A Quote by Max von Sydow
I remember those days with Bergman with great nostalgia. We were aware that the films were going to be quite important, and the work felt meaningful.
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When I was a kid, I thought movie stars were women and men who were in these great films that we still look at now. But I don't think there are too many films coming out these days that we're going to look at in the future and say, "This is one of the great ones."
When I was a kid, I thought movie stars were women and men who were in these great films that we still look at now. But I don't think there are too many films coming out these days that we're going to look at in the future and say, 'This is one of the great ones.'
When I was first exposed to the films of Ingmar Bergman, I found them frank and disturbing portraits of the world we live in, but that was not something that displeased me. They were beautiful. I thought people would respond to my plays the way I responded to Bergman's films.
I want you to try and remember what it was like to have been very young. And particularly the days when you were first in love; when you were like a person sleepwalking, and you didn’t quite see the street you were in, and didn’t quite hear everything that was said to you. You’re just a little bit crazy. Will you remember that, please?
Men ruled the roost and women played a subservient role [in the 1960s]. Working wives were a rarity, because their place was in the home, bringing up the kids. The women who did work were treated as second-class citizens because it was a male-dominated society. That was a fact of life then. But it wouldn't be tolerated today, and that's quite right in my book... people look back on those days through a thick veil of nostalgia, but life was hard if you were anything other than a rich, powerful, white male.
And some days, he went on, were days of hearing every trump and trill of the universe. Some days were good for tasting and some for touching. And some days were good for all the senses at once. This day now, he nodded, smelled as if a great and nameless orchard had grown up overnight beyond the hills to fill the entire visible land with its warm freshness. The air felt like rain, but there were no clouds.
Mexican cinematographers Gabriel Figueroa and Emilio Fernandez were students of both Sergei Eisenstein and Toland. Their exteriors and lighting were gorgeous. And the films Ingmar Bergman did with Sven Nykvist were exceptional.
Some days felt longer than other days. Some days felt like two whole days. Unfortunately those days were never weekend days. Our Saturdays and Sundays passed in half the time of a normal workday. In other words, some weeks it felt like we worked ten straight days and had only one day off.
I remember in 37 when trolley cars were so big in New York. It was five cents for a ride... There used to be open-air buses, and you could go up a spiral staircase and sit up on top. Those were great, great days.
I remember in '37 when trolley cars were so big in New York. It was five cents for a ride... There used to be open-air buses, and you could go up a spiral staircase and sit up on top. Those were great, great days.
The casting director on the movie made me aware of her. She told me what to watch Starter For Ten, which I did and thought she was great in. She was just so charming and beautiful. But I felt she could probably look plain if we tried. And when I subsequently met with her, I was so charmed by her vulnerability and sweetness. Those were two qualities that were the most important for that character.
I've obviously always been aware of actor-oriented films, being an actor. Altman and Cassavetes were really strong. And then I realized their structures were quite fascinating, too.
I'm definitely one of those people who feels that they were born in the wrong era. I don't know if that's nostalgia. I have a hard time relating to most current things. It's funny because I get associated with nostalgia a lot, but I don't hang out being like, "Man, if it were 1986... If only...!"
The films that I loved growing up were the science fiction films from the late seventies and early eighties [films], which were more about the people and how they are affected by the environments that they are in. Whether they are sort of futuristic or alien of whatever they are; that was the science fiction that I loved. So that is what we tried to make, the sort of film that felt like those old films.
I looked around at what my colleagues were doing, and asked myself, 'What relationship has it with what's going on?' I found there was a great distortion of contemporary life. Photographers were interested only in certain things. A visually interesting place, people who were either very rich or very poor, and nostalgia.
I remember those great days when we were at $176 million before the Reagan Revolution came to town.
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