Владимир Аракин - Практический курс английского языка 3 курс [calibre 2.43.0]

things go directly to the emotions. What I need is to come in contact with others.

S.: I see that, but it raises a problem I'm sure you've often discussed. Your films have emotional impact, but since they are also the

most intellectually difficult of contemporary films, isn't there sometimes a contradiction between the two effects? How do you react

when I say that while I watched "The Rite", my feelings were interfered with by my baffled effort at comprehension?

B.: Your approach is wrong. I never asked you to understand, I ask only that you feel.

S.: And the film asks me to understand. The film continuously makes us wonder what the spectacle means.

B.: But that's you.

S.: It's not the film?

B.: No. "The Rite" merely expresses my resentment against the critics, audience, and government, with which I was in constant

battle while I ran the theatre. A year after my resignation from the post, I sat down and wrote the script in five days. The picture is

just a game.

S.: To puzzle the audience?

B.: Exactly. I liked writing it very much and even more making it. We had a lot of f u n while we were shooting. My purpose was

just to amuse myself and the audience. Do you understand what I mean?

S.: I understand, but certain members of the audience can't resist pointing out that Bergman is sending messages, he thinks, but

what are they and why?

B.: You must realize — this is very important! — I never ask people to understand what I have made. Stravinsky once said, "I

have never understood a piece of music in my life. I always only feel."

S.: But Stravinsky was a composer. By its nature, music is non- discursive; we don't have to understand it. Films, plays, poems,

novels all make propositions or observations, embody ideas or beliefs, and we go to these forms —

B.: But you must understand that your view is distorted. You belong to a small minority that tries to understand. I never try to un-

derstand. Music, films, plays always work directly on the emotions.

S.: I must disagree. I'm afraid I didn't make myself clear —

B.: I must tell you before we go on to more complicated things: I make my pictures for use! They are made to put me in contact

with other human beings. My impulse has nothing to do with intellect or symbolism: it has only to do with dreams and longing, with

hope and desire, with passion.

S.: Does it bother you when critics interpret you through these items?

B.: Not at all. And let me tell you, I learn more from critics who honestly criticize my pictures than from those who are devout.

And they influence me. They help me change things. You know that actors often change a film, for better or worse.

S.: May I ask you how "The Touch" differs from the one you intended?

B.: I intended to paint a portrait of an ordinary woman, for whom everything around was a reflection. Bibi Anderson is a close

friend of mine — a lovely and extremely talented actress. She is totally oriented towards reality, always needing motives for what she

does. I admire her and love her. But she changed the film. What Bibi Anderson did made the film more comprehensible for ordi nary

people and more immediately powerful. I agreed with all her changes.

S.: You use music less and less in your films. Why?

B.: Because I think that film itself is music, and I can't put music in music.

S.: If you could have shot all your films in colour, would you have?

B.: No. Because it is more fascinating to shoot in black and white and force people to imagine the colours.

S.: Do you work in colour now— to any degree — because you feel that the audience demands it?

B.: No. I like it. At the beginning, it was painful, but now I like it.

S.: Why do you use so much dialogue in your films?

B.: Because human communication occurs through words. I tried once to eliminate language, in "The Silence", and I feel that

picture is excessive.

S.: It's too abstract.

B.: Yes.

S.: Some people have criticized your films for being too theatrical — particularly — the early ones. How do you answer this

charge?

B.: I am a director —

S.: But aren't the two forms different?

B.: Completely. In my earlier pictures, it was very difficult for me to go from directing in the theatre to directing films. I had al -

ways felt technically crippled — insecure with the crew, the cameras, the sound equipment — everything. Sometimes a film succeed-

ed, but I never got what I wanted to get. But in "Summer Interlude", I suddenly felt that I knew my profession.

S.: Do you have any idea why?

B.: I don't know, but for heaven's sake a day must always come along when finally one succeeds in understanding his profession!

I'm so impressed by young directors now who know how to make a film from the first moment.

S.: But they have nothing to say. (Bergman laughs.)

ESSENTIAL VOCABULARY

Vocabulary Notes

1. point n 1) the sharp end., tip, as the point of a pin (needle, knife, stick, pen, pencil, weapon, tool, etc.); 2) a small dot or a full stop, as 4.6 (four point six); 3) the essential thing, part, the most important thing in a speech, story, action, etc., e. g. The point is that it is

no ordinary case. I don't see your point. You've missed the whole point, to the pointrelevant to the subject, as to come (to stick, to be)

to the point, e. g. I wish he would come to the point, to speak (to stick, to keep, to be) to the point,e. fir. Your answer is not to the point,

ant. to be off the point,e. g. Your answer is off the point, to make a point of doing smth.to regard smth. as essential, e. g. He made a point of reading English every day. 4) a single item; to agree(or disagree) on some points,e. g. We disagreed on several points. 5)

special quality, as one's weak (strong) point, e. g. Singing is not his strong point. 6) purpose, use, e. g. What's your point in coming?

There is no (not much) point in doing that. His remarks lack point. 7) a precise or particular moment, as a turning point in one's life,

e. g. At this point in his reflections he paused. When it came to the point (when the moment for action came), he refused to help, to be

on the point of doing smth.to be about to do smth., e. g. He was on the point of leaving. 8) a stage or degree, as the boiling (freezing,

melting) point; 9) a unit measuring gain or loss, e. g. He scored 23 points. 10) a position from which something is viewed, as a point

of view, e. g. My point of view is different.

point vt/i 1) to call attention to, e. g. He pointed to a large building. 2) to point out.to show, e. g. The teacher pointed out several mistakes in the composition (to the student).

pointless adj without aim or purpose, meaningless, as pointless questions, remarks.

2.dream n 1) thoughts or images passing through the mind during sleep, as to have bad dreams, to awake from a dream, e. g. I had a funny dream last night. 2) something imagined, e. g. She had dreams of being an actress.

dream vi 1) to imagine, fancy, e. g. Don't waste time dreaming. I never dreamt of suspecting him. 2) to have dreams, see in a