Film-making Summary and Line by Line Explanation
CBSE Class 12 English (Elective) Non Fiction Chapter 3 – Film-making Summary, Explanation along with Difficult Word Meanings from Kaleidoscope Book
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CBSE Class 12 English (Elective) Non Fiction Chapter 3 – Film-making
Ingmar Bergman
Ingmar Bergman is a well-known Swedish director of films noted for their starkness, their subtle use of black and white and ‘shades’ of those extremes, the ambiguity of their content, and a certain brooding presence that seems to pervade them all. The list of Bergman films is long; his best-known include The Seventh Seal (1957), Wild Strawberries (1958), The Virgin Spring (1960), The Silence (1963), Persona (1967), The Passion of Anna (1970), and Cries and Whispers (1973)—this last film in colour, though emphasising red in all its shadings. In the following selection, the Introduction to Four Screen-plays by Ingmar Bergman (1960), Bergman discusses how he views the art of film-making.
The essay Filmmaking by Ingmar Bergman examines the complex process of transforming an idea into a visual narrative, encompassing various stages such as scripting, pre-production, production, and post-production.
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Film-making Summary
While filming ‘The Virgin Spring’ in Dalarna, Sweden, the crew set up by a small lake in chilly weather, around 30 degrees, with occasional snowflakes. They wore a mix of clothing to stay warm while managing equipment on rusty rail tracks. During filming, they were captivated by a group of cranes flying overhead, prompting them to pause their work and appreciate the moment. This experience highlighted the unique challenges and beauty of filmmaking in Sweden, showcasing the crew’s dedication and connection to their environment.
Childhood Foretells Future
The narrator’s connection to film began in childhood, growing up in his grandmother’s apartment in Uppsala, where he experienced a unique blend of sounds, such as sunlight and cathedral bells, alongside a piano playing waltzes. Raised in a vicar’s household, he gained an early understanding of life and death, often envisioning the Devil through his magic lantern. His fascination with film deepened when he received a film projector at age ten, projecting a simple story of a girl in a meadow. This early experience with cinema sparked his realization that filmmaking relies on visual deception, allowing him to evoke various emotions in his audience and positioning him as both a magician and an impostor, given the power of the medium he worked with.
Split Second Impressions
This part discusses the creative process of a filmmaker, starting with mysterious and vague inspirations that can manifest as dialogue, music, or visual elements. These initial ideas represent a state of mind rather than a concrete story but are rich in imagery and emotion. The filmmaker envisions a film emerging from this subconscious essence, which initially appears unformed and requires careful development. The process of transforming rhythms, emotions, and atmospheres into a coherent screenplay is complex and challenging. Dialogue is particularly difficult to convey, as it requires technical skill and sensitivity that may not be perceived by actors. Ultimately, the effectiveness of the screenplay hinges on the writer’s abilities and the reader’s insight.
The Rhythm of a Film
This part discusses the essential elements of filmmaking, focusing on montage, rhythm, and the connection between images, which are vital for creating a dynamic film rather than a lifeless product. The author expresses the difficulty in articulating how a film “breathes” and flows, wishing for a means to capture the nuances of his vision in a structured way. He highlights the limitations of a script as a technical foundation for a movie and emphasizes the fundamental differences between film and literature in how they engage the mind and emotions. Watching a film involves surrendering to the illusion, allowing images to directly impact emotions, similar to the experience of music, which the author views as closely related to film in its influence on feelings. Music has been a lifelong source of inspiration for him, shaping his perception of film.
Film and Written Literature
This part discusses the challenges and considerations of adapting books into films, highlighting the inherent differences between the two mediums. The author, who identifies as a filmmaker rather than a writer, emphasizes that filmmaking is his primary mode of communication, allowing him to convey complex situations visually. He acknowledges the importance of audience preferences but also values following his instincts, even when those choices might be unconventional. Collaboration among the crew is crucial for achieving project goals, though disagreements may arise. The author believes that critics have the right to interpret his films freely, as a film’s value lies in its ability to evoke a response from the audience. He questions the necessity of originality, suggesting that artists naturally influence one another. The text also mentions the author’s admiration for Strindberg and his aspiration to produce Dream Play, noting the impact of Olof Molander’s 1934 production on him.
Significant Persons
The narrator reflects on the significant individuals who have influenced his life and career. His parents provided a strict yet foundational environment that instilled values like efficiency and financial responsibility, which have been crucial in his artistic development. Influential figures in his professional growth include Torsten Hammaren, who educated him on theatre, and Alf Sjöberg, who taught him about filmmaking. Lorens Marmstedt emphasized the importance of critical self-evaluation in one’s work, while Herbert Grevenius encouraged his writing abilities. Lastly, producer Carl Anders Dymling has allowed him to maintain integrity in his creative pursuits, highlighting the importance of artistic freedom in his identity as a filmmaker.
Tightrope of Film-making
The aspiring filmmaker faces significant challenges in a competitive industry lacking a safety net, where external forces like producers and bank executives influence success. He feels that the industry stifles talent and creativity, turning his passion into a battle against setbacks and public indifference. Although he often contemplates religious themes due to his upbringing, his engagement is more intellectual than emotional, viewing it as a challenge between reasoning and intuition. He cites Eiono Kaila’s “Psychology of the Personality” as influential, particularly its assertion that human actions are driven by needs, which he finds revealing and foundational to his understanding.
Cathedral Building
This part discusses an unnamed filmmaker’s perspective on his artistic goals and the nature of art. He often gives vague answers about expressing the truth of the human experience but believes his true aim is to contribute to a collective creation, akin to the rebuilding of the Chartres cathedral after its destruction. He reflects on how art has lost its connection to worship, becoming self-referential and isolating. In the past, artists were anonymous and viewed their work as a divine gift, fostering humility and confidence. Nowadays, individualism among artists often leads to isolation and egoism, preventing genuine connection. Ultimately, he wishes to participate in a shared artistic endeavor, focusing on the fulfillment it brings rather than personal recognition, whether he identifies as a Christian or not.
Interview with Umberto Eco
Mukund Padmanabhan interviewed Umberto Eco about his novel The Name of the Rose, which blends detective fiction with themes of metaphysics, theology, and medieval history. Eco noted that despite its complexity, the book sold 10-15 million copies, reaching only a fraction of a global audience. He shared an anecdote about his publisher’s initial low sales prediction, highlighting the unpredictable nature of a book’s success. Regarding the film adaptation directed by Jean Jacques Annaud, Eco expressed disappointment, emphasizing that the depth of his novel could not be fully captured in film. He mentioned the painful reality that many readers watch the movie before reading the book and decided against selling film rights for future works. Eco acknowledged that greater success brings both financial gain and discomfort, as adaptations dictate how readers interpret his characters. He humorously contrasted his experience with that of Homer, whose works were adapted long after their creation. Lastly, Eco discussed why Stanley Kubrick never made a film of ‘Foucault’s Pendulum’, attributing it to a general rule set by Kubrick’s publisher. He reflected on how he approached similar themes to Dan Brown’s Da Vinci Code with a different narrative and characters.
