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Old 03.15.2013, 06:18 AM   #17221
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Quote:
Originally Posted by Murmer99
 


The Silence (1963)

So this is probably my favorite Bergman film.

Along with Winter Light, it's probably mine, too.
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Old 03.15.2013, 08:04 AM   #17222
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Microcosmos is a cool flick.
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Old 03.15.2013, 11:34 AM   #17223
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heres the whole movie of MICROCOSMOS

http://www.youtube.com/watch?v=-zboRn6cImY
it's actually quite good. better to watch while listening to something else
the music and soundtrack to this movie is more silent then anything
or at least "nature noises"
quite good
i would recommend this for a new years eve party on mushrooms
we did it some years ago and mustve played it 6 times in a row
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Old 03.15.2013, 11:59 AM   #17224
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Old 03.15.2013, 02:42 PM   #17225
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Quote:
Originally Posted by demonrail666
Along with Winter Light, it's probably mine, too.

Have you seen the documentary titled "Ingmar Bergman Makes a Movie"? It follows Bergman as he goes through the process of making Winter Light. It goes really in depth as a screenwriter and film director named Vilgot Sjoman sits down with Bergman to learn about what he goes through to complete a film. On Winter Light, he handles the whole thing with exhausting precision. There's footage of rehearsals and stories about how much of a struggle it was to get the lighting just right. I learned quite a bit from this documentary, and found it inspiring. It was a very personal film to Bergman, and I believe his favorite among his own work.
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Old 03.15.2013, 03:03 PM   #17226
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Quote:
Originally Posted by Murmer99
Have you seen the documentary titled "Ingmar Bergman Makes a Movie"? It follows Bergman as he goes through the process of making Winter Light. It goes really in depth as a screenwriter and film director named Vilgot Sjoman sits down with Bergman to learn about what he goes through to complete a film. On Winter Light, he handles the whole thing with exhausting precision. There's footage of rehearsals and stories about how much of a struggle it was to get the lighting just right. I learned quite a bit from this documentary, and found it inspiring. It was a very personal film to Bergman, and I believe his favorite among his own work.

I've not seen the documentary but thanks for the recommendation. I'll definitely see if I can find it. Although I've seen quite a few of Bergman's films, I really don't know much about him at all, either about his life or motivations, anything.
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Old 03.15.2013, 03:27 PM   #17227
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In 1934, aged 16, he was sent to Germany to spend the summer vacation with family friends. He attended a Nazi rally in Weimar at which he saw Adolf Hitler.[8] He later wrote in Laterna Magica (The Magic Lantern) about the visit to Germany, describing how the German family had put a portrait of Adolf Hitler on the wall by his bed, and that "for many years, I was on Hitler's side, delighted by his success and saddened by his defeats".[9] Bergman did two five-month stretches of mandatory military service. - (wikipedia)
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Old 03.15.2013, 05:55 PM   #17228
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Father was Lutheran minister. Ingmar's brother received a "magic lantern" for Christmas, and Ingmar tricked him into trading. He was a rebellious brat, and figured a life in the arts would piss his parents off well enough. He began in the theater, working his way into the prestigious Royal Dramatic Theater. He wrote as well, and one of his scripts got turned into a movie. It was a matter of time before this theatrical genius was given a shot at making a film of his own. While he was popular enough in Sweden, it wasn't until Smiles of a Summer Night that the international audience took notice, and his next film, Seventh Seal, made him an arthouse star. For the next few decades, he'd spend the summer filming, the winter directing a play. "Theater is my wife, film is my mistress."

In the mid-70s, the Swedish authorities accused Bergman of tax evasion. He fled to Germany. It all got sorted out. He lived the rest of his life on the tiny island of Faro, where he filmed a number of bleak things.

He's been married five times and has had countless long-term relationships otherwise, Liv Ulmann maybe most famously. His last one, to a chick named "Ingrid" (no, not that one) was the longest. She seemed cool.

He retired from film with Fanny and Alexander in 1982, but continued to write. Shortly before dying, he added one more film to his oeuvre--Saraband, a sequel of sorts to Scenes from a Marriage. (The DVD of Saraband has a meaty "making-of" thing that would contrast well with the much earlier documentary.)

