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

10:00:20:15 – 10:00:26:14

(VOICE OVER/ ENGLISH)

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

John Landis

10:00:26:14– 10:00:30:12

(ENGLISH)

I love telling people: guess what?! Ingmar Bergman loved The Blues Brothers.

VOICE OVER

10:00:30:13– 10:00:35:14

(VOICE OVER/ ENGLISH)

Everything. From highbrow to lowbrow. Arthouse to grindhouse.

Films on every topic imaginable.

Isabella Rosselini

10:00:35:14– 10:00:38:03

(ENGLISH)

David said it is like sitting next to ticking bomb..

FILMCLIP

10:00:38:04-10:00:41:08

(SWEDISH)

Are we not supposed to help the audience at all?
No, not at all.

VOICE OVER

10:00:41:09-10:00:45:17

(VOICE OVER/ ENGLISH)

Tonight’s episode deals with alienation in the films of Bergman’s personal collection.

Martin Scorses

110:00:45:18-10:00:47:00

(ENGLISH)

He may leave you behind a little…

VOICE OVER

10:00:47:01– 10:00:52:00

(VOICE OVER/ ENGLISH)

The guest in Bergman’s TV room is the American director of The Blues Brothers, John Landis.

John Landis

10:00:52:01– 10:00:53:17

(ENGLISH)

Release the crack-heads!!

John Landis

10:01:32:08 – 10:02:13:10

(ENGLISH)

A movie can be great and fail and get bad reviews. There is so many movies that get..You know for me, in the United States, I have always been critically a schmuck! The critics hate my movies, and it is funny because the same critics who shit on the movies when they came out now refer to these films as classics.

And you think: What the fuck!? What’s the difference?!

It is like when I turned 60, I suddenly found myself being referred to as “veteran” or “classic”, “legendary”. And I thought, because I am 60? If I had known this I would have been 60 earlier.

VOICE OVER

10:02:17:08 – 10:02:26:24

(VOICE OVER/ ENGLISH)

John Landis has made some of the most successful comedies of the video era. Films like Coming to America, Three Amigos, and Trading Places.

John Landis

10:02:27:00 – 10:02:28:20

(ENGLISH)

A props from the Wizard of OZ..

VOICE OVER

10:02:31:08 – 10:02:41:15

(VOICE OVER/ ENGLISH)

Landis also made An American Werewolf in London and The Blues Brothers – a film that Ingmar Bergman was big fan of. Landis loves films above all else.

John Landis

10:02:44:06 – 10:03:11:20

(ENGLISH)

From the time I was 8 years old I knew what I wanted to be when I grew up. So my whole focus was towards movies. Because I grew up in Los Angeles where the movie industry was, I made a  concentrated effort to meet every film maker I could and tried to get any job I could. I had no relatives in the film industry so that was a handicap..

John Landis

10:03:12:22– 10:03:24:24

(ENGLISH)

See, if I were Japanese, I would say that Ingmar’s spirit is in that spider, protecting the house and sometimes I am Japanese, but not all the time.

John Landis

10:03:26:18– 10:03:47:04

(ENGLISH)

Because I was born in 1950, there were still people like George Stevens and Frank Capra and Howard Hawks and John Ford and people like that, Alfred Hitchcock – working!

So I mean I was able to seek out so many film makers because I was interested.

VOICE OVER

10:03:48:15 – 10:04:15:09

(VOICE OVER/ ENGLISH)

And it was this love of films that made Landis drop out of high school to go work in the mailroom at 20th Century Fox. Five years later, he directed his first feature film, Schlock. His breakthrough came with Animal House when he was just 28 years old. Having the opportunity to rub shoulders with his heroes – the stalwart filmmakers – was incredibly important to Landis.

John Landis

10:04:16:18– 10:04:42:18

(ENGLISH)

I really got to know just all these guys! Who, a lot of them, were elderly, but the point is, they invented the language. They grew up with the movies whereas my generation and the generation before me, we grew up watching movies. So it is a very different esthetic, one is creating a language and the other is using it, in a way.

