Faithless The Movie in Agawam, MA

• Info
• Cast & Crew

• Genre: Drama
  
  Synopsis:
  A woman's (Lena Endre) affair with a friend of the family (Krister Henriksson) destroys her marriage and makes her daughter a pawn in the feud with her husband.
  
  Release Date: 01/13/2001
  Running Time: 154
  
  Rating: R - Restricted
  
  
• Cast:
  Marianne: Lena Endre,Bergman: Erland Josephson,David: Krister Henriksson,Markus: Thomas Hanzon,Isabelle: Michelle Gylemo,Margareta: Juni Dahr,Martin Goldman: Philip Zanden,Petra Holst: Therese Brunnander,Anna Berg: Marie Richardson
  
  Crew:
  Director: Liv Ullmann,Writer: Ingmar Bergman,Producer: Kaj Larsen,Executive Producer: Maria Curman,Director of Photography: Jörgen Persson,Art Direction: Göran Wassberg,Costume Designer: Inger Pehrsson E.,Makeup Artist: Cecilia Drott-Norlen,Film Editor: Sylvia Ingemarsson,Sound Mixer: Gábor Pasztor
  
  Production Companies:
  SVT Drama,Yleisradio,Classic S.r.1,Svensk Filmindustri,Nordisk Film & TV-Fond,Norsk Rikskringkasting,Svenska Filminstitutet,Zweites Deutsches Fernsehen,Radiotelevisione Italiana (RAI) [it]
  
  Distributors:
  Bedford Entertainment Inc.,IDP Distribution,Samuel Goldwyn Company
  
