The Making of Fanny and Alexander (Fanny och Alexander)

THE MAKING OF FANNY AND ALEXANDER

Pictures from a film production can never be more than just that:

pictures from a film production.

The arcane processes, the magic, the violent spiritual and physical exertion -

these are glimpsed only occasionally.

What we see, in fact, is an album of memories,

images arbitrarily recorded by the mind's eye.

This can be interesting. It may even be entertaining.

The day before shooting started, we met to say hello,

to show ourselves at our friendliest,

and perhaps even to conjure up a certain excitement.

Here's our Fanny.

Hi. I play the role of Ester.

This is Fanny, and this is - What's your name?

Eva, right?

- Fanny, Jenny and Putte. - That's right.

This sounds strange, and I wonder if it's what I intended.

You see, I've completely forgotten what I wrote.

It no longer exists.

Now I'm just the director

who has a piece of material to work with.

This material is now in your hands. It's fantastic.

It's an incredible relief to see the actors take over.

But be careful with it, understand? - I'd better read it.

The first day of shooting is always dreadful,

so we decided to begin with something easy and pleasant.

One, two, three.

- What do you say? Will that do? - It was deafening.

I've been thinking about it. You've all got slippers on.

- Should we take them off? - I'm worried you might slip.

What do you think? It's a bit risky.

- I'll take them off. - Isn't it better without them?

But make sure you know where they are when you're not on camera.

Actually, it's better if you're not wearing slippers.

Before we begin, let's make sure there are no nails sticking up.

And then - Listen!

Wait a minute. Stop.

You'll have your torn pillow lying here.

Pick it up and whack Alexander over the head with it.

But not until we start shooting.

So I don't have a pillow in the beginning?

Yes, but you drop it here.

You won't hurt yourselves, will you? - No.

- Are you sure? - Yes.

Let's try it once, calmly.

Can I sit here so I don't have to run in and out?

I'm aiming from that teddy bear, so it will be a wide shot.

It's supposed to be.

If the girls can enter a bit later, I'll have time to pan across and back.

Here's what I'll do. Let's see. Right.

I'll yell -

No, wait.

- Should we use the cue light? - No.

We could push a button.

I'll yell "now," Anna and Maj, when it's time for you to rush in.

There'll be a slight delay.

- So we forget about "one, two, three"? - No, when they've already run in.

As soon as you see them disappear there, swing back over.

Let's try it.

Don't rush in after they've disappeared, until I yell "now."

All right, silence!

Silence!

Action!

Now!

Out!

Cut! Thanks, that was very good.

The war cry from the girls should come simultaneously.

But I'm sure it will.

How does it look? - I'm coming over a little too fast.

It took too long. The camera was there before they came.

Really? I'd better stand next to you and look at it

from your point of view.

Shall we give it a try now?

I'm afraid I'll knock off her wig.

Don't be. That's makeup's headache. It won't come off.

Shooting the autumn exteriors in Uppsala was quite stimulating,

since the city fathers had received us with unusual generosity.

We were allowed to redecorate the streets and plazas as we pleased.

You'll start there. Maybe not on "action," but a little later. We'll see.

This'll be your starting point.

- Will I be selling fish? - You certainly will.

As for you, you're out buying fish for your cook who's ill.

Let's not make him a hunchback.

- But you're not made up. - No. Eva told me to...

Should he have makeup? You're never made up.

- Well, they usually brush my hair. - Then go get it done, quickly.

- You've got to have a customer. - I don't have one.

You don't have one. I'll get you one. Just a moment.

You know how to do this, right? - Sure.

If I ask you to behead one, you'll do it?

You're here everyday without noticing what happens around you,

even though there are thousands of people about.

- Quiet! - Quiet o n the set!

Camera ready!

Action!

- Cut! - Cut! Back to your places, everybody!

Just a second.

- It's the woman in brown over there. - Right.

Bertil!

Nice, boys. Nice.

That was nice.

On the last take, you looked so damn happy walking around looking at everything.

But the dean of Uppsala Cathedral

was annoyed when we wanted to pull down his TV antenna.

Maybe he uses it to communicate with Higher Powers.

- Now, damn it! Let's go! - Let's get ready to shoot!

Quiet on the set!

Camera ready? - Yes.

- Camera. - Hold it.

Just a second.

We're waiting for the sun. - There's a hair trigger on this one.

Now! - Camera!

Action!

- Cut! - Cut! Everybody, back to your places!

Another take, please!

Let's put a shawl on this pretty girl.

- Wardrobe! - A dark shawl!

Ingmar's not in this film. He ended up on the cutting room floor.

You can go sit down on your throne.

Be prepared in case the sun comes out.

We have a lot of things to discuss.

Let's have lunch in peace and quiet, and then we'll meet -

Hell, we're not through yet. - No, but we can eat later.

That's right. We have one more setup, don't we? This one...

- It's the same camera position. - No. Sven wants a different one.

- Same set, in any case. - Yeah, but he's grumpy.

- He's irritable? - Yeah.

He's grumpy. He wants to stand up there. He claims we discussed it.

But I can't remember it. - On the contrary.

We had decided - We talked about it.

- Mr. Nykvist. - Sven and I agreed on it.

What did we agree on?

We agreed to shoot the theater from somewhere around here.

Here, right here.

Not from out in the street.

Really? I say we shoot it from here.

The director got it into his head that a cat, two horses, a huge wagon,

and an actor could all work in collaboration.

Goddamned cat!

There was no collaboration.

How was that sequence? The sun's moved.

We got sunlight on the horse.

That's all for today, thanks.

In film, "blocking" is the relation of the actors' movements

to the motion of the camera.

Lydia, Fürstenberg and Emilie are in here.

We'll get to you in a moment.

- Do I sit here? - Yes.

You'll walk - Alma doesn't have a shawl.

Sussi, Alma needs a pitcher.

- Coffee. - A coffeepot.

He needs a book to read while he sits there.

You don't need the cane. You've set it aside.

I'll take it.

Alma's supposed to have a pitcher - I mean a coffeepot.

No tray, nothing.

Yes, that's right. She should have a coffee cup too.

- Should it have coffee in it? - No. We'll do that later.

You can put it in your sleeve. That's excellent.

I'll fix that later.

This is a complicated scene. It demands some thought.

We'll start with you over here.

He should have a book to read. Can we get a small book?

Here we see 12 actors involved in their separate and highly detailed activities.

When she gets here...

you open the door, like so,

and let Dr. Fürstenberg out.

Lydia is still inside.

Dr. Fürstenberg comes out.

You've greeted each other earlier,

so you only nod faintly to each other,

as if to say that it's only a matter of hours.

Then you step over here.

You might take her hand in yours.

Right. Then you go over to the others.

Like so. Right?

Then you come out.

Come out for a moment - Then you step inside.

You wander out for a moment in confusion.

You stand here looking around, and then you go back in again.

And then you close the door.

And then you stand up...

to hear what's happened.

Then you go over and offer him some coffee.

You pour a cup for him. Then you stand here listening.

We'll give them a sign in here.

They'll open the door, and Lydia rushes out, crying.

Weeping profusely,

and running.

You run past the group here.

Oh, excuse me, dear.

One more time, Gunn dear.

We'll fix that later. Let's begin, please.

Look at Grandmother when she enters, both of you.

Sorry. I forgot to say "now."

You should look at her too.

He can reach out his hand, as if he wanted to touch her,

but she doesn't let him. She's furious with him.

He has allowed himself the luxury of failure.

Action.