Word: bergman
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TIME: Young people who saw Bergman's films in the '50s were often overwhelmed with an almost religious conviction. And the religion was that film...
...domineering Swedish tragedian and the nebbishy American comedian have in common? Plenty. Both created original scripts from their experiences and obsessions. Both worked fast--at least a movie a year for most of their long careers--and relatively cheap. Both forged long relationships with their sponsoring studios. And Bergman was a strong influence on Allen's work: from his New Yorker parody of The Seventh Seal ("Death Knocks," in which the hero plays not chess with Death but gin rummy) to a cameo by the Grim Reaper in Love and Death and, more deeply, the inspiration for the theme...
WOODY ALLEN: I agree. For me it was Wild Strawberries. Then The Seventh Seal and The Magician. We knew that Bergman was a magical filmmaker. There had never been anything like it, this combination of intellectual, artist and film technician...
Later he'd speak to me by phone from his oddball little island [Faro, where Bergman lived his last 40 years]. He confided about his irrational dreams: for instance, that he would show up on the set and not know where to put the camera and be panic stricken. He'd have to wake up and tell himself that he is an experienced, respected director, and he certainly does know where to put the camera. But that anxiety was with him long after he had created 15, 20 masterpieces...
...knew he was Ingmar Bergman, but maybe he didn't. He didn't get to view his reputation from the outside...