I think he's the greatest director in cinema history. But if that's too much, you have to agree he's at least one of them.
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Old 03.15.2013, 06:48 PM   #17229
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The fact Bergman and Antonioni died on the same day still freaks me out a bit. Godard would've been shitting bricks that day.
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Old 03.15.2013, 10:08 PM   #17230
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Quote:
Originally Posted by evollove
Father was Lutheran minister. Ingmar's brother received a "magic lantern" for Christmas, and Ingmar tricked him into trading. He was a rebellious brat, and figured a life in the arts would piss his parents off well enough. He began in the theater, working his way into the prestigious Royal Dramatic Theater. He wrote as well, and one of his scripts got turned into a movie. It was a matter of time before this theatrical genius was given a shot at making a film of his own. While he was popular enough in Sweden, it wasn't until Smiles of a Summer Night that the international audience took notice, and his next film, Seventh Seal, made him an arthouse star. For the next few decades, he'd spend the summer filming, the winter directing a play. "Theater is my wife, film is my mistress."

In the mid-70s, the Swedish authorities accused Bergman of tax evasion. He fled to Germany. It all got sorted out. He lived the rest of his life on the tiny island of Faro, where he filmed a number of bleak things.

He's been married five times and has had countless long-term relationships otherwise, Liv Ulmann maybe most famously. His last one, to a chick named "Ingrid" (no, not that one) was the longest. She seemed cool.

He retired from film with Fanny and Alexander in 1982, but continued to write. Shortly before dying, he added one more film to his oeuvre--Saraband, a sequel of sorts to Scenes from a Marriage. (The DVD of Saraband has a meaty "making-of" thing that would contrast well with the much earlier documentary.)

I think he's the greatest director in cinema history. But if that's too much, you have to agree he's at least one of them.

I'll agree aesthetically he's one of the greatest, but I'll say this about this one negative thing about him-he had generally one style.

Put it this way, Kubrick was able to do the almost painfully slow films like 2001 (and no that isn't a slight on him as that's one of my fav. films), but yet he clearly had the talent to pull off a comedy like Dr. Strangelove or a horror like The Shining. Honestly I couldn't ever imagine Bergman being able to pull off a comedy film. Don't get me wrong he was incredibly brilliant at what what he did and his style, but for me a level of greatness has to be attributed to their ability to do more than one style of filming.

Sure you can do the long shot of a slow scene, but could you do a scene that tried to kick things up a level.

OPEN THE FLOODGATES OF WRATH!
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Old 03.15.2013, 10:37 PM   #17231
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tired to watch Poltergiest.....then Far Out Man.....then Betty Blowtorch.....and now Waking Life

it's a shitty night and i need another goddaamn dirnk and maybe change up movies
i bet the Wacky Wild Kool Aid Style video would look fucked on a giant Aquos tv
was thinking of hooking up the beta machine to it to see what it looks like
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Old 03.15.2013, 10:37 PM   #17232
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tired to watch Poltergiest.....then Far Out Man.....then Betty Blowtorch.....and now Waking Life

it's a shitty night and i need another goddaamn dirnk and maybe change up movies
i bet the Wacky Wild Kool Aid Style video would look fucked on a giant Aquos tv
was thinking of hooking up the beta machine to it to see what it looks like
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Old 03.16.2013, 12:51 AM   #17233
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had to put on MIDNIGHT RUN
it's been a brutal night and it's time to lay down and die
http://www.youtube.com/watch?v=m_tWmEfrJcs
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Old 03.16.2013, 02:47 AM   #17234
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Quote:
Originally Posted by h8kurdt
I'll agree aesthetically he's one of the greatest, but I'll say this about this one negative thing about him-he had generally one style.

Put it this way, Kubrick was able to do the almost painfully slow films like 2001 (and no that isn't a slight on him as that's one of my fav. films), but yet he clearly had the talent to pull off a comedy like Dr. Strangelove or a horror like The Shining. Honestly I couldn't ever imagine Bergman being able to pull off a comedy film. Don't get me wrong he was incredibly brilliant at what what he did and his style, but for me a level of greatness has to be attributed to their ability to do more than one style of filming.

Sure you can do the long shot of a slow scene, but could you do a scene that tried to kick things up a level.

OPEN THE FLOODGATES OF WRATH!

I feel like most of the characters in Kubrick's films are merely a bunch of scribbles he put together rapidly. Rarely would he go beyond the superficial, making it an accumulation of cartoon characters without depth or meaning to their actions. It's probably the only little gripe I'd have with his movies sometimes... despite him being one of my favorite directors. I still find Lolita and Eyes Wide Shut very moving... and 2001 is an amazing experience. The music and atmosphere carry most of the film, because aside from the "relationship" between HAL and the crewmen, I feel like the film doesn't really say much. As for Clockwork Orange it's a similar deal, I love the look of the film... I admire the set designs, music, Kubrick's use of editing etc. but find that at the very end it just makes a joke out of Alex's crimes, making most of the film kind of cold and pointless.