FILMCLIP

10:04:51:21 – 10:05:14:08

(SWEDISH)

All people who are unhappy, should be shot.

Just 5 or 6 or so.

I should shoot you too! Sit still!

No no, I have to take care of my poor old father!

I scared you, didn’t i?!

No, well..yes.

You are afraid of dying..

Yes.

VOICE OVER

10:05:15:17-10:05:54:06

(VOICE OVER/ ENGLISH)

Alienation relating to class, mental state, or sexuality has been a recurring feature throughout the history of film, as well as in Ingmar Bergman’s video collection. At the same time, alienation was an important theme for Bergman himself. His films are filled with characters who - out of necessity, coercion, or of their own free will - inhabit the margins of our society and live outside its social codes. Bergman often felt like an “outsider” – someone looking in from the outside, whose naked gaze allows them to get a better view of what’s going on.

VOICE OVER

10:05:57:17-10:06:06:14

(VOICE OVER/ ENGLISH)

In Milos Forman’s One Flew Over the Cuckoo’s Nest, Jack Nicholson’s rebellious mental patient is a metaphor for the oppressive mechanisms of dictatorship.

VOICE OVER

10:06:08:19-10:06:20:07

(VOICE OVER/ ENGLISH)

Alienation acts an engine in all kinds of films. From One Flew Over the Cuckoo’s Nest to John Landis’s The Blues Brothers - two films that could be found in Ingmar Bergman’s video collection.

FILMCLIP

10:06:22:11-10:06:28:12

(ENGLISH)

How about that!? You creeps! You lunatics! Let’s hear it…

John Landis

10:06:43:14 -10:06:46:05

(ENGLISH)

And did you, here – did you film this?!

VOICE OVER

10:06:48:07-10:06:53:24

(VOICE OVER/ ENGLISH)

Although a very passionate filmmaker, John Landis keeps a pretty low profile these days.

John Landis/ Interviewer

10:06:54:22-10:07:21:06

(ENGLISH)

What are you doing now?

I try to get movies made. You know I am offered movies from time to time but they are always terrible! And I am at a moment in my life where I feel: do I want to spend a year of my life making this shit? You know, and I am lucky on one hand because I have been successful so I don’t have to work, but I am unlucky on the other hand because I really enjoy making movies.

John Landis

10:07:23:16-10:07:50:09

(ENGLISH)

I am starting to experience the agism. There are a lot of guys, I Knew Billy Wilder quite well, and he was very angry that he wasn’t working. It took him a long, I mean 20 years before he accepted the fact “I’m old” you know. They’re not going to hire me. It’s a cruel business that way and much worse now, much worse now. For every one, because of the limited number of films that they are making.

John Landis/ Interviewer

10:07:53:23-10:08:04:22

(ENGLISH)

What does this say?

Please, do not forget to turn off the light, and then there is his little trademark devil.

John Landis/ Interviewer

10:08:06:05-10:08:20:18

(ENGLISH)

These are the famous Bergman tapes..I love the idea of Bergman watching The Omen. Blood from the Mummy’s tomb, this is a terrible hammer film.

VOICE OVER

10:08:21:08-10:08:33:08

(VOICE OVER/ ENGLISH)

Landis has also worked a lot with Michael Jackson. He directed the video for Black or White, and, more importantly, the music video that changed everything – Michael Jackson’s Thriller.

John Landis/ Interviewer

10:08:33:11-10:09:39:06

(ENGLISH)

What has the VHS era meant for you?

Well, more money you know..

It is not just for me, in general, what is interesting now about films is they have an after life, before the studios used to destroy the prints to get the silver out. The silver nitrate, they used to melt down the movies to get the silver. More than 50%. I think it is like 65%, some huge number of all American films don’t exist, they’ve been thrown away and It is because there was no money to be made with them. What home video did was create this aftermarket and television and cable and computers and ipods and everything. I remember when the ipod came out, the visual thing and one of the first downloads was Thriller and they sold like 2 million of them. But it depressed, I mean you know, you were watching Thriller this big. And  I was thinking I didn’t make that so you could watch it this big, it was made to be in a cinema.