Summary of the Lesson Film-making in Hindi
स्वीडन के डलार्ना में ‘द वर्जिन स्प्रिंग’ के फिल्मांकन के दौरान, चालक दल ने कभी-कभी बर्फ के गुच्छे के साथ, लगभग 30 डिग्री ठंड के मौसम में एक छोटी झील द्वारा स्थापित किया। जंग लगी रेल पटरियों पर उपकरणों का प्रबंधन करते हुए वे गर्म रहने के लिए कपड़ों का मिश्रण पहनते थे। फिल्मांकन के दौरान, वे क्रेन के एक समूह द्वारा ऊपर से उड़ते हुए मोहित हो गए, जिससे वे अपने काम को रोकने और उस पल की सराहना करने के लिए प्रेरित हुए। इस अनुभव ने स्वीडन में फिल्म निर्माण की अनूठी चुनौतियों और सुंदरता को उजागर किया, जो चालक दल के समर्पण और उनके पर्यावरण के साथ संबंध को प्रदर्शित करता है।
बचपन भविष्य की भविष्यवाणी करता है
फिल्म के साथ कथावाचक का संबंध बचपन में शुरू हुआ, जो उप्साला में अपनी दादी के अपार्टमेंट में बड़ा हुआ, जहाँ उन्होंने पियानो बजाने के साथ-साथ सूरज की रोशनी और कैथेड्रल की घंटी जैसी ध्वनियों का एक अनूठा मिश्रण अनुभव किया। एक पादरी के घर में पले-बढ़े, उन्होंने जीवन और मृत्यु की प्रारंभिक समझ प्राप्त की, अक्सर अपने जादुई लालटेन के माध्यम से शैतान की कल्पना करते थे। फिल्म के प्रति उनका आकर्षण तब और बढ़ गया जब उन्हें दस साल की उम्र में एक फिल्म प्रोजेक्टर मिला, जिसमें एक घास के मैदान में एक लड़की की सरल कहानी पेश की गई थी। सिनेमा के साथ इस शुरुआती अनुभव ने उन्हें यह एहसास दिलाया कि फिल्म निर्माण दृश्य धोखे पर निर्भर करता है, जिससे वे अपने दर्शकों में विभिन्न भावनाओं को जगाने में सक्षम हुए और जिस माध्यम के साथ उन्होंने काम किया, उसकी शक्ति को देखते हुए उन्हें एक जादूगर और एक ढोंगी दोनों के रूप में स्थापित किया।
स्प्लिट सेकंड इम्प्रेशन
यह भाग एक फिल्म निर्माता की रचनात्मक प्रक्रिया पर चर्चा करता है, जिसकी शुरुआत रहस्यमय और अस्पष्ट प्रेरणाओं से होती है जो संवाद, संगीत या दृश्य तत्वों के रूप में प्रकट हो सकते हैं। ये प्रारंभिक विचार एक ठोस कहानी के बजाय मन की स्थिति का प्रतिनिधित्व करते हैं, लेकिन कल्पना और भावनाओं से समृद्ध हैं। फिल्म निर्माता इस अवचेतन सार से उभरने वाली एक फिल्म की कल्पना करता है, जो शुरू में अव्यवस्थित दिखाई देती है और इसके लिए सावधानीपूर्वक विकास की आवश्यकता होती है। लय, भावनाओं और वातावरण को एक सुसंगत पटकथा में बदलने की प्रक्रिया जटिल और चुनौतीपूर्ण है। संवाद को व्यक्त करना विशेष रूप से कठिन है, क्योंकि इसके लिए तकनीकी कौशल और संवेदनशीलता की आवश्यकता होती है जिसे अभिनेताओं द्वारा महसूस नहीं किया जा सकता है। अंततः, पटकथा की प्रभावशीलता लेखक की क्षमताओं और पाठक की अंतर्दृष्टि पर निर्भर करती है।
एक फिल्म की लय
यह भाग फिल्म निर्माण के आवश्यक तत्वों पर चर्चा करता है, मोंटेज, लय और छवियों के बीच संबंध पर ध्यान केंद्रित करता है, जो एक निर्जीव उत्पाद के बजाय एक गतिशील फिल्म बनाने के लिए महत्वपूर्ण हैं। लेखक ने यह स्पष्ट करने में कठिनाई व्यक्त की है कि कैसे एक फिल्म “सांस लेती है” और प्रवाहित होती है, एक संरचित तरीके से अपनी दृष्टि की बारीकियों को पकड़ने के साधन की कामना करते हुए। वह एक फिल्म के लिए एक तकनीकी नींव के रूप में एक पटकथा की सीमाओं पर प्रकाश डालते हैं और फिल्म और साहित्य के बीच मौलिक अंतरों पर जोर देते हैं कि वे मन और भावनाओं को कैसे संलग्न करते हैं। एक फिल्म देखने में भ्रम के सामने आत्मसमर्पण करना शामिल है, जिससे छवियों को सीधे भावनाओं को प्रभावित करने की अनुमति मिलती है, संगीत के अनुभव के समान, जिसे लेखक भावनाओं पर इसके प्रभाव में फिल्म से निकटता से संबंधित मानता है। संगीत उनके लिए जीवन भर प्रेरणा का स्रोत रहा है, जिसने फिल्म के बारे में उनकी धारणा को आकार दिया है।
फिल्म और लिखित साहित्य
यह भाग पुस्तकों को फिल्मों में अपनाने की चुनौतियों और विचारों पर चर्चा करता है, जिसमें दो माध्यमों के बीच अंतर्निहित अंतरों पर प्रकाश डाला गया है। लेखक, जो एक लेखक के बजाय एक फिल्म निर्माता के रूप में पहचान करता है, इस बात पर जोर देता है कि फिल्म निर्माण उसका संचार का प्राथमिक साधन है, जिससे वह जटिल स्थितियों को नेत्रहीन रूप से व्यक्त कर सकता है। वह दर्शकों की प्राथमिकताओं के महत्व को स्वीकार करते हैं, लेकिन अपनी प्रवृत्ति का पालन करने के मूल्यों को भी स्वीकार करते हैं, भले ही वे विकल्प अपरंपरागत हों। परियोजना के लक्ष्यों को प्राप्त करने के लिए चालक दल के बीच सहयोग महत्वपूर्ण है, हालांकि असहमति उत्पन्न हो सकती है। लेखक का मानना है कि आलोचकों को अपनी फिल्मों की स्वतंत्र रूप से व्याख्या करने का अधिकार है, क्योंकि एक फिल्म का मूल्य दर्शकों से प्रतिक्रिया उत्पन्न करने की क्षमता में निहित है। वह मौलिकता की आवश्यकता पर सवाल उठाते हैं, यह सुझाव देते हुए कि कलाकार स्वाभाविक रूप से एक दूसरे को प्रभावित करते हैं। पाठ में स्ट्रिंडबर्ग के लिए लेखक की प्रशंसा और ड्रीम प्ले का निर्माण करने की उनकी आकांक्षा का भी उल्लेख किया गया है, जो उन पर ओलोफ मोलैंडर के 1934 के निर्माण के प्रभाव को दर्शाता है।
महत्वपूर्ण व्यक्ति
कथाकार उन महत्वपूर्ण व्यक्तियों पर विचार करता है जिन्होंने उसके जीवन और करियर को प्रभावित किया है। उनके माता-पिता ने एक सख्त लेकिन मूलभूत वातावरण प्रदान किया जिसने दक्षता और वित्तीय जिम्मेदारी जैसे मूल्यों को स्थापित किया, जो उनके कलात्मक विकास में महत्वपूर्ण रहे हैं। उनके पेशेवर विकास में प्रभावशाली हस्तियों में टॉर्स्टन हैमरेन शामिल हैं, जिन्होंने उन्हें रंगमंच पर शिक्षित किया, और अल्फ स्जोबर्ग, जिन्होंने उन्हें फिल्म निर्माण के बारे में सिखाया। लोरेन्स मार्मस्टेड्ट ने किसी के काम में आलोचनात्मक आत्म-मूल्यांकन के महत्व पर जोर दिया, जबकि हर्बर्ट ग्रेवेनियस ने उनकी लेखन क्षमताओं को प्रोत्साहित किया। अंत में, निर्माता कार्ल एंडर्स डाइमलिंग ने उन्हें एक फिल्म निर्माता के रूप में अपनी पहचान में कलात्मक स्वतंत्रता के महत्व को उजागर करते हुए अपनी रचनात्मक गतिविधियों में ईमानदारी बनाए रखने की अनुमति दी है।
फिल्म निर्माण की कसौटी
महत्वाकांक्षी फिल्म निर्माता को सुरक्षा जाल की कमी वाले प्रतिस्पर्धी उद्योग में महत्वपूर्ण चुनौतियों का सामना करना पड़ता है, जहां निर्माताओं और बैंक अधिकारियों जैसी बाहरी ताकतें सफलता को प्रभावित करती हैं। उन्हें लगता है कि उद्योग प्रतिभा और रचनात्मकता को दबा देता है, उनके जुनून को असफलताओं और सार्वजनिक उदासीनता के खिलाफ लड़ाई में बदल देता है। हालाँकि वह अक्सर अपनी परवरिश के कारण धार्मिक विषयों पर विचार करते हैं, लेकिन उनका जुड़ाव भावनात्मक से अधिक बौद्धिक है, इसे तर्क और अंतर्ज्ञान के बीच एक चुनौती के रूप में देखते हैं। उन्होंने इयोनो कैला के “व्यक्तित्व का मनोविज्ञान” को प्रभावशाली के रूप में उद्धृत किया है, विशेष रूप से इसका दावा है कि मानव कार्य आवश्यकताओं द्वारा संचालित होते हैं, जो उन्हें अपनी समझ के लिए खुलासा और आधारभूत लगता है।
कैथेड्रल भवन
यह भाग अपने कलात्मक लक्ष्यों और कला की प्रकृति पर एक अनाम फिल्म निर्माता के दृष्टिकोण पर चर्चा करता है। वह अक्सर मानव अनुभव की सच्चाई को व्यक्त करने के बारे में अस्पष्ट उत्तर देते हैं, लेकिन उनका मानना है कि उनका वास्तविक उद्देश्य एक सामूहिक निर्माण में योगदान करना है, जो इसके विनाश के बाद चार्ट्रेस कैथेड्रल के पुनर्निर्माण के समान है। वह इस बात पर विचार करते हैं कि कैसे कला ने पूजा से अपना संबंध खो दिया है, आत्म-संदर्भित और अलग-थलग हो गई है। अतीत में, कलाकार गुमनाम थे और अपने काम को एक दिव्य उपहार के रूप में देखते थे, जो विनम्रता और आत्मविश्वास को बढ़ावा देता था। आजकल, कलाकारों के बीच व्यक्तिवाद अक्सर अलगाव और अहंकार की ओर ले जाता है, जो वास्तविक संबंध को रोकता है। अंततः, वह एक साझा कलात्मक प्रयास में भाग लेना चाहता है, व्यक्तिगत मान्यता के बजाय इसकी पूर्ति पर ध्यान केंद्रित करता है, चाहे वह एक ईसाई के रूप में पहचान करे या नहीं।
अम्बर्टो इको के साथ साक्षात्कार
