“I think

In July 2007, the world of cinema lost the legendary filmmaker, one of the greatest and most influential of the 20th century, in the personality of Ingmar Bergman at the age of 87. Ten years ago, the Cannes Festival gave him the 50th anniversary of the demonstration, which was not distinguished. 2001: “Everything I had ever wondered about was to do a good work of the craftsman.”

“We knew that there was another level to get to him”

Martin Scorsese, the director of the absolute Cinephilia, has never reminded me how much the discovery of Bergman’s cinema has had a profound impact on his career as Bergman’s documentary.

In This extractScorsese emphasizes the expectations and challenges that every new Bergman film was to encourage filmmakers to encourage the highest level; It also describes Bergman’s films as a continuous conversation with and those around him, whose topics remain relevant today.

“When Bergman’s film came out, which was very common, we knew that there was another level where he was going to lose you. You knew that something special you were going to see and was going to provoke creatively. You feel that everything is possible ”.

“This film causes violence at its highest artistic level”

If Bergman did not delay the transition to some of the torpedo on certain colleagues, such as Jean-Luc Godard, whose films were found “Completely dead, uninteresting cinematic and infinitely boring”Or even a citizen Kane D’SON Wilde, whom he found “Boring Boredom” And from which “Actors’ performances are worth nothing”On the contrary, he rented the singularity of the Scorsese approach in his work, especially in the taxi driver.

In an interview, the journalist asks him what the confrontation between the film’s violence and the treatment of violence in the films, which echoes the attempted murder on March 30, 1981 against Ronald Reagan.

The Shots were a certain John Warnock Hinckley, the younger hit the lungs and on the left side, Reagan only sentenced him to death. In the following survey, US police discovered the shooter’s fascinating shooter for Martin Scorsese movie taxi driver. And especially for Iris’ character, a teenage prostitute portrayed by Jodi Foster.

Bergman establishes a clear demarcation between violence, which has artistic value and violence, which he calls “dirty” and “pornographic”, which he denies that he has no connection with the work.

“You know, in any form of art today, there is aggression and violence. Sometimes aggression and violence are pure, and sometimes they are dirty, a kind of pornographic violence.

I think Mr. Scorsese’s film, a taxi driver, is a film about violence at the highest artistic level. And if there is a connection between Mr. Reagan’s situation and this film, I think the artist cannot be responsible for it, because all over the world, there are people who use art in the wrong way. “

The issue of the artist’s de -responsibility, in the light of his misinterpretation or the use of his work, has never been resolved and always continues to fuel the debate.