John Landis

10:09:40:20-10:09:46:20

(ENGLISH)

I love these steps, for this!

Who is this for? The midget that lives in the..

Isabella Rosselini

10:10:26:18-10:10:51:12

(ENGLISH)

I was in a restaurant, eating with two girlfriends and David Lynch was also in the restaurant, having dinner with a man, and we started talking. And David Lynch had wrote Blue Velvet and offered the role that I ended up playing to Helen Mirren, but Helen Mirren turned down the role

VOICE OVER

10:10:54:22-10:11:13:17

(VOICE OVER/ ENGLISH)

It was by chance that Isabella Rossellini was cast in Blue Velvet – a film that is in Bergman’s video collection.  For Rossellini, it was her biggest role so far, but director David Lynch was already famous, and celebrated for his surrealistic depictions of, among other things, alienation.

Isabella Rosselini

10:11:15:22-10:11:46:18

(ENGLISH)

I knew that what David intended to do was a very artistic film, but I needed to have this insurance of mental illness and not the stereotype about a woman being sexually crazy, “I want sex” because I don’t believe in that or I don’t know how to play it, or it will embarrass me. So once I knew exactly that David agreed with me in how Dorothy Valance had to be played, then I commited to the film.

VOICE OVER

10:11:49:17 -10:12:15:18

(VOICE OVER/ ENGLISH)

Blue Velvet is about a young man who returns home to find that things aren’t as they should be. He enters into a sexual relationship with a nightclub singer Dorothy Valance - played by Isabella Rossellini - and is soon drawn into a spiral of crime, violence, and masochism. Blue Velvet launched Rossellini’s acting career – to the wider public she was mainly known as a fashion model.

Isabella Rosselini

10:12:17:14-10:12:37:14

(ENGLISH)

I was successful and I knew that I knew what I was doing, that’s what gave me the courage to move into acting. It was modeling and the similarity with acting that I thought ok I could evolve into this, without being intimidated by my family’s reputation.

VOICE OVER

10:12:40:06 -10:12:59:02

(VOICE OVER/ ENGLISH)

Isabella Rossellini is the daughter of two of the most famous names in the history of cinema. Her father was the Italian director Roberto Rossellini, and her mother was actress Ingrid Bergman – who, among other things, played the lead role in Ingmar Bergman’s film Autumn Sonata from 1978.

FILMCLIP

10:13:01:00 -10:13:01:24

(SWEDISH)

Are we ok now?

Isabella Rosselini

10:13:07:00-10:13:35:03

(ENGLISH)

She actually slipped a little note into his pocket when they were at a film festival, saying: we are the two known Swedes and we have never worked together and I think we should try. The Ingmar came out with the idea for Autumn Sonata and Mama was so tremendously pleased. She really saw..and it became the farewell film of her career. I mean, she was already sick with cancer, so she knew she wasn’t going to survive for long.

FILMCLIP

10:13:35:22 -10:13:44:18

(SWEDISH)

You blame me for my travels, you blame me for staying home..

Probably you’ve never understood how those years were hell for me.

VOICE OVER

10:13:46:12 -10:14:00:15

(VOICE OVER/ ENGLISH)

Autumn Sonata became Ingrid Bergman’s last feature before she died of cancer in 1982.  She received an Oscar nomination for her performance in the film, which was said to bear many similarities to her own life.

Isabella Rosselini

10:14:01:24-10:15:08:19

(ENGLISH)

I imagine that he was inspired, a little bit, by her life. So he imagined a woman that was very successful, very taken with her career, she was a pianist in the film, instead of an actress, but she was very glamorous, very beautiful, travelled the world, and she has back home two children that she has neglected. Mother was pleased to work with him but a little bit irritated by the theory that inevitably a career woman would have to neglect her family. She thought that was very old-fashioned of Ingmar and put up a certain amount of resistance and though my Mom would not call herself a feminist at all, but she I think suffered in her life of being accused of having sacrificed us or her husbands or other aspects of her life, to have a career. Something that a man would not be automatically scolded for.