मुकुंद पद्मनाभन ने अपने उपन्यास द नेम ऑफ द रोज़ के बारे में अम्बर्टो इको का साक्षात्कार लिया, जो तत्वमीमांसा, धर्मशास्त्र और मध्ययुगीन इतिहास के विषयों के साथ जासूसी कथा का मिश्रण है। इको ने नोट किया कि इसकी जटिलता के बावजूद, पुस्तक ने 10-15 मिलियन प्रतियां बेचीं, जो वैश्विक दर्शकों के केवल एक अंश तक पहुंचीं। उन्होंने अपने प्रकाशक की शुरुआती कम बिक्री की भविष्यवाणी के बारे में एक किस्सा साझा किया, जिसमें एक पुस्तक की सफलता की अप्रत्याशित प्रकृति पर प्रकाश डाला गया। जीन जैक्स अन्नाउड द्वारा निर्देशित फिल्म रूपांतरण के बारे में, इको ने निराशा व्यक्त की, इस बात पर जोर देते हुए कि उनके उपन्यास की गहराई को फिल्म में पूरी तरह से कैद नहीं किया जा सका। उन्होंने इस दर्दनाक वास्तविकता का उल्लेख किया कि कई पाठक पुस्तक को पढ़ने से पहले फिल्म देखते हैं और भविष्य के कार्यों के लिए फिल्म के अधिकार नहीं बेचने का फैसला किया। इको ने स्वीकार किया कि अधिक सफलता वित्तीय लाभ और असुविधा दोनों लाती है, क्योंकि अनुकूलन यह निर्धारित करते हैं कि पाठक उनके पात्रों की व्याख्या कैसे करते हैं। उन्होंने अपने अनुभव की तुलना होमर के अनुभव से की, जिनके कार्यों को उनकी रचना के लंबे समय बाद अनुकूलित किया गया था। अंत में, इको ने चर्चा की कि क्यों स्टेनली कुब्रिक ने कभी भी ‘फौकॉल्ट्स पेंडुलम’ की फिल्म नहीं बनाई, इसका श्रेय कुब्रिक के प्रकाशक द्वारा निर्धारित एक सामान्य नियम को दिया गया। उन्होंने इस बात पर विचार किया कि कैसे उन्होंने एक अलग कथा और पात्रों के साथ डैन ब्राउन के दा विंची कोड के समान विषयों को अपनाया।
Theme of the Lesson Film-making
Filmmaking, an Intricate Process
Filmmaking is the process of creating a film, combining creativity, technical skills, and teamwork. It goes beyond just recording images; it tells a story through visuals. The process has several steps like scripting, pre-production, production, and post-production. Each step is important for the final film. The heart of filmmaking is crafting engaging and thought-provoking stories while using cinematic techniques to enhance the experience.
Film-making: Lesson Explanation
Passage
During the shooting of The Virgin Spring, we were up in the northern province of Dalarna in May and it was early in the morning, about half past seven. The landscape there is rugged, and our company was working by a little lake in the forest. It was very cold, about 30 degrees, and from time to time a few snowflakes fell through the grey, rain-dimmed sky. The company was dressed in a strange variety of clothing—raincoats, oil slickers, Icelandic sweater jackets, old blankets, coachmen’s coats, medieval robes. Our men had laid some ninety feet of rusty, buckling rail over the difficult terrain, to dolly the camera on. We were all helping with the equipment—actors, electricians, makeup men, script girl, sound crew—mainly to keep warm. Suddenly someone shouted and pointed toward the sky. Then we saw a crane floating high above the fir trees, and then another, and then several cranes floating majestically in a circle above us. We all dropped what we were doing and ran to the top of a nearby hill to see the cranes better. We stood there for a long time, until they turned westward and disappeared over the forest. And suddenly I thought: this is what it means to make a movie in Sweden. This is what can happen, this is how we work together with our old equipment and little money, and this is how we can suddenly drop everything for the love of four cranes floating above the tree tops.
Word meanings
province: a large administrative division of a country, similar to a state, that has its own local government and is a unit within a larger political entity.
rugged: having a broken, rocky, and uneven surface.
rain-dimmed sky: a sky that appears dull or less bright due to the presence of rain clouds or the dampness of the atmosphere, which scatters and absorbs sunlight.
oil slickers: a waterproof coat, often made from oil-treated cotton, worn in wet weather, also known as a mackintosh or rain slicker.
coachmen’s coats, medieval robes: a specific scene or stylistic choice within a film, possibly a scene with diverse or unusual costumes
dolly the camera on: to move the camera smoothly forward or backward (dolly in/out) or sideways (truck) while filming, using a wheeled platform or track, creating dynamic and engaging shots.
robes: a long, loose outer garment reaching to the ankles
rusty: corroded
crane: birds refers to any of the 15 species of tall, wading birds belonging to the family Gruidae, known for their long legs, necks, and bills
Explanation of the above passage—While filming The Virgin Spring, they found themselves in the northern province of Dalarna in May, early in the morning, around seven-thirty. The scenery was uneven and their crew was set up by a small lake in the woods. The weather was quite chilly, about 30 degrees, and occasionally a few snowflakes drifted down from the grey, rain-covered sky. The crew wore an odd assortment of clothing like raincoats, oil raincoats, Icelandic sweater jackets, old blankets, coachmen’s coats, and medieval robes. Their team had laid out approximately ninety feet of rusty, uneven rail across the rough terrain to move the camera on. Everyone was helping in with the equipment like actors, electricians, makeup artists, the script supervisor, and the sound crew mainly to keep themselves warm. Suddenly, someone yelled and pointed toward the sky. Then they noticed a crane soaring high above the fir trees, followed by another, and soon several cranes gliding gracefully in a circle above them. They all abandoned their tasks and hurried up a nearby hill to get a better view of the cranes. They stood there for quite some time until they turned westward and vanished into the forest. At that moment, the narrator realised that is what it meant to create a film in Sweden. That is the type of experience they share, that is how they work with their limited resources and old equipment, and that is how they can instinctively stop everything for the beauty of four cranes flying above the treetops.
Childhood Foretells Future
Passage
My association with film goes back to the world of childhood. My grandmother had a very large old apartment in Uppsala. I used to sit under the dining-room table there, ‘listening’ to the sunshine which came in through the gigantic windows. The cathedral bells went ding-dong, and the sunlight moved about and ‘sounded’ in a special way. One day, when winter was giving way to spring and I was five years old, a piano was being played in the next apartment. It played waltzes, nothing but waltzes. On the wall hung a large picture of Venice. As the sunlight moved across the picture the water in the canal began to flow, the pigeons flew up from the square, people talked and gesticulated. Bells sounded, not those of Uppsala Cathedral but from the picture itself. And the piano music also came from that remarkable picture of Venice.
