00:00We have another, we have one other piece of film now that comes much later in your career, that's from
00:05Wild Strawberries, do you know which piece of film we have of that?
00:09Yes, yes, I know that. It is, you know, I have been working very much in, in the Swedish, the
00:19Scandinavian tradition, perhaps you know, the Swedish film history is, has a very famous
00:30time from the, about 1913 until the early 20s. And it had very much to do with
00:48man and the landscape, man's destiny and the landscape. And in my early, early picture, especially in, in the Virgin
00:59Spring,
00:59I worked very much in this tradition and it has always been very close to me, this, this early Swedish
01:06silent tradition.
01:09And the great man of this tradition was a, was an actor, director, whose name was Victor Sjöström.
01:22And he was, when we made this picture, about 76, 78 years old. And I asked him if he wanted
01:33to do it and he said, no, I'm too old, he was very ill.
01:36But I was going on and going on, asking him, and, and suddenly he, he, he said, yes, I will
01:45do it.
01:47And it was wonderful, you know, to sit down with him every day and talk with him about what he
01:56had made, how he had created his masterpieces of the, of the, those early pictures.
02:04And, um, uh, one of the most beautiful close ups I have got in my life is, uh, in the
02:19end of this picture.
02:21Uh-huh. Uh-huh. Uh, when, uh, when, when, you know, it is, it is, it is a picture, the
02:29wild strawberries is, is, is about, uh, a journey through a life.
02:34Uh-huh. It's one day of the old man's life and he sinks back on his life and in the,
02:41in the, in the late evening he's in bed already and he sinks back suddenly on his, on his early
02:49use, on his, uh, first love and on his parents.
02:54And there I have a long close up that is one of the most beautiful close ups I have got
03:00in my life.
03:02Let's take a look at that.
03:06Can you explain why something happened right there that, uh, hadn't any other time? How do you, what do you
03:11attribute the close up to? Anything you said to him?
03:14The circumstances were very bad because he was, uh, in a, in a very bad mood because I had promised
03:21him, uh, that, uh, uh, he said, yes, I will make the picture with you, but, uh, under one condition.
03:28I will be at home every day 4.30 to have my whiskey.
03:324.30 to have his whiskey. Yes, yes.
03:34And this day we, we, we had to ask him to stay because, because of the light over, over the
03:40landscape.
03:41And he was extremely, uh, in, in, in a, in a bad mood and quarreled and was angry to me
03:49and said, you have promised and, and I can't get my whiskey.
03:52And I said, you can't get whiskey here.
03:55But he said, no, it's not the same. I want to go home. I want to, to take off my
03:58clothes and I was to sit in my morning coat and I want to have my whiskey.
04:03And then, so, and when we, we, we worked under, under, under pressure and, and, uh, we were both of
04:11us a little bit angry.
04:12And, and suddenly he said, no, uh, let's take this scene now.
04:20And, uh, and, uh, we, we put up the camera, you know, and he, he was sitting in a corner.
04:27And then I, I said, Victor, please come now.
04:30And he said, yes, I come now.
04:33And he, he came out. It's, it's, it's out, it's just outside the studio. This is, it's, the last scenes
04:39are, are, are made.
04:42And then, um, and he said, um, what do you want me to do now? Very angry.
04:50I said, you see your parents. Uh-huh. I see my parents.
04:53And then I said, I, I, I had already the feeling this will be a catastrophe.
04:59But we, we have now, we have to take it because I have urged him the whole day and I,
05:04I, I had lost the battle and I, I feel very, felt very guilty.
05:09And suddenly I said, camera and, and go on. And suddenly we got this.
05:15And that was it. It's lucky you didn't decide not to put film in the camera. You were so sure
05:19that it wouldn't work.
05:19But, but, but, did you learn anything from that? I mean, by that, did you think maybe after this I
05:23should make more actors angry?
05:26No, no, no, no, no, no, no, no, no, no. It's, it's just strange.
05:29Because if we had been in, I think, if we had been in a good mood, if we had been
05:34just sentimental, if we had been, uh, emotionally involved in the situation,
05:41both of us, we had been, uh, you know, in a, in a special emotion.
05:48Mm-hmm. I think it had been very bad. Now, you know, he, he was away from everything and suddenly
05:54he cut out everything of, of, and the emotion came up.
06:01Do you understand? Yes. It was, it was, uh, it had never been used before. We, we didn't use it.
06:07We didn't rehearse. We didn't try it, you know.
06:10We didn't press it out. It was not, uh, created under pressure. It just came, suddenly. And that is, uh,
06:19that phase suddenly has so very much about experience, about tenderness, about, uh, an old man's, uh, sadness for lives
06:30going away.
06:31I, I think it's the most, wasn't it? And I love this man. Did he live to see the film?
06:37He, he, he, I think three months later he was very ill and I, I don't know exactly if he
06:42saw the picture.
06:45Aplaudments.
06:59¡Gracias!