VOICE OVER

10:15:14:18 -10:15:33:01

(VOICE OVER/ ENGLISH)

When Isabella Rossellini made Blue Velvet, neither of her parents was still alive. Many studios had turned down the film, already at the scripting stage. They were put off by the graphic scenes of sex and violence. When the film finally premiered in the mid-80s, it received harsh criticism.

Isabella Rosselini

10:15:35:21 -10:15:55:03

(ENGLISH)

They said: Oh Ingrid Bergman’s daughter is so desperate to have a career that she is ready to take her clothes off, do porno. Just to do something to compete with her Mom. So at the time when the film came out it was a little bit difficult, that maybe I had ruined David’s film..

VOICE OVER

10:16:00:16 -10:16:21:02

(VOICE OVER/ ENGLISH)

But despite the initial setbacks, Blue Velvet went on to become a classic. David Lynch received an Oscar nomination for best director, and it revived the career of one of Rossellini’s fellow cast members - Dennis Hopper, who had been released from a lengthy stay at a drug rehabilitation clinic just before shooting began... 

Isabelle Rosselini

10:16:23:10 -10:16:47:20

(ENGLISH)

David said: it is like sitting next to a ticking bomb. Yes, certainly! Cause he was so..So with great terror I went to work with Dennis Hopper. And David had this incredible idea that the first scene that I would play with Dennis was the first scene where he rapes me, where he comes and does this ritualistic rape.

FILMCLIP

10:16:47:22 -10:16:49:14

(ENGLISH)

Don’t you fucking look at me!

Isabella Rosselini

10:17:12:16 -10:18:02:08

(ENGLISH)

I played the scene and I had to sit in front of him with my legs open and I am naked with my blue velvet robe and I have my underwear but then he punches me and I have to fly off and every time I flew off, the blue velvet robe opened and you see the underwear. So David said if I see the underwear, it defeats the horror of this scene, so you have to do the scene at least once without the underwear, because if the robe keeps on opening at least it is a blur but at least people don’t see the underwear.

I take the underwear of and I say to Dennis, I am sorry but  we have to do this scene, ok? I open my legs, do the scene and at the end of it Dennis looks at me, seeing that I am all red and embarrassed and says: don’t worry I’ve seen it before. He was a tough guy.

FILMCLIP

10:18:28:15-10:18:35:13

(ENGLISH)

Well, it aint much, but it is home.

How often does the train go by?

So often, you won’t even notice.

VOICE OVER

10:18:36:24 -10:19:00:08

(VOICE OVER/ ENGLISH)

In 1980, John Landis’s The Blues Brothers came out. The film is about the brothers Jake and Elwood Blues – played by John Belushi and Dan Ackroyd – two small-time criminal musicians from the bottom of society who decide to get their old blues band back together for one last gig – all in an effort to save the orphanage where they were raised from closing down.

FILMCLIP

10:19:03:14 -10:19:13:09

(ENGLISH)

What are you doing?

Making dinner, you want some?

No..

Tomorrow we got to get the band back together.

John Landis

10:19:14:15 -10:19:41:23

(ENGLISH)

Johnnie and Danny really hit it off, they became profound friends and Danny had a passion for, essentially black American music, rhythm and blues, and he got John kind of interested in rhythm and blues. It’s a long story because what happened was they sort of came up with these characters Jake and Ellwood as a way to perform rhythm and blues.

John Landis

10:19:45:04 -10:19:50 :23

(ENGLISH)

And this is where he wrote.

Yes.

Facing the window?

Yes Every day, very precise hours.

VOICE OVER

10:19:51:15 -10:20:16:03

(VOICE OVER/ ENGLISH)

Landis wanted to make a film out of The Blues Brothers from the get go, but the studio hesitated and The Blues Brothers had to content themselves with warming up the audience on a newly launched TV show called Saturday Night Live. They were a huge hit, which led to a record contract. The album in turn was just as successful, and suddenly it wasn’t so difficult to get the film made anymore.