Word meanings
association: a connection or cooperative link between people or organizations.
gigantic: huge or enormous
cathedral: a large and important church, esp. one that is the center of a large area
waltzes: dance music in triple meter, often written in 34 times. A waltz typically sounds one chord per measure
gesticulated: use gestures, especially dramatic ones, instead of speaking or to emphasize one’s words.
Explanation of the above passage—The narrator’s connection to film dates back to his early childhood. His grandmother lived in a spacious, old apartment in Uppsala. He would sit beneath the dining-room table, ‘listening’ to the sunlight streaming through the enormous windows. Here, the narrator has suggested synesthetic experience, perceiving the light as sound. It’s a playful, imaginative way of describing the feeling of warmth and the way the light moves across the room, where the mundane elements of the world (sunlight, cathedral bells) take on a special, almost magical, significance. The bells of the cathedral rang with a ding-dong, and the sunlight danced around, creating a unique sound. One day, as winter season was transitioning in to spring and he was five when he heard a piano playing in the neighbouring apartment. It was performing waltzes, nothing but waltzes. A large picture of Venice adorned the wall. As the sunlight swept across the painting, the water in the canal seemed to flow, pigeons soared up from the square, and people talked and gestured. The bells chimed, not those of Uppsala Cathedral, but from the very picture. As the sunlight moved across the picture, it didn’t remain the static image but became a gateway to a dynamic world, where everything comes to life with it. This reinforces the idea that the picture is a source of sensory experience, not just visual. The reference to ‘people talked and gesticulated’ further enhances the sense of life and activity within the picture, making it seem like a window into another world. Moreover, the piano music appeared to flow from that extraordinary image of Venice.
Passage
A child who is born and brought up in a vicarage acquires an early familiarity with life and death behind the scenes. Father performed funerals, marriages, baptisms, gave advice and prepared sermons. The devil was an early acquaintance, and in the child’s mind there was a need to personify him. This is where my magic lantern came in. It consisted of a small metal box with a carbide lamp—I can still remember the smell of the hot metal—and coloured glass slides: Red Riding Hood and the Wolf, and all the others. And the wolf was the Devil, without horns but with a tail and a gaping red mouth, strangely real yet incomprehensible, a picture of wickedness and temptation on the flowered wall of the nursery.
Word meanings
vicarage: the residence of a vicar.
baptisms: the Christian religious rite of sprinkling water on to a person’s forehead or of immersing them in water, symbolizing purification or regeneration and admission to the Christian Church. In many denominations, baptism is performed on young children and is accompanied by name-giving.
sermons: a talk on a religious or moral subject, especially one given during a church service and based on a passage from the Bible.
wickedness: the quality of being evil or morally wrong.
temptation: the desire to do something, especially something wrong or unwise.
Explanation of the above passage—A child raised in the house of a vicar, gains an early understanding of life and death from behind the scenes. His father conducted funerals, weddings, and baptisms, offered counsel, and crafted sermons. He became acquainted with evilness around the world at an early age, and the child felt the urge to give him a form. This is where his magic lantern was useful. Here, the narrator recalls a small metal box with a lamp composed of carbon and a metal, emitting a distinct smell, that projected images onto the wall. The Red Riding Hood and the wolf are one of the slides among the others. The magic lanterns are part of the history of optical projection, with origins in the 1600s. They used fire to illuminate glass slides, with reflectors and lenses to project images onto surfaces. In this imagery, the wolf represented the Devil, lacking horns but possessing a tail and an open red mouth, appearing both vividly real and mysterious, embodying evil and temptation projected onto the floral wallpaper of the nursery.
Passage
When I was ten years old I received my first, rattling film projector, with its chimney and lamp. I found it both mystifying and fascinating. The first film I had was nine feet long and brown in colour. It showed a girl lying asleep in a meadow, who woke up and stretched out her arms, then disappeared to the right. That was all there was to it. The film was a great success and was projected every night until it broke and could not be mended any more.
Word meanings 
film: the first film he made using his film projector
rattling: making a series of knocking sounds.
projector: a device that is used to project rays of light, especially an apparatus with a system of lenses for projecting slides or film on to a screen.
mystifying: utterly bewildering or perplexing.
fascinating: extremely interesting.
mended: repair
Explanation of the above passage—At the age of ten, he got his first film projector, which made a rattling noise and included a chimney and lamp. He found it both enchanting and puzzling. The initial film he owned was nine feet long and had a brown hue. It depicted a girl peacefully sleeping in a meadow, who then awoke, stretched her arms, and vanished to the right. That was the entirety of the film. It became quite popular and was shown every night until the reel of the film broke beyond repair. (In olden times, movies were recorded on film and were not digital. The films were in the form of reels).
Passage
This little rickety machine was my first conjuring set. And even today I remind myself with childish excitement that I am really a conjurer, since cinematography is based on deception of the human eye. I have worked it out that if I see a film which has a running time of one hour, I sit through twenty-seven minutes of complete darkness—the blankness between frames. When I show a film I am guilty of deceit. I use an apparatus which is constructed to take advantage of a certain human weakness, an apparatus with which I can sway my audience in a highly emotional manner—make them laugh, scream with fright, smile, believe in fairy stories, become indignant, feel shocked, charmed, deeply moved or perhaps yawn with boredom. Thus I am either an impostor or, when the audience is willing to be taken in, a conjurer. I perform conjuring tricks with apparatus so expensive and so wonderful that any entertainer in history would have given anything to have it.
Word meanings
rickety: poorly made and likely to collapse.
conjurer: a person who performs magic to entertain people
deception: act of causing someone to accept as true or valid what is false or invalid
apparatus: the technical equipment or machinery needed for a particular activity or purpose.
indignant: feeling or showing anger or annoyance at what is perceived as unfair treatment.
impostor: a person who pretends to be someone else in order to deceive others, especially for fraudulent gain.
Explanation of the above passage—That little rickety machine, the film projector, was his first magical set. Even that day, he was reminded of the childish excitement that he was really a magician since cinematography is based on the deception of the human eye. He had worked out that if he saw a film which had a running time of one hour, he would sit through twenty-seven minutes of complete darkness, the blankness between two frames. When he showed a film, he was guilty of cheating. He had used an apparatus (film projector) which is constructed to take advantage of a certain human weakness, an apparatus with which he could sway his audience in a highly emotional manner to make them laugh, scream with fright, smile, believe in fairy stories, become indignant, feel shocked, charmed, deeply moved or perhaps yawn with boredom. Thus, he was either an impostor or, when the audience was willing to be taken in, a magician. He performed magic tricks with apparatus so expensive and so wonderful that any entertainer in history would have given anything to have it.
Split Second Impressions
Passage A film for me begins with something very vague—a chance remark or a bit of conversation, a hazy but agreeable event unrelated to any particular situation. It can be a few bars of music, a shaft of light across the street. Sometimes in my work at the theatre I have envisioned actors made up for yet unplayed roles. These are split second impressions that disappear as quickly as they come, yet leave behind a mood—like pleasant dreams. It is a mental state, not an actual story, but one abounding in fertile associations and images. Most of all, it is a brightly coloured thread sticking out of the dark sack of the unconscious. If I begin to wind up this thread, and do it carefully, a complete film will emerge.
Word meanings
Vague: not clear
shaft: a ray of light or bolt of lightning.
envisioned: imagine as a future possibility; visualize.
abounding: very plentiful; abundant
unconscious: not awake and aware of and responding to one’s environment.
wind up: arrive or end up in a specified state, situation, or place.
Explanation of the above passage—A film for him starts with something quite mysterious, a casual comment or a part of dialogue, an unclear yet enjoyable occurrence not linked to any specific context. It might be a few notes of music or a beam of light cutting across the street. Occasionally, during his work in the theater, he imagined actors styled for roles that hadn’t yet been performed. These moments were brief glimpses that disappeared almost instantly, yet they left a lingering atmosphere similar to delightful dreams. It represents a state of mind, rather than a concrete narrative, but is rich with vivid associations and imagery. Above all, it resembles a brightly colored thread sticking out from the dark bag of the subconscious. If he takes care to undo this thread, it will lead to the making of a film.
