a relatively new direction within the genre – known as torture porn.

Wes Craven

10:26:34:13-10:27:15:00

(ENGLISH)

Nobody seems to comment on the fact that those films were made exactly when it was being discovered that torture was being practiced by the US against its enemies on a wide, big scale. That ripples through the culture and I think people think: am I capable of torture? Would I be able to withstand it? Would I be able to go through it and not be utterly destroyed?  How frightening is it to think that somebody can, just by capturing you, destroy your mind? So you are just left a shell of who you were. Those are..that is a new fear. It is not put into the culture by a film, it is put in the culture by the government.

Wes Craven

10:27:25:06-10:28:30:08

(ENGLISH)

There is an audience that gets something from scary films, the audience that doesn’t get it ask me why: I don’t understand why people would pay to go into a theatre to get afraid.. And I thought about that for a long time and the answer I came up with, that makes sense to me is that, that must be a backward way of looking at it in a way. And what is really going on is that, and it makes perfect sense to me, we all go around with fears already in our mind and bodies from events that happened to us from childhood, from events that happened to human beings a million years ago. Fear of falling, fear of the monster, fear of the dark. All of these things, fear of animals and an artist, a storyteller has figured out to give a voice and name to all of these different kinds of fears. And so it is a form of life that we can deal with. It can be very scary in the theatre but it is not the same as being terrified in real life and not knowing what to do and not have any resources. So I think it does give the psyche resources to deal with fear and to me it is a little bit like boot-camp for the psyche.

Michael Haneke

10:29:02:09-10:29:07:07 

(GERMAN)

Strindberg..

The reading chair..with the lovely view.

Michael Haneke

10:29:23:16-10:29:46:11 

(GERMAN)

I grew up in Austria which is a Catholic country. But since my father was German, I was baptized as a protestant. Thus, I belonged to a radical minority in Austria. I took it very seriously.

When I was fourteen I thought seriously of becoming a priest.

Michael Haneke

10:29:47:05-10:29:50:09 

(GERMAN)

Imagine the reading light here. It is perfect.

Michael Haneke

10:29:51:04-10:30:38:10 

(GERMAN)

This is the reason Bergman’s early films worked so well for me and influenced me a lot. They landed in a landscape of film, that otherwise consisted of stupid lederhosen comedies. And this was at an age when I was reading Dostojevskij and I thought: Finally someone who understands me! It was the same thing with Bergman’s films. They affected us all and they were very innovative. The intensive way of dealing with life’s fundamental issues, didn’t exist in cinema before.

Michael Haneke/ guide

10:30:49:05 -10:30:58:07

(ENGLISH/ GERMAN)

It was a writer’s cabin but more for his guests, I mean he didn’t really sit and write here but Henning Mankell and Jon Fosse.

Michael Haneke

10:30:58:21-10:31:29:10 

(GERMAN)

There are things you don’t notice when you see a film for the first time. Still, these things stay in your memory. There are many scenes like that in Bergman’s films. In Persona there are plenty.

The entire introduction of the film, the poem of pictures. It is incredibly impressive. He is almost alone in creating something like that. To infuse a lyrical form in a feature. It is amazing.

Michael Haneke

10:31:51:06-10:32:15:07 

(GERMAN)

Later, when I started making films, I was very intrigued by his dual talent. He was an accomplished writer and he had a fantasti way of dealing with actors. This is something that always inspired me a great deal and influenced me. The amazing levels you can reach with the actors performances.

Michael Haneke

10:32:22:00-10:32:39:13 

(GERMAN)

It is difficult to say how much his movies affected me later in life.

But I continued to see everything Bergman made. Probably due to the impact his films had on me early on.

VOICE OVER

10:33:00:12 -10:33:09:15 

(VOICE OVER/ ENGLISH)

Perhaps the most terrifying woman in the history of film is Lady Kaede in the film Ran by Japanese master director Akira Kurosawa.

FILMCLIP

10:33:10:24 -10:33:55:19

(JAPANESE)

It is my turn to talk!

I don’t care if my husband has been killed.

The only thing I worry about is my own skin.

 I refuse to become a shorthaired widow or a shaved nun.

This was my father’s castle and I refuse to leave.

VOICE OVER

10:33:56:13 -10:34:12:00

(VOICE OVER/ ENGLISH)

Emotionally unstable, megalomaniacal, armed, and enraged, Lady Kaede is an absolute nightmare for everyone involved. The then 25-year-old Mieko Harada landed the role by impressing Kurosawa with a clever trick.

Mieko Harada

10:34:12:09 -10:34:47:18

(JAPANESE)

He asked me if I could shave my eyebrows. The role required it.

Kurosawa asked me what I thought about it. I told him that it was no problem. I did like this for him, hiding my eyebrows, and he nodded approvingly.

VOICE OVER

10:34:47:23 -10:34:58:09

(VOICE OVER/ ENGLISH)

Mieko Harada was terrified at first. She was a novice, the project was huge, Kurosawa was a master, and the costumes were difficult to handle.

