“Bergman was a great en­thu­si­ast with a head full of imag­i­na­tion. He was al­ways go­ing against the tra­di­tions”

The Irish Times - Friday - The Ticket - - Film -

im­pact,” he says. “But I knew it was some­thing very spe­cial. We never thought it would have that ef­fect on movie his­tory. It was a very small pro­duc­tion. It cost 40,000 Swedish Crowns when there were five to the dol­lar. The pro­duc­ers hated it: ‘No­body wants to see this!’ Then Bergman had great suc­cess with Smiles of a Sum­mer Night and they said: ‘Okay, do your strange lit­tle film.’”

It is said that Bergman didn’t speak much to the ac­tors. How on earth did he man­age to im­press his sin­gu­lar voice on so many films? “That is ab­so­lutely true. But what was won­der­ful with Bergman was that he was very present all the time, stand­ing by the cam­era con­stantly.

“There was no mon­i­tor then. Now you don’t see the di­rec­tor. He’s off in the back in

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