Passage
This primitive nucleus strives to achieve definite form, moving in a way that may be lazy and half asleep at first. Its stirring is accompanied by vibrations and rhythms which are very special and unique to each film. The picture sequences then assume a pattern in accordance with these rhythms, obeying laws born out of and conditioned by his original stimulus.
Word meanings
primitive nucleus: filmmaker’s creative vision
strives: make great efforts to achieve or obtain something.
stimulus: a thing or event that evokes a specific functional reaction in an organ or tissue.
Explanation of the above passage—This simple core, the narrator’s subconsciousness, which is the filmmaker’s creative vision works to take on a clear shape. At first, it may seem slow and not fully awake. As it moves, it creates unique vibrations and rhythms for each film. The sequences of images then begin to follow these rhythms, following rules that come from the initial inspiration. Ingmar Bergman here describes the initial stages of a creative process, where ideas are vague and slow to take shape.
Passage
If that embryonic substance seems to have enough strength to be made into a film, I decide to materialise it. Then comes something very complicated and difficult: the transformation of rhythms, moods, atmosphere, tensions, sequences, tones and scents into words and sentences, into an understandable screenplay.
Word meanings
embryonic: in a rudimentary stage with potential for development
Explanation of the above passage—If that rising essence (creative vision) appears to possess sufficient vigor to be crafted into a film, he chooses to bring it into existence. The next step is quite intricate and challenging: converting rhythms, emotions, atmospheres, tensions, sequences, tones, and scents into words and phrases, forming a screenplay understood by all.
Passage
This is an almost impossible task. The only thing that can be satisfactorily transferred from that original complex of rhythms and moods is the dialogue, and even dialogue is a sensitive substance which may offer resistance. Written dialogue is like a musical score, almost incomprehensible to the average person. Its interpretation demands a technical knack plus a certain kind of imagination and feeling— qualities which are so often lacking, even among actors. One can write dialogue, but how it should be delivered, its rhythm and tempo, what is to take place between lines—all this must be omitted for practical reasons. Such a detailed script would be unreadable. I try to squeeze instructions as to location, characterisation and atmosphere into my screenplays in understandable terms, but the success of this depends on my writing ability and the perceptiveness of the reader, which are not always predictable.
Word meanings
Knack: an acquired or natural skill at doing something.
tempo: the rate or speed of motion or activity; pace.
between lines: look for or discover a meaning that is implied rather than explicitly stated.
perceptiveness: the ability to quickly notice and understand things, especially those that are not obvious, showcasing keen observation and insight.
Explanation of the above passage—This task is nearly impossible. The only aspect that can be effectively conveyed from that original blend of rhythms and emotions is the dialogue, and even the dialogue is a delicate element that may resist interpretation. Written dialogue resembles a musical score, largely not understood by the average person. Its performance requires a certain technical skill along with a specific type of imagination and sensitivity which are the traits that are often missing, even in many actors. One could compose dialogue, but how it should be acted out, its rhythm and pace, as well as what happens between the lines, all of this must be excluded for practical reasons. Such a thorough script would be difficult to read. He attempts to pack directions regarding setting, characterization, and mood into his screenplays using clear language, but the effectiveness of this relies on his writing skills and the insight of the reader, which can be unpredictable.
The Rhythm of a Film
Passage
Now we come to essentials, by which I mean montage, rhythm and the relation of one picture to another—the vital third dimension without which the film is merely a dead product from a factory. Here I cannot clearly give a key, as in a musical score, nor a specific idea of the tempo which determines the relationship of the elements involved. It is quite impossible for me to indicate the way in which the film ‘breathes’ and pulsates. I have often wished for a kind of notation which would enable me to put on paper all the shades and tones of my vision, to record distinctly the inner structure of a film. For when I stand in the artistically devastating atmosphere of the studio, my hands and head full of all the trivial and irritating details that go with motion-picture production, it often takes a tremendous effort to remember how I originally saw and thought out this or that sequence, or what was the relation between the scene of four weeks ago and that of today. If I could express myself clearly, in explicit symbols, then this problem would be almost eliminated and I could work with absolute confidence that whenever I liked I could prove the relationship between the part and the whole and put my finger on the rhythm, the continuity of the film.
Word meanings
montage: the technique of selecting, editing, and piecing together separate sections of film to form a continuous whole.
pulsate: expand and contract with strong regular movements
explicit: stated clearly and in detail, leaving no room for confusion or doubt.
absolute: not qualified or diminished in any way; total.
Explanation of the above passage—Now he turns to the essentials, which he refers to as montage, rhythm, and the connection between images, the crucial third dimension without which a film is just a lifeless product from a production line. He could not provide a clear key, as one would in a musical score, nor could he convey a specific tempo that dictates how the involved elements interact. He finds it entirely impossible to describe how the film ‘breathes’ and flows. He has often wished for a type of annotation that would allow him to capture on paper all the nuances and tones of his vision, to accurately document the inner framework of a film. When he was surrounded by the creatively oppressing environment of the studio, with his mind full of all the minor and frustrating details tied to filmmaking, it often required considerable effort to recall how he initially envisioned this or that scene, or how the scene from four weeks ago related to that day’s. If he could articulate his thoughts clearly through defined symbols, then this challenge would be significantly reduced, and he could work with complete assurance that he could always demonstrate the link between the parts and the whole and identify the rhythm and continuity of the film.
Passage
Thus the script is a very imperfect technical basis for a film. And there is another important point in this connection which I should like to mention. Film has nothing to do with literature; the character and substance of the two art forms are usually in conflict. This probably has something to do with the receptive process of the mind. The written word is read and assimilated by a conscious act of the will in alliance with the intellect; little by little it affects the imagination and the emotions. The process is different with a motion picture. When we experience a film, we consciously prime ourselves for illusion. Putting aside will and intellect, we make way for it in our imagination. The sequence of pictures plays directly on our feelings.
Word meanings
assimilate: take in and understand fully (information or ideas)
alliance: a relationship based on similarity of interests, nature, or qualities.
Explanation of the above passage—Therefore, the script serves as a rather flawed technical foundation for a movie. Additionally, there’s another significant aspect related to this that he wants to highlight. Film and literature are fundamentally different; the nature and essence of these two art forms often clash. This likely relates to how their minds process information. The written word is engaged with and absorbed through a deliberate effort of the will combined with intellect; gradually, it influences their imagination and emotions. In contrast, the experience of watching a film was different. When viewing a movie, they intentionally prepare themselves to accept the illusion. Setting aside their will and intellect, they allow it to influence their imagination. The flow of images directly impacts their emotions.
Passage
Music works in the same fashion; I would say that there is no art form that has so much in common with film as music. Both affect our emotions directly, not via the intellect. And film is mainly rhythm; it is inhalation and exhalation in continuous sequence. Ever since childhood, music has been my great source of recreation and stimulation, and I often experience a film or play musically.
Word meanings
recreation: activity done for enjoyment when one is not working.
stimulation: encouragement of something to make it develop or become more active.
Explanation of the above passage—Music operates in a similar way; he believes that no other art form shares as much commonality with film as music does. Both art forms impact our feelings directly, rather than engaging the mind. Furthermore, film largely relies on rhythm; it represents the cycle of inhaling and exhaling in a continuous flow. Since the narrator was a child, music has served as his primary source of enjoyment and inspiration, and he frequently perceives a film or play through a musical lens.
Film and Written Literature
Passage
It is mainly because of this difference between film and literature that we should avoid making films out of books. The irrational dimension of a literary work, the germ of its existence, is often untranslatable into visual terms— and it, in turn, destroys the special, irrational dimension of the film. If, despite this, we wish to translate something literary into film terms, we must make an infinite number of complicated adjustments which often bear little or no fruit in proportion to the effort expended. I myself have never had any ambition to be an author. I do not want to write novels, short stories, essays, biographies, or even plays for the theatre. I only want to make films—films about conditions, tensions, pictures, rhythms and characters which are in one way or another important to me. The motion picture, with its complicated process of birth, is my method of saying what I want to my fellow men. I am a film-maker, not an author.
Word meanings
untranslatable: not able to have its sense expressed in another language.
expended: spend or use up
proportion: a part, share, or number considered in comparative relation to a whole.