Mieko Harada

10:34:59:22 -10:35:31:18

(JAPANESE)

The dress I was wearing was a very traditional Japanese style kimono. It was heavy and the material is woven one string at a time. You colored the yarn and wove after his wish. It was inspired by traditional Noh theatre. The kimono was new and very stiff and it required a lot of training. The first time I put it on, Kurosawa looked at me and said: the dress is wearing you!

VOICE OVER

10:35:35:09-10:35:39:05

(VOICE OVER/ ENGLISH)

Akira Kurosawa, like Bergman, was known for his temper.

Mieko Harada

10:35:42:08-10:35:44:24

(JAPANESE)

Mr Kurosawa is a very scary person when he gets angry

VOICE OVER

10:35:46:07-10:36:06:05

(VOICE OVER/ ENGLISH)

During the shooting of this particular scene, everybody was nervous. It all had to be done in a single take, before everything went up in flames, and the preparations for it were endless. Harada had the day off and decided to sit next to Kurosawa to see how the shooting was done. She was terrified.

Mieko Harada

10:36:11:09-10:36:36:14

(JAPANESE)

When Kurosawa says silence and it is still a lot of noise, he screams silence. His voice literally attacks me from the side. I got scared and jumped off my seat. This much!

VOICE OVER

10:36:41:14-10:37:18:24

(VOICE OVER/ ENGLISH)

Bergman kept an eye on Kurosawa. And Kurosawa always kept an eye on Bergman. And Ran was one of many Kurosawa films in Bergman’s collection. Kurosawa was known for his manly films like the Seven Samurai, but Yojimbo, and Rashomon along with Ran, constitute powerful portraits of wome  n. Surrounded by arrogant, bellicose men, it is Meiko Harada who dominates the film completely. She brought with her into the role thousands of despised and suppressed women. And when they are joined together in one body, things get really scary.

Mieko Harada

10:37:19:24-10:38:07:18

(JAPANESE)

Ran is set in a time when women were considered inferior. They couldn’t marry someone they chose, they were treated like tools.

Of course, there had to be women like Kaede, who wanted revenge. But couldn’t act because the society at that time wouldn’t let them. So I wanted to speak for all those women when I was playing the role.

Michael Haneke

10:38:54:05-10:38:56:08

(GERMAN)

This is the famous picture.

Michael Haneke

10:39:00:08-10:39:26:05

(GERMAN)

Complex courses is nothing you can treat in 90 minutes and 200 pages. Art doesn’t give answers, politicians do. The artist ask questions as intensely as possible, so that those who never thought about it, maybe get wiser and start asking questions themselves.

Michael Haneke

10:39:28:19-10:39:31:17

(GERMAN)

Completely professional, looks great.

Michael Haneke

10:39:32:20-10:39:42:23

(GERMAN)

Fear makes you productive. Fear makes you lie in bed at night and one thought leads to another.

Michael Haneke

10:39:43:03-10:39:46:24

(GERMAN)

16mm! Perfect.

Michael Haneke

10:39:47:00-10:40:12:24

(GERMAN)

When I get angry at something. This has to do with fear also. If I get upset over a fact, I think about it and then I try to be a storyteller. I try to create a story that can describe this fear to others.

Michael Haneke

10:40:20:18-10:40:43:02

(GERMAN)

I don’t know if I get scared watching a film or reading a book. I can read a book which confirm my own fears, or my reaction to these fears.

Michael Haneke

10:40:47:21-10:41:01:13

(GERMAN)

But you can also get scared by the intelligence of a director. If it is a really bad film..But otherwise a film can’t scare me. It is the opposite, it helps me to overcome my fears.

Michael Haneke

10:41:17:08-10:41:35:20

(GERMAN)

I think fear is a cultural driving force, if we all were happy we wouldn’t need art. Then we all would walk around, like in paradise, completely unafraid, and wouldn’t need to do any films.

FILMCLIP

10:41:52:02-10:41:57:18

(SWEDISH)

Aren’t we supposed to help the audience at all?

No, not at all.

Not at all?

No.

Martin Scorsese

10:41:57:20-10:42:08:08

(ENGLISH)

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. Where he was going to take you, he may leave you behind a little bit, a lot maybe..

Luc Dardennes

10:42:10:00-10:42:08:08

(FRENCH)

She lives in a trailer park at a camping with a mother who prostitutes herself and drinks..

FILMCLIP

10:42:18:10-10:42:21:08

THE BLUES BROTHERS

John Landis

10:42:21:23-10:42:27:19

(ENGLISH)

I love telling people: guess what! Ingmar Bergman loved The Blues Brothers! It is just so funny!

Isabella Rosselini

10:42:27:23-10:42:37:06

(ENGLISH)

Blue Velvet had a perfect blend of surrealism, but enough story that people could sit and follow it.