Also, I wouldn't say that Bergman is a worse filmmaker merely because he never branched out into comedy and whatnot. He just wasn't the type. Looking at his films for what they are intended to be, they are much more compelling than Kubrick's in my opinion. It's also questionable to say he was incapable or not talented enough to pull off comedies when he never actually attempted to. One thing I'll agree on, is that much of his work is indeed dreary, and exhaustively so. I think he certainly evolved over time and didn't exactly repeat himself with every film either. If anything, he did explore similar themes but that's as far as I'd go. I can also understand going for Kubrick for the sheer entertainment value. I don't know, like I've said before... there's something magical about Kubrick's films and his style -- but I find the development of his characters a bit cluttered at times.

And I'd like to say once again that Eyes Wide Shut is his masterpiece. It did take me three watches to fall in love with it. Now I'll probably end up watching 2001 soon.
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Old 03.16.2013, 02:57 AM   #17235
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Fun little fact: Wild Strawberries was one of Kubrick's favorite films.

And apparently, Kubrick agreed with evollove's assertion:

"Your vision of life has moved me deeply, much more deeply than I have ever been moved by any films. I believe you are the greatest film-maker at work today" - Kubrick in a letter sent to Bergman.

Both great filmmakers in their own right, even if I prefer Bergman.
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Old 03.16.2013, 07:32 AM   #17236
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Old 03.16.2013, 08:34 AM   #17237
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I agree that Bergman can be slammed for being dour.

(On the other hand, there are a handful of early comedies which are good.)

But what a weird comparison, Kubrick and Bergman.

Bergman never had a social satire like Dr. Strangelove.

But Kubrick never made a love-letter to the family like Fanny and Alexander.

Bergman never made a sci-fi film.

But Kubrick never made a quiet chamber piece with only two or three characters.

Bergman wrote his own stuff, mostly.

Kubrick developed scripts from novels, mostly.

Ultimately, Bergman was interested in interior life, Kubrick with social life. I don't get the comparison.

Quote:
Originally Posted by Murmer99
I feel like most of the characters in Kubrick's films are merely a bunch of scribbles he put together rapidly.

So true, because Kubrick cares more for ideas. On the other hand, not much politics in Bergman.


(I wonder how old Kubrick was when he declared WILD STRAWBERRIES his fav. Was he responding as an older man or as a young film enthusiast?)
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Old 03.16.2013, 08:42 AM   #17238
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i want to get inon this but im hungry and sleepy and i have futbol to watch

damn

briefly: bergman is at heart a playwright. he started wuth and went back to theatre. his films are plays. his obsessions the same and always personal. what made him a great filmmaker was nyqvist.

kubrick was first a photographer. the camera came first. what he put in it was second. which is why he could go from one place to another depending on script. also (we've said this before) not an "actor's director."

in a way these two are opposite and complementary.

btw joo guys watched the nyqvist documentary? light is my... something, i g=forget (need coffee/breakfast)

err hm oh, funny story (funny peculiar not haha)-- i have the tv version of fanny and alexander coming my way. yessssssssssss.
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Old 03.16.2013, 08:51 AM   #17239
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Quote:
Originally Posted by !@#$%!
briefly: bergman is at heart a playwright. he started wuth and went back to theatre. his films are plays. his obsessions the same and always personal. what made him a great filmmaker was nyqvist.

kubrick was first a photographer. the camera came first. what he put in it was second. which is why he could go from one place to another depending on script. also (we've said this before) not an "actor's director."

in a way these two are opposite and complementary.


You must spread some Reputation around before giving it to !@#$%! again.
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Old 03.16.2013, 09:54 AM   #17240
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You guys have missed my point. I'm not knocking Bergman in any way. I've enjoyed (is that the right word?) pretty much all of his films. My point was Bergman's pattern of films are in many ways similar to each other. The small films with 2 or 3 people pondering aloud about various philosophical questions was something he, along with Dreyer, were brilliant at but come on give me something else. Stretch yourself.

As for my choice of Kubrick he was the first director to pop into my head. My point was to show directors who showed a desire to stretch out. Why was Bergman happy to stay in a certain style of film?

To reiterate-I enjoy Bergman films a hell of a lot.

Quote:
But Kubrick never made a quiet chamber piece with only two or three characters.

Remind me aside from the first half hour, how many characters where in 2001?

Quote:
I feel like most of the characters in Kubrick's films are merely a bunch of scribbles he put together rapidly.

Paths of Glory? Spartacus?
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