Explanation of the above passage—The main reason one should refrain from adapting books into films is due to the differences between the two mediums. The illogical aspects that give a literary work its essence often cannot be expressed visually, and this, in turn, undermines the unique, illogical quality of a film. If one still decides to convert literary elements into film, one often needs to make countless complex alterations that yield little or no significant results relative to the effort involved. Personally, he has never aspired to be a writer. He has no desire to compose novels, short stories, essays, biographies, or even theatrical plays. His sole interest lies in creating films that reflect conditions, conflicts, images, rhythms, and characters that matter to him in some way. The process of filmmaking, with its intricate development, is his way of communicating what he wishes to share with others. He identifies as a filmmaker, not a writer.
Passage
Thus the writing of the script is a difficult period but a useful one, for it compels me to prove logically the validity of my ideas. In doing this, I am caught in a conflict—a conflict between my need to transmit a complicated situation through visual images, and my desire for absolute clarity. I do not intend my work to be solely for the benefit of myself or the few, but for the entertainment of the general public. The wishes of the public are imperative. But sometimes I risk following my own impulse, and it has been shown that the public can respond with surprising sensitivity to the most unconventional line of development.
Word meanings
compels: force or oblige (someone) to do something
transmit: cause (something) to pass on from one person or place to another.
imperative: of vital importance; crucial.
sensitivity: feelings liable to be offended or hurt
unconventional: not based on or conforming to what is generally done or believed.
Explanation of the above passage—Writing the script is a challenging phase, yet a valuable one, as it forces him to logically validate his concepts. In this process, he finds himself in a dilemma, a struggle between his need to convey a complex situation through visual representation and his aim for utmost clarity. He does not create his work solely for his benefit or that for a few selected ones, but rather for the enjoyment of the wider audience. The preferences of the audience are essential. However, at times, he takes the risk of following his instincts, and it has been demonstrated that the public can react with unexpected sensitivity to the most unorthodox narrative choices.
Passage
When shooting begins, the most important thing is that those who work with me feel a definite contact, that all of us somehow cancel out our conflicts through working together. We must pull in one direction for the sake of the work at hand. Sometimes this leads to dispute. But the more definite and clear the ‘marching orders’, the easier it is to reach the goal which has been set. This is the basis for my conduct as director, and perhaps the explanation of much of the nonsense that has been written about me. While I cannot let myself be concerned with what people think and say about me personally, I believe that reviewers and critics have every right to interpret my films as they like. I refuse to interpret my work to others, and I cannot tell the critic what to think; each person has the right to understand a film as he sees it. Either he is attracted or repelled. A film is made to create reaction. If the audience does not react one way or another, it is an indifferent work and worthless.
Word meanings
marching orders: instructions from someone in authority about what you should do
repelled: drive or force (an attack or attacker) back or away
indifferent: having no particular interest or sympathy; unconcerned.
Explanation of the above passage—When filming starts, it is crucial that everyone working with him feels a strong connection, allowing them to resolve their differences through collaboration. They all need to move in the same direction for the sake of their current project. Occasionally, this results in disagreements. However, the more precise and clear the instructions are, the simpler it becomes to achieve the established goal. This principle guides his approach as a director and explains much of the confusion that has been written about him. While he cannot allow himself to worry about others’ opinions of him personally, he thinks that critics and reviewers have every right to interpret his films in their own way. He chooses not to explain his work to others, nor can he dictate what a critic should think; everyone has the right to perceive a film as they wish. Either they are drawn to it or turned away. A film is intended to evoke a response. If the audience fails to react in any way, it is an indifferent piece of work and devoid of value.
Passage
I do not mean by this that I believe in being ‘different’ at any price. A lot has been said about the value of originality, and I find this foolish. Either you are original or you are not. It is completely natural for artists to take from and give to each other, to borrow from and experience one another. In my own life, my great literary experience was Strindberg. There are works of his which can still make my hair stand on end—The People of Hemso, for example. And it is my dream to produce Dream Play some day. Olof Molander’s production of it in 1934 was for me a fundamental dramatic experience.
Word meanings
fundamental: forming a necessary base or core; of central importance.
Explanation of the above passage—He doesn’t mean to suggest that he thinks being ‘different’ is valuable no matter the cost. Much has been discussed regarding the importance of originality, and he considers it to be nonsensical. One is either original or not. It is entirely normal for artists to influence and inspire one another, to borrow from and share experiences. In his personal life, his most significant literary encounter was with Strindberg. Certain works of his can still give the narrator chills such as The People of Hemso. Producing Dream Play one day is a dream of his. For the narrator, Olof Molander’s 1934 production of it was a basic dramatic experience.
Significant Persons
Passage
On a personal level, there are many people who have meant a great deal to me. My father and mother were certainly of vital importance, not only in themselves but because they created a world for me to revolt against. In my family there was an atmosphere of hearty wholesomeness which I, a sensitive young plant, scorned and rebelled against. But that strict middle-class home gave me a wall to pound on, something to sharpen myself against. At the same time they taught me a number of values—efficiency, punctuality, a sense of financial responsibility—which may be ‘bourgeois’ but are nevertheless important to the artist. They are part of the process of setting oneself severe standards. Today as a film maker I am conscientious, hard-working and extremely careful; my films involve good craftsmanship, and my pride is the pride of a good craftsman.
Word meanings
wholesomeness: the quality of being healthy, beneficial, and morally good, encompassing both physical and moral well-being.
scorned: feel or express contempt or disdain for.
rebelled: rise in opposition or armed resistance to an established government or leader.
bourgeois: belonging to or characteristic of the middle class, typically with reference to its perceived materialistic values or conventional attitudes.
conscientious: wishing to do one’s work or duty well and thoroughly.
Explanation of the above passage—On a personal level, there have been numerous individuals who have greatly impacted the narrator’s life. His parents played a crucial role, not only in their own life but also by providing a foundation for him to push against. During his upbringing, there was an environment of solid wholesomeness that he, as a sensitive young individual, rejected and opposed. However, that strict middle-class household offered him a surface to strike against, a means to refine himself. Simultaneously, they instilled several values in him like efficiency, punctuality, and financial responsibility, which might be seen as belonging to the middle-class people of the society but are nonetheless significant to an artist. These values are essential in establishing rigorous standards for oneself. As a filmmaker, he was diligent, hardworking, and careful; his films exhibited good craftsmanship, and he is proud of it.
Passage
Among the people who have meant something in my professional development is Torsten Hammaren of Gothenburg. I went there from Hälsingborg, where I had been head of the municipal theatre for two years. I had no conception of what theatre was; Hammaren taught me during the four years I stayed in Gothenburg. Then, when I made my first attempts at film, Alf Sjöberg—who directed Torment—taught me a great deal. And there was Lorens Marmstedt, who really taught me filmmaking from scratch after my first unsuccessful movie. Among other things I learned from Marmstedt is the one unbreakable rule: you must look at your own work very coldly and clearly; you must be a devil to yourself in the screening room when watching the day’s rushes. Then there is Herbert Grevenius, one of the few who believed in me as a writer. I had trouble with script-writing, and was reaching out more and more to the drama, to dialogue, as a means of expression. He gave me great encouragement.
Word meanings
from scratch: from the very beginning, especially without making use of or relying on any previous work for assistance.
Explanation of the above passage—Among those who have significantly influenced his professional growth is Torsten Hammaren from Gothenburg. The narrator moved there from Hälsingborg, where he had served as the head of the municipal theatre for a couple of years. At that time, the narrator had little understanding of what theatre truly was; Hammaren educated him during the four years he spent in Gothenburg. Subsequently, when the narrator began his initial ventures into filmmaking, Alf Sjöberg, who directed Torment, taught him a great deal about filmmaking. Additionally, Lorens Marmstedt, who essentially taught him the fundamentals of filmmaking after his first unsuccessful project, made a considerable impact. One vital lesson he learned from Marmstedt is an unyielding principle: one must view their own work with a critical and objective eye; one has to be their own harshest critic when reviewing the day’s rushes. Finally, there is Herbert Grevenius, one of the few individuals who had faith in his abilities as a writer. He struggled with scriptwriting and increasingly turned to drama and dialogue as his preferred means of expression. He provided the narrator with immense encouragement.