John Landis

10:20:16:10 -10:20:45:23

(ENGLISH)

So suddenly Universal turns around and they’ve got this project where it is the number one selling record in the world, the number one movie, starring John Belushi in it, and they are on the number one TV-show in the United States and they thought “wow”!

One of the reasons that we were lucky..they said to us: can you have this movie in theatres in August, which was about ten months away. And there was no script!!

And of course I said: Absolutely!

John Landis

10:20:47:14 -10:20:48:15

(ENGLISH)

It’s also anal.

John Landis/ Interviewer

10:20:54:02 -10:21:15:06

(ENGLISH)

So, Ingmar Bergman loved The Blues Brothers..

I think that is very funny, and I am sorry I didn’t know that when he was alive. But that’s one of the things about movies, once you make a movie it is like having a child, its like “bye bye”, it goes out in the world and has all kinds of influence and relations that you know nothing about.

John Landis

10:21:16:09 -10:21:18:15

(ENGLISH)

He has many musicals.

John Landis/ Interviewer

10:21:21:00 -10:22:41:00

(ENGLISH)

Do you like the films of Ingmar Bergman?

I do like the films of Ingmar Bergman. And I like the parodies of the films of Ingmar Bergman. One of the things about Bergman was that he was very bold and whenever you do something different or for the first time, it is very hard to understand for a later audience the impact of that. I mean now The Seventh Seal is like a joke, you know. The image of Death and..playing chess with Death and..The Seventh Seal it becomes..it is like a cliché. But at the time it was so radical and startling..

No there are a lot of Bergman films that I just love, and there is some where I thought: what the fuck!? I didn’t like Virgin Spring when I saw it, cause I thought: this is like a medieval revenge play, and then I realized: oh, wait a minute, it is a medieval revenge play. It was unpleasant to me when I saw it. I only saw it years ago, I never saw it again. But like Persona, I have seen three or four times and I really enjoy that picture. And I saw it with my friend Greg who just was like “zzz”.

FILMCLIP

10:22:59:20 -10:23:06:12

(ENGLISH)

Jake La Motta and Jimmy Reeves in the Cleveland arena, La Motta is undefeated but he is well behind on points..

VOICE OVER

10:23:07:17 -10:23:53:02

(VOICE OVER/ ENGLISH)

Raging Bull is Martin Scorsese’s masterpiece from 1980. The film is in Ingmar Bergman’s VHS collection and portrays the rise and fall of boxer Jake La Motta. The destiny of an emotionally disturbed and intensely jealous man. Despite clearly being insane in the film, La Motta takes on a sympathetic quality. This is Martin Scorsese’s speciality – taking the despised, deranged, ostracised members of society, and giving them life, dignity, a story. Jake La Motta is a fascinating character, but also so distressing that Scorsese doesn’t want to return to him, or to any of his other famous maniacs for that matter.

FILMCLIP

10:23:53:06 -10:23:55:23

(ENGLISH)

Get away!

Open the door!

No!

Martin Scorsese

10:23:57:16-10:24:08:19

(ENGLISH)

I don’t want to be around them again, I don’t want to revisist Raging Bull, why should you want to do that? They are interesting to me at that time and place, I never look at the films, I don’t really look at them anymore, after I make them.

VOICE OVER

10:24:11:04-10:24:39:10

(VOICE OVER/ ENGLISH)

Martin Scorsese’s interest in alienation and insanity, comes from his life growing up in New York. His parents were of Italian heritage – from Sicily on his father’s side, which can explain his interest in the Mafia in films like Casino, Goodfellows, and the TV series Boardwalk Empire. Scorsese received a staunchly Catholic upbringing, and at first wanted to become a priest.

