interview Max Von Sydow
chatted with Nathaniel R on November 30th, 2007 @ the Pierre Hotel
Max
Von Sydow on Ingmar Bergman, Woody Allen, and his own rich history on stage and screen |
I have shaken hands with one or two major stars in my time writing for The Film Experience but never before have I shared a banquette with a cinematic legend whose films have already survived the passage of time. If you think of actors as the characters they play --and the great Max von Sydow suggests that you don't -- then you should note that I survived a chat with Jesus himself, the devil, Emperor Ming, Pelle the Conqueror and many more luminaries this Friday past.
I greeted Mr. von Sydow and his wife, both of who were fantastically friendly and talkative, in my broken Norwegian and we discussed Scandinavia for a few minutes. Much to my Nordic pleasure Mr. von Sydow actually said the word "uff" (one of my favorite Scandinavian words) within seconds. I can't possibly think of an intro that would do one of Ingmar Bergman's most important muses justice so let's proceed directly to the interview....
Nathaniel: Well, it's a pleasure to meet you. You're a legendary figure in cinema –I'm sure you've heard that over and over
Max Von Sydow: Uff.
Nathaniel: I want to talk about Bergman –well, are you tired of talking about Bergman at this point?
Max Von Sydow: Noooo. I'm not tired of --I'm tired about talking about myself! [laughter]
N: All right. Well, let's start with Diving Bell and then we'll go back to some earlier work. First of all with The Diving Bell and Butterfly I wanted to say that I completely loved your performance. I'm not a big cryer in the movies
MVS: No?
N: You totally got to me. Lately I've been really fascinated with actors who can project backstory with family members –fictional family members-- onscreen. So I was wondering how you prepare for something like that? You only had a couple of scenes with Mathiue Almaric.
MVS: Two scenes.
N: So how do you project father/son?
MVS: Well, it's... it—it just happens to be a very good screenplay. And the scenes –my scene-- is wonderfully written. I get screenplays and I'm rarely happy reading them but this one was... it was a sheer pleasure. I was so excited after having read it, I wrote a letter to Ron Harwood. I've never done that. I met him later in Los Angeles and he told me 'I've never got a letter like this before!' [Laughter]
N: He's a fine writer.
MVS: He's a good writer, yes. What is beautiful with my character -- the things is, although it's a small part, I get a chance to show two things: The relationship between the characters under normal circumstances when he shaves me but then also after the catatstrophe and the confusion and bewilderment. This awkward strange situation. The father doesn't know. He has heard about this thing with the alphabet but he hasn't exactly really understood. 'How do you do it? I just talk or what?' And…and how do I prepare? It's a matter of finding out who is this character? Why does he do what he does? Why does he say what he says? And… and what does he want to achieve in the scenes? It's always, for me, that is the most important part to find out in every scene to know exactly what do I --my character, what does my character want in this situation?
N: Your agenda.
MVS: Yes. Why am I here? Then, it's not a matter of 'what does he feel?'
N: So, you just let that develop.
MVS: Yes yes. I want to do that. In this case. What do I want to do? In the first scene I want to see my son. He's there. I want to talk to him. But I don't want him to shave me –leave me alone! [laughter]
I like the scene very much because these two character… they tease each other but they are doing it in a very tender way with great love and a sense of humor. It's wonderful. The second one: What do I want to do there? I want to communicate with my son and I just don't know how to do it. How should I put it? I want to talk to him. I want to comfort him. I want to –I want to help him somehow.
And then he says all the wrong things. 'So how are you? Not that's a stupid question' –yes yes. Than he, well, 'I don't know... I'm sorry I can't talk like this because I get all confused.' He wants to talk with him 'I am in the same situation as you are.' Which is –which is totally absurd and totally stupid in a way but he wants to say something to help the boy feel al little more at ease. 'You are shut up in your body and I am shut up in my apartment. I am too old…'
N: Trying to build a connection
MVS: Yes
N: Were you familiar with Mathieu Amalric before making the movie?
MVS: I didn't know him. I met him for the first time in front of the camera …which happens all the time. Unfortunately.
N: Then you really have to find that familial connection quickly.
MVS: This can be very absurd. I don't like this situation. I'd rather be at least a little bit acquainted with actors I work with. He's a very good actor. He has directed also. He's done a lot of good work.
N: I loved his performance in Kings and Queen.
MVS: Which I did not see.
N: That was when I first saw him. I was very impressed with him and I didn't recognize him the next time I saw him.
MVS: He's directed films also. He's going to be Blofeld in the next James Bond.
N: Oh! [editors note: Max von Sydow also played Blofeld in the 1983 James Bond film one-off Never Say Never Again with Sean Connery]
I want to go all the way back to Miss Julie (1951). Jog your memory.
MVS: Ahhh.
N: Your second film. It was only your second film. It won the top prize at Cannes.
MVS: It's a good film.
N: Were you at Cannes?
MVS: No
N: But it won the Cannes award so right from the start you had success in the cinema. Was that a very heady experience? What do you remember about that time period?
Next Page
Max Von Sydow on Marlon Brando, acting styles and working with Ingmar Bergman