Passage
Finally, there is Carl Anders Dymling, my producer. He is crazy enough to place more faith in the sense of responsibility of a creative artist than in calculations of profit and loss. I am thus able to work with an integrity that has become the very air I breathe, and one of the main reasons I do not want to work outside of Sweden. The moment I lose this freedom I will cease to be a film-maker, because I have no skill in the art of compromise. My only significance in the world of film lies in the freedom of my creativity.
Word meanings
integrity: the quality of being honest and having strong moral principles.
Explanation of the above passage—Ultimately, there is Carl Anders Dymling, his producer. He was bold enough to trust the sense of duty of a creative artist more than the considerations of profit and loss. This allowed him to operate with integrity, which became essential to his existence, and it is a primary reason he prefers not to work outside of Sweden. The instant he loses this autonomy, he will stop being a filmmaker, as he cannot compromise. His only relevance in the film industry stems from the freedom of his artistic expression.
The Tightrope of Film-making
Passage
Today, the ambitious film-maker is obliged to walk a tightrope without a net. He may be a conjurer, but no one conjures the producer, the bank director or the theatre owners when the public refuses to go see a film and lay down the money by which producer, bank director, theatre owner and conjurer can live. The conjurer may then be deprived of his magic wand; I would like to be able to measure the amount of talent, initiative and creative ability which has been destroyed by the film industry in its ruthlessly efficient sausage machine. What was play to me once has now become a struggle. Failure, criticism, public indifference all hurt more today than yesterday. The brutality of the industry is undisguised—yet that can be an advantage.
Word meanings
ambitious: having or showing a strong desire and determination to succeed.
tightrope: a rope or wire stretched tightly high above the ground, on which acrobats perform feats of balancing.
conjurer: a performer of conjuring tricks
sausage: an item of food in the form of a cylindrical length of minced pork or other meat encased in a skin, typically sold raw to be grilled or fried before eating.
undisguised: not concealed
Explanation of the above passage—The aspiring filmmaker must navigate a risky path without any safety. While he may possess magical talents, he cannot sway the producer, the bank executive, or the theatre proprietors when audiences choose not to attend a film and spend money, which sustains the producer, bank executive, theatre owner, and the magician, the director. In such cases, the magician may find himself without his magical tools. He wishes he could quantify the level of talent, initiative, and creativity that the film industry has destroyed through its mercilessly efficient assembly line. What used to feel like a game for him has transformed into a battle. Setbacks, criticism, and public apathy sting more deeply than they did in the past. The industry’s harshness is openly displayed and yet that can also serve as a benefit.
Passage
So much for people and the film business. I have been asked, as a clergyman’s son, about the role of religion in my thinking and film-making. To me, religious problems are continuously alive. I never cease to concern myself with them; it goes on every hour of every day. Yet this does not take place on the emotional level, but on an intellectual one. Religious emotion, religious sentimentality, is something I got rid of long ago—I hope. The religious problem is an intellectual one to me: the relationship of my mind to my intuition. The result of this conflict is usually some kind of tower of Babel. Philosophically, there is a book which was a tremendous experience for me: Eiono Kaila’s Psychology of the Personality. His thesis that man lives strictly according to his needs— negative and positive—was shattering to me, but terribly true. And I built on this ground.
Word meanings
clergyman: a male priest, minister, or religious leader, especially a Christian one.
intellectual: relating to your ability to think and understand things, especially complicated ideas
intuition: the ability to understand something instinctively, without the need for conscious reasoning.
Tower of Babel: a story from Genesis 11, explains the origin of different languages and cultures, portraying God confusing the language of humanity to prevent them from building a tower reaching heaven and making a name for themselves.
thesis: a long essay or dissertation involving personal research, written by a candidate for a university degree.
shattering: very shocking or upsetting.
Explanation of the above passage—People and the film industry have their complexities. As the son of a clergyman, he had often been inquired about how religion influences his thoughts and filmmaking. He finds that religious issues are always present in his mind. His engagement with these matters is ongoing, every moment of every day. However, this engagement is more intellectual than emotional for him. He believes and hopes that he has long moved past religious feelings and sentimentality. To him, the religious question is an intellectual challenge concerning the connection between his reasoning and intuition. Typically, this struggle results in some form of a tower of Babel, which conveys the message on human pride, disobedience, and the consequences of challenging divine authority. On a philosophical note, Eiono Kaila’s book, Psychology of the Personality, had a significant impact on him. His argument that humans act solely based on their needs, both negative and positive, was a revelation for him, yet it rings profoundly true. He has since built upon that foundation.
Cathedral-building
Passage
People ask what are my intentions with my films—my aims. It is a difficult and dangerous question, and I usually give an evasive answer: I try to tell the truth about the human condition, the truth as I see it. This answer seems to satisfy everyone, but it is not quite correct. I prefer to describe what I would like my aim to be. There is an old story of how the cathedral of Chartres was struck by lightning and burned to the ground. Then thousands of people came from all points of the compass, like a giant procession of ants, and together they began to rebuild the cathedral on its old site. They worked until the building was completed—master builders, artists, labourers, clowns, noblemen, priests, burghers. But they all remained anonymous and no one knows to this day who built the cathedral of Chartres.
Word meanings
evasive: tending to avoid commitment or self-revelation, especially by responding only indirectly.
cathedral of Chartres: a popular pilgrimage destination in medieval France because it houses a piece of silk said to be part of the tunic worn by the Virgin Mary when she gave birth to Jesus Christ.
anonymous: (of a person) not identified by name; of unknown name.
Explanation of the above passage—People often inquire about his goals with his films and what he aims to achieve. This is a challenging and risky question, and he typically responds in a vague manner, saying that he strives to convey the truth about the human experience, the truth as he perceives it. This response seems to satisfy most, but it isn’t entirely accurate. He would rather explain what he envisioned his goals to be. There is an ancient tale about how the cathedral at Chartres was hit by lightning and reduced to ashes. Following that, thousands of individuals arrived from every direction, resembling a massive procession of ants, and they collectively began to reconstruct the cathedral on its original site. They toiled until the structure was finished. The individuals who helped in reconstructing the cathedral were master craftsmen, artists, workers, jesters, nobility, clergy, and townspeople. Yet, they all remain nameless, and to this day, no one knows who built the cathedral of Chartres.
Passage
Regardless of my own beliefs and my own doubts, which are unimportant in this connection, it is my opinion that art lost its basic creative drive the moment it was separated from worship. It severed an umbilical cord and now lives its own sterile life, generating and degenerating itself. In former days the artist remained unknown and his work was to the glory of God. He lived and died without being more or less important than other artisans; ‘eternal values’, ‘immortality’ and ‘masterpiece’ were terms not applicable in his case. The ability to create was a gift. In such a world flourished invulnerable assurance and natural humility.
Word meanings
umbilical cord: a vital, tube-like structure that connects a developing fetus to the placenta, acting as a lifeline for the transfer of nutrients and oxygen, and removal of waste products during pregnancy.
sterile: not able to produce children or young.
flourish: grow or develop in a healthy or vigorous way, especially as the result of a particularly congenial environment.
assurance: a positive declaration intended to give confidence; a promise.
Explanation of the above passage—Regardless of his personal beliefs and uncertainties, which are irrelevant in this context, he believes that art lost its fundamental creative motivation the instant it was considered to be different from a prayer. It cut a vital connection and then it remained by itself only, both producing and deteriorating itself. In the past, the artist remained anonymous, and his creations were meant to honor God. He lived and passed away without being any more significant than other craftspeople; terms like ‘eternal values,’ ‘immortality,’ and ‘masterpiece’ were irrelevant to him. The capacity to create was considered a gift. In such a society, a strong sense of confidence and genuine humility were present.
Passage
Today the individual has become the highest form and the greatest bane of artistic creation. The smallest wound or pain of the ego is examined under a microscope as if it were of eternal importance. The artist considers his isolation, his subjectivity, his individualism almost holy. Thus we finally gather in one large pen, where we stand and bleat about our loneliness without listening to each other and without realising that we are smothering each other to death. The individualists stare into each other’s eyes and yet deny the existence of each other. We walk in circles, so limited by our anxieties that we can no longer distinguish between true and false, between the gangster’s whim and the purest ideal.
Word meanings
bane: a cause of great distress or annoyance.
bleat: make a characteristic weak, wavering cry.
whim: a sudden desire or change of mind, especially one that is unusual or unexplained.