Martin Scorsese

10:24:42:12-10:25:10:17 

(ENGLISH)

I grew up in an area that was very very very tough and I saw the worst, very often, in people. I also saw the best. I knew what it meant to be of help to them spiritually, because I saw the priest trying. That’s why I couldn’t make it, I don’t think I could. I never could, you have to be, it is a major calling, whether you believe in God or not.

VOICE OVER

10:25:12:18-10:25:25:17

(VOICE OVER/ ENGLISH)

As a child, Scorsese suffered from asthma. When the other kids were doing sports and running around, his family took him to the movies instead. And it was in the darkness of the movie theatre that he developed his passion of films.

Martin Scorsese

10:25:25:22-10:26:42:02 

(ENGLISH)

I think it was back..was it -58? I was in a Catholic highschool here, but I had just been asked to leave a preparatory seminary which I failed out of for years, I was attending to be a priest and I found myself back in a Catholic highscool after the preparatory seminary so very much these thoughts were in my mind, the themes were there. And I remember seeing The Seventh Seal, I forget why I went to see, although it became, at that time I was becoming aware of foreign films and reading subtitles and different cultures. Of course Italian films were normal to me, basically. I mean it was Italian, British and American films. But the Swedish…the first one that drew my attention was The Seventh Seal, I was always interested too in a historical narrative, so period pieces and the middle ages. But I wasn’t prepared for what I experienced watching The Seventh Seal which was a overpowering experience. Particularly in a religious sense.

I don’t know if I understood all of it, I don’t know if I still do.

I do know that it became somewhat of an obsession and I went to see it many times.

VOICE OVER

10:26:45:14-10:27:00:07 

(VOICE OVER/ ENGLISH)

Scorsese doesn’t like to revisit his own films, though he often returns to Ingmar Bergman’s. In part for inspiration, but also because of his tireless desire to understand what the inscrutable Ingmar Bergman was doing.

Martin Scorsese

10:27:04:08 -10:27:09:23

(ENGLISH)

The Silence, somewhat incomprehensible to me, but beautiful. I always think about it.

VOICE OVER

10:27:10:14-10:27:14:15 

(VOICE OVER/ ENGLISH)

The problem with Ingmar Bergman’s films is that they’re not explanatory.

Martin Scorsese

10:27:17:07-10:27:52:03 

(ENGLISH)

Probably a couple of years before and I would see like Monika and sexy Sweden movies. Pictures of the women splashed over..it is probably one frame of the picture that has this but they splash it all over the theatre. And, you know, I didn’t know, I was also very much involved in Roman Catholicism at the time. There was the condemned list and most of Ingmar Bergman’s films were on those. But I did get a dispensation to see Smiles of a Summer Night. To no avail, I didn’t understand it, I was 15.

FILMCLIP

10:27:52:15 -10:27:59:02 

(SWEDISH)

Aren’t we supposed to help the audience?

No, absolutely not.

Are you sure?

Yes.

VOICE OVER

10:28:00:21 -10:28:05:02   

(VOICE OVER/ ENGLISH)

Despite Ingmar Bergman’s impenetrability, Scorsese still didn’t give up.

Martin Scorsese

10:28:05:11 -10:29:00:05

(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, a lot maybe. But you knew that there was something special that you were going to see. And it was going to provoke you creatively, especially if you had decided to start to make your own pictures. The major influence I would say was the inspiration of Bergman, the opening of the mind – is that at all possible? Making you feel that anything could be done. Storytelling, visually and with dialogue. Looking right at the camera, speaking, all of those sorts of things. This was the key element I mean for me with Bergman. Primarily what was most inspiring all along was of course the constant debate, the spiritual debate, the transcendent debate 

Martin Scorsese

10:29:04:24 -10:29:36:09

(ENGLISH )

That’s what really started the compulsion to see Bergman pictures, even though I didn’t understand a lot what was happening. Each film was a little conversation with himself. It is almost like he didn’t care who saw the pictures. I mean of course you did, people saw the films but at a certain point he just made them. One continuous conversation with himself and the people around him and we still grapple with those ideas. We are all there, that’s why his pictures are not going to be out of fashion.