Explanation of the above passage—Nowadays, the individual has emerged as both the highest expression and the greatest hindrance to artistic creation. Every slight bruise or discomfort of the ego is scrutinized as if it were of utmost significance. The artist perceives his solitude, subjective experience, and individualism as almost sacred. Consequently, they all gather together in a large enclosure, where they lament their loneliness without truly hearing one another and without realising that they are suffocating each other. The individualists gaze into one another’s eyes yet refuse to acknowledge one another’s existence. They find themselves going in circles, so constrained by their fears that they can no longer tell apart the genuine from the false, nor the whims of a gangster from the highest ideals.
Passage
Thus if I am asked what I would like the general purpose of my films to be, I would reply that I want to be one of the artists in the cathedral on the great plain. I want to make a dragon’s head, an angel, a devil—or perhaps a saint—out of stone. It does not matter which; it is the sense of satisfaction that counts. Regardless of whether I believe or not, whether I am a Christian or not, I would play my part in the collective building of the cathedral.
Explanation of the above passage— If he were to be asked about the comprehensive goal of his films, he would say that he aspired to be one of the creators of the cathedral on the vast plain. He wished to sculpt a dragon’s head, an angel, a devil or maybe a saint from stone. It’s not important which one it was; what mattered was the feeling of fulfillment it brought. Regardless of his beliefs, whether he identifies as a Christian or not, he would contribute his part to the communal construction of the cathedral.
Interview with Umberto Eco
With over 30 honorary doctorates and a string of literary and academic awards, Umberto Eco has the reputation of being one of the world’s foremost intellectuals. A professor at the University of Bologna in Italy, Umberto Eco is known for his ideas on semiotics, literary interpretation and medieval aesthetics. He is a distinguished novelist and writer. His novel, The Name of the Rose, published in 1980 sold over ten million copies. Here is an excerpt from an interview with Eco where he expresses his views on the filming of books.
Passage
The Name of the Rose is a very serious novel. It’s a detective yarn at one level but it also delves into metaphysics, theology, and medieval history. Yet it enjoyed a huge mass audience. Were you puzzled at all by this?
No. Journalists are puzzled. And sometimes publishers. And this is because journalists and publishers believe that people like trash and don’t like difficult reading experiences. Consider there are six billion people in this planet. The Name of the Rose sold between 10 and 15 million copies. So in a way I reached only a small percentage of readers. But it is exactly these kinds of readers who don’t want easy experiences. Or at least don’t always want this. I myself, at 9 pm after dinner, watch television and want to see either ‘Miami Vice’ or ‘Emergency Room’. I enjoy it and I need it. But not all day.
Word meanings
yarn: spun thread used for knitting, weaving, or sewing.
metaphysics: the branch of philosophy that deals with the first principles of things, including abstract concepts such as being, knowing, identity, time, and space.
theology: the study of the nature of God and religious belief.
medieval history: between the Roman empire and the Renaissance
Explanation of the above passage—Mukund Padmanabhan asked Umberto Eco about his serious novel, The Name of the Rose. This book works as a detective story, but it also looks at topics like metaphysics, theology, and medieval history. Despite its complexity, it found a large audience. He asks If this surprises him. Eco said no; it’s journalists who are confused. Sometimes, publishers are confused too. They think people prefer simple stories and avoid challenging reads. However, with six billion people in the world, Eco pointed out that The Name of the Rose sold between 10 and 15 million copies, meaning he only reached a small part of the audience. Still, it’s these readers who often want more than just easy experiences. At least, not all the time. Personally, he enjoys watching television at 9 PM after dinner, shows like ‘Miami Vice’ or ‘Emergency Room’. He finds this entertainment necessary, but that’s not how he wants to spend his entire day.
Passage
Could the huge success of the novel have anything to do with the fact that it dealt with a period of medieval history that…
That’s possible. But let me tell you another story, because I often tell stories like a Chinese wise man. My American publisher said while she loved my book, she didn’t expect to sell more than 3,000 copies in a country where nobody has seen a cathedral or studies Latin. So I was given an advance for 3,000 copies, but in the end it sold two or three million in the U.S.
A lot of books have been written about the medieval past far before mine. I think the success of the book is a mystery. Nobody can predict it. I think if I had written The Name of the Rose ten years earlier or ten years later, it wouldn’t have been the same. Why it worked at that time is a mystery.
Explanation of the above passage—Mukund Padmanabhan asked Umberto if the success of his novel was related to its focus on a medieval history period. Umberto agreed it could be true but shared another story instead. His American publisher loved the book but predicted it would only sell about 3,000 copies in a country where many people had never seen a cathedral or studied Latin. He received an advance based on that estimate, but the book ended up selling two to three million copies in the U.S. Many books about medieval times existed before his, and Umberto believes the book’s success is a mystery. No one can predict such outcomes. He thinks if he had written The Name of the Rose ten years earlier or later, the results would have been different. Why it succeeded at that specific time remains a mystery.
Passage
What did you think about the film [directed by Jean Jacques Annaud and starring Sean Connery]? Why weren’t you happy with it?
I expected the film to be different. My novel is a kind of club sandwich—lettuce, tomato, cheese…
Different layers of meaning?
Yes. A film cannot select all the layers. It has to make do with jambon or cheese… I didn’t react like authors who, immediately after the film is made, say it is not at all like my book. But after that experience, I asked my publisher not to sell the rights of the novel to cinema. I did this because I discovered that 80 per cent of readers read the book after the movie. And that is very painful for a novelist.
Word meanings
starring: denoting a principal role or performer in a film, play, or other show.
lettuce: edible leaves that are eaten in salads.
jambon: meat from the top of a pig’s back leg.
Explanation of the above passage—Mukund Padmanabhan asks Umberto what he thought of the film directed by Jean Jacques Annaud and starring Sean Connery. He wonders why Umberto is not happy with it. Umberto explains that he expected the film to be different. He describes his novel as a club sandwich with layers like lettuce, tomato, and cheese. Mukund asks about these different layers of meaning. Umberto agrees, saying a film can’t cover all the layers and has to settle for just one, like ham or cheese. He is not like other authors who claim a film is nothing like their book right after it’s released. However, after that experience, he told his publisher not to sell the movie rights to his novel. He did this because he learned that 80 percent of readers watch the movie before reading the book. This fact is very painful for a novelist.
Passage
But surely this also means greater success, greater remuneration?
Yes. But it is embarrassing to know that somebody else has already told the reader that the novel should be read in a particular way. That he should imagine the face of a character in a particular way. The only enviable position is that of Homer’s who had the film made more than 2000 years after the book (laughs).
So this is why Stanley Kubrick never got to make Foucault’s Pendulum?
Since I had laid down a general rule, the publisher said no. Then Stanley Kubrick died. But it may have been a great movie (laughs).
Talking about Foucault’s Pendulum, there is a sense in which you did the Da Vinci Code before Dan Brown did. Of course, you did it as a myth that takes on a strange reality and he did it as it was historical truth.
I told Dan Brown’s story. My characters are his. I gave the broad picture of this kind of literature.
Word meanings
remuneration: money paid for work or a service.
enviable: arouse envy
Foucault’s Pendulum: a novel by Umberto Eco
Explanation of the above passage—Mukund Padmanabhan asks Umberto whether greater success comes with a greater pay. Umberto agrees but feels embarrassed knowing someone else has told readers how to interpret his novel and how to picture a character. He believes the best situation is that of Homer, whose work was adapted into a film more than 2000 years later, and he laughs about it.
Mukund Padmanabhan then asks Umberto if this is why Stanley Kubrick never made a film of his book, Foucault’s Pendulum. Umberto explains that he had set a general rule, so the publisher refused. After Kubrick died, Umberto reflects it might have been a great movie, and he laughs again.
Mukund Padmanabhan then continues discussing Foucault’s Pendulum, noting that Umberto wrote a story similar to Dan Brown’s Da Vinci Code before Brown did. Umberto clarifies that he told Dan Brown’s story through different characters and offered a broad view of that type of literature.
Conclusion
The Filmmaking by Ingmar Bergman gives an insight into the development of filmmaking with time. The second part contains an interview of Umberto Eco. Students can take help from this post to understand the lesson and also learn the difficult word meanings to get a better grasp over the filmmaking. This lesson includes the summary of Filmmaking which will help students of class 12 to get a quick recap of the story.