FILMCLIP

10:30:05:14 -10:30:39:22

(ENGLISH)

I listen to Adolf Hitler! Immortal leader of our race. And to the order for which he stands..One great cause. Sacred and invincible.

Hey, what’s going on?!

Those bums won their court case so they are marching today.

What bums?

The fucking Nazi party..

Illinois Nazis..

I hate Illinois Nazis.

Heil Hitler.

John Landis

10:30:42:10 -10:30:48:11

(ENGLISH)

All movies are political, all films are political, whether or nnot they are intended to be.

John Landis

10:31:02:11 -10:31:26:20

(ENGLISH)

Would I say I was a political film-maker? I certainly think, I try to be, but you don’t want..When you say political that implies that you are trying to push an agenda or polemic on someone and if someone feels they are being pushed in a direction they will resist it, so for me, mostly, you want to entertain people.

John Landis/ Interviewer

10:31:30:05 -10:31:43:09

(ENGLISH)

This is cool, what is this?

The library.

Wow, now this is a rich man’s, this is a real luxury to have a library like this.

VOICE OVER

10:31:44:02-10:32:03:15

(VOICE OVER/ ENGLISH)

Through his very entertaining films, John Landis nevertheless managed to shape opinion, and to some extent change the world. With The Blues Brothers,he managed to breathe new life into a musical heritage that had fallen by the wayside, and the film is full of soul stars like Aretha Franklin, James Brown and Ray Charles.

John Landis

10:32:04:02 -10:33:12:20

(ENGLISH)

That movie really bring back rhythm and blues, in 1979 when we made that movie, disco had come, so Motown was over! Stax was over. People like Wilson Picket and Aretha Franklin and James Brown couldn’t get arrested. All music was Abba and The Begees.

Very white, I mean, people say to me: how did you get those extraordinary people to be in the movie? Easy! They were out of work! You call them up. Hey – you want a job?

I mean, to give you an idea of how different it was when we made that movie. Universal studios’ record label wouldn’t take the soundtrack. They said who would buy this music? And Atlantic, a “race” label, took the record and even they, Ahmed Erdogan and I had a big fight because he refused to put John Lee Hooker on the album saying quote “too old and too black”.

And so it was with great pleasure, five years later, John Lee Hooker had a platinum album. So it was like “Ha!!”

John Landis

10:33:14:19 -10:33:29:10

(ENGLISH)

That is wonderful, in your library to have a shelf of books about you, which is great.

I am sorry you must stay here.

John Landis/ Interviewer

10:33:30:10 -10:34:42:20

(ENGLISH)

I always feel like an outsider. In fact, I’m like aggressively an outsider. I have very little time for nationalism or racism or religion, in general. And I find myself having to control myself when I am dealing with people in the cloth or clergy people, because I think: who are you to tell me you speak for God?

I remember when president Bush, George Jr, said that he spoke to God, God spoke to him and I thought: excuse me, doesn’t that make you psychotic? Isn’t that what Charles Manson said?

Wasn’t that what son of Sam said?

Why are you giggling? Look! Look at her!

Stop!

But ultimately, my movies I hope are not confusing, I am hoping they are just entertaining. I don’t want people to think: Oh I have been taught a valuable lesson. Fuck that! Who wants that?!

FILMCLIP

10:34:59:22-10:35:26:05

(FRENCH)

Go to my office! I said, my office!

Is it true you told them I am often late?
No.

Did you tell them or not?

I said because of the buses, yes..

Why did you say she said that? I do my job!

Your trial is up!

But I do my job!

Go change and see me at my office.

No.

VOICE OVER

10:35:29:02-10:35:46:13

(VOICE OVER/ ENGLISH)

The Belgian brothers Jean-Pierre and Luc Dardenne broke through in the 90s, and have since enjoyed great success with films that like Rosetta depict an alienation at the bottom of the European welfare state. But the path that led them to start making films wasn’t an obvious one.

Luc Dardenne

10:35:49:05-10:36:34:20

(FRENCH)

We were forbidden to go to the cinema or watch TV. Our father was a strict catholic. He forbid us, because to him film equalled sex. At our house watching film was a violation to that ban. We did go to the cinema anyway, but the real discovery came in school. Where we saw Bergman, Bresson, Truffaut, Godard, Bertolucci, the first films. Through school we learnt about film.

VOICE OVER

10:35:39:02-10:36:57:07

(VOICE OVER/ ENGLISH)

In the beginning of their careers, the Dardennes brothers shot documentaries in the socially deprived suburbs of their home city of Seraing. When they went over to making fiction films, they were inspired by the documentary form of expression in depicting characters who are down-and-out, unemployed, or illegal immigrants.

Luc Dardenne

10:36:59:15-10:37:41:14

(FRENCH)

Rosetta for example. For her it is all about: if I don’t have a job I will die. Not just socially – but I will die. I will seize to exist, I am nothing. She is afraid of dying, for real. Maybe she is exaggerating the importance of work, but put yourself in her situation. She lives in a trailer with a mother who drinks and prostitutes herself and constantly lies to her daughter, who has to take care of her.

In that situation, if I don’t have a job, what am I?

Jean-Pierre Dardenne

10:37:54:03-10:38:15:13

(FRENCH)

The workplace and the every day routines used to be a must, But at the same time there was a solidarity, you would fight for oyru dignity. It has partly disappeared. Nowadays there are those who are within and those who are outside. And those outside is a growing number.

FILMCLIP

10:38:17:02-10:38:18:10

(FRENCH)

Your residence permit.

How much?

VOICE OVER

10:38:19:00-10:38:32:14

(VOICE OVER/ ENGLISH)

Their breakthrough film, La Promesse was shot on location in Seriang, and is about a teenage boy and his father who exploits illegal immigrants for cheap labour, and rents out dilapidated apartments to them at exorbitant rents.

VOICE OVER

10:38:35:11-10:38:41:11

(VOICE OVER/ ENGLISH)

The fact that the brothers constantly return to questions of alienation is closely linked to their background.

Luc Dardenne

10:38:42:23-10:39:21:23

(FRENCH)

It is said that if somebody sneezes in Seraing, the whole of Belgium is sick. That is where you take the temperature, the city is an indicator of the social climate. We rediscovered the city when we started filming there. Our childhood city was not recognizable.

There was unemployment, empty streets, stores shut down. The poorer part of the city was completely abandoned. We saw people who are alone, and that’s what we want to put on film. The lonely ones.

John Landis

10:39:59:14-10:40:07:20

(ENGLISH)

Does this island have these kinds of sunsets all summer?

So Ingmar did this for me?!

John Landis

10:40:09:06-10:42:26:09

(ENGLISH)

There are certain world class film makers that share something, which is that they are recognized as world class film makers and artists but not in their own country and I was with Fellini in Rome and he had no respect in Italy. His last two or three movies hadn’t made money, so he was not considered bankable and it was like, you know, Fellini. The Italians..And I’m going: It’s Fellini!!!

Same thing with Bergman and same thing with Satyajit Ray in India, they still don’t like Ray. And he is like their greatest film maker, he is a world class artist, no respect in India. This leads me to two things that are interesting. One thing is this weird lack of respect in your own country, which I don’t know what that is about but it is international, but them the other remarkable thing to me, because unfortunately I’ve lived through this where people I know and work with, then die and become mythological and that’s a very strange thing. Michael Jackson, you know. John Belushi, my friend John, died a terrible death. We’re not going to think of John that way. They become these legendary, these mythological figures and I don’t know what I think about that. I don’t know if that is bad, but I know it is weird and I think that being here at Bergman’s house. From now on when I think of Ingmar Bergman I am going to think of his films but now I am also going to think of his incredible house, incredible place! And I’m getting emotional, I’m sorry. That’s so unlike me, its just, it is extraordinary for an individual to have that kind of legacy and he may have been a schmuck! Who knows but man! He has left this body of work that is forever. The End. Stop. Cut.