  Notes:
  Production Notes -Notes provided by IDP/Samuel Goldwyn- Directed by Liv Ullmann from a script by Ingmar Bergman and starring Lena Endre and Erland Josephson, FAITHLESS is a story of passion and deception among Sweden's artists and actors. Already a sensation at Cannes, where Lena Endre's bravura lead performance was justly celebrated, the film will be featured in the New York and Toronto film festivals this fall, followed by a U.S. theatrical release in January of 2001. Lyrical, passionate, and enigmatic, FAITHLESS begins with a writer named Bergman (Erland Josephson, who co-starred with Ullmann in Bergman's 1974 Scenes From a Marriage) summoning his muse in the form of a memory. Marianne (Lena Endre) appears to Bergman as he sits down to write a script about a love affair that ended in tragedy, and is soon transformed into the star of the film that the director is writing. Marianne Vogler is a successful actress, happily married to Markus (Thomas Hanzon), an orchestra conductor much in demand for overseas concerts, and devoted to her young daughter, Isabelle (Michelle Gylemo). Into this easy equation steps family friend David (Krister Henriksson) a film director notorious for his reckless attitude towards relationships. Marianne's closeness to David develops into attraction, and he responds despite his friendship with Markus. The two of them slip away to Paris to indulge in an affair that then continues upon their return to Sweden. Eventually Markus, who has suspected the affair all along, confronts the faithless couple, his wife and friend, in the very bedroom they have been meeting in. He demands divorce and custody of Isabelle. Marianne begs Markus to let her have Isabelle, but Markus refuses. Marianne's marriage, her family, and her husband's friendship with David are all destroyed, and the tragedy does not end there. Despite the film's dark themes, Lena Endre triumphs with her radiant performance. Onscreen for most of the film, Endre's Marianne is a woman whose passion and intelligence makes her choices a story of unforgettable emotional power. FAITHLESS is Liv Ullmann's second film based on a Bergman screenplay (1997's Private Confessions was the first), and the story is based on a real event in Ingmar Bergman's past. Liv Ullmann's affinity and understanding of Bergman's work comes from a longstanding personal and professional relationship with the writer-director. In addition to starring in two of his greatest films: Persona (1966) and Autumn Sonata (1978), Ullmann lived with Bergman for many years as his muse and companion. Filled with references to Bergman's films and to his life as a man and an artist, FAITHLESS is timeless meditation upon relationships between women and men, art and love. DIRECTOR'S STATEMENT The unfaithfulness described by Ingmar Bergman in his new film script is not a conscious unfaithfulness or an act of will. To live in a state of unfaithfulness at the turn of the millennium is simply a way of life that more and more people choose to live and traditional moral dictates disappear. Two men and a woman desire to play an adult game -- let us love a little dangerously, let us be happy together, let us forget what is good and what is evil. Then, suddenly, everything collapses into tragedy. All are unfaithful to one another. But the victim is the child who has been used in the adults' own game. We follow the three in their lovemaking dance -- and witness the child that sits in the middle without understanding her own role. We also see the old Bergman who, once upon a time, was a figure in the lovemaking dance but is now in his study, feeling pangs of conscience for what he did to the woman he loved then. Faithless is based on a real event in Ingmar Bergman's life. He tried to write about this for many years but was only able to do so when he found the inspiration for the script in the character and temperament of an actress. It was she who brought the situation to life for him and embodied the role for him. Erland Josephson plays the older Bergman. Lena Endre plays an actress who visits him during the writing of the script as well as the woman he loved. Krister Henriksson plays the lover and Thomas Hanzon is her world-famous married husband. As the director of this film, I believe the light in the story is that we can forget the hours that were full of suffering. What we must never forget is what this taught us. -- LIV ULLMANN LIV ULLMANN (DIRECTOR) Born in Tokyo of Norwegian parents, Liv Ullmann went to drama school in London. She made her stage debut at Rogaland Theatre in Stavanger (Norway) and her first film role came in 1957. Noticed on stage by Ingmar Bergman, she became one of his favorite actresses, and he gave her the lead role in some of his most distinguished films including Persona (1966), Cries And Whispers (1972), Scenes From a Marriage (1973) Face to Face (1975) and Autumn Sonata (1977). She received a `Guldbagge' (Swedish Oscar) for Best Actress for her performance in Bergman's film The Shame. She has several Oscar nominations for Best Actress and won the American Film Critics' Prize four years in a row. The role as Kristina in Jan Troell's The Emigrants and The New Land earned Liv Ullmann a Golden Globe and launched her international career. In 1992, Liv Ullmann wrote and directed her first feature film, Sophie, which was awarded three main prizes at the Montreal Film Festival. In 1995, she adapted and directed Sigrid Undset's famous novel Kristin Lavransdotter. In 1996 Liv Ullmann began her collaboration with SVT Drama for whom she directed Private Confessions, based on an Ingmar Bergman script. Private Confessions was selected at the 1997 Cannes Film Festival in the Un Certain Regard section. On stage, Liv Ullmann has played a number of major roles in Australia, Norway, Sweden, in Los Angeles, on London's West End, and on Broadway in New York. Regarding her dramatic art, it has been said that she is a combination of `earthly beauty and unaffected acting style'. Nevertheless, in recent years she has moved away from stage and film roles to concentrate on scriptwriting and film directing. Liv Ullmann has been a UNICEF goodwill ambassador for 20 years and has - over the same period - been chairman of the IRC (International Rescue Committee). In 1976, she had her debut as an author with the autobiographical work `Changing', and then wrote `Tidvatten ' in 1984. Both books have been translated into several languages. INTERVIEW WITH LIV ULLMANN (APRIL 2000) How does it feel to be selected as part of the official competition at this year's Cannes Film Festival? LU: Normally, I don't believe that works of art should compete with each other, but I am happy because the film is part of the main entry in Cannes. And in this wonderful display for the movie I see a great opportunity, because the more media attention an art film such as Faithless gets, the better it is. Indeed, art films must be shown as giving as much pleasure and happiness as any other film. So I am tremendously happy. You were in Un Certain Regard in Cannes with another Bergman script in 1997, Private Confessions, which focused on much the same themes: unfaithfulness and a broken marriage. What attracted you in Faithless to make you want to direct it? LU: We already had a wonderful response in Cannes in 1997 and great reviews. It was very good, especially for Pernilla August who was in the lead role and is such a wonderful actress. However, I don't think these two films have the same theme. Private Confessions was based on the life of Ingmar Bergman's parents, although I treated it like any other love story. Also, it was set at a very different time: at the turn of the century. Faithless is much darker. Ingmar, in fact, wrote a dialogued script without any indications of days or places. I did the storyboard and could give more prominence to some of the characters such as Bergman himself and the child. For me, one of the main themes in Faithless is the writer trying to remember and create. Thanks to the actress' experience, he gives a different color to the story from what he might have done, had he been sitting alone, writing. What is Faithless really based on? LU: I think some elements are based on events that happened to Bergman a long time ago, but much of it did not happen, that I am sure of. It's an episode of his life that disturbed him for a long time and still lives within him. At what stage did you get involved in the project? LU: From the very beginning, he sent me the dialogued script, exactly two years ago. Then I wrote several drafts of the storyboard, and then worked on the filmmaking process itself. These two years were very tough because as much as I know Bergman, it was very heavy material to work on. Did Bergman have any influence on the interpretation of the script? LU: No, he didn't know what I was doing and this was very important. I told him, "This is a very personal film and I think you should do it yourself." But he said he just couldn't go through it. So I offered, "Why don't you do the pre-production and the post-production and I'll be happy to do the studio work for you." But he didn't want to. So I said, "Then the movie is mine and I will have to have my own interpretation." He agreed and said it would make the film even more interesting. So he didn't see or know anything about the film until I had completely finished it. This film is very emotional and powerful, moving from an adult game between two men and a woman to a tragedy. And as is often the case with divorces, the child is taken as a hostage and becomes a victim. What is your personal view on Marianne's behavior, and what lessons could be learned from it? LU: When Ingmar wrote the script, he only saw one victim: the woman. For him, the unforgiving thing was that the lover didn't show the woman more love and care. Maybe that was unforgiving, but what about what the mother did to the child? It is terribly unforgiving, as is what the father did to the child and what the lover did to the child. So everyone was faithless to the child. And even in this adult game of unfaithfulness, the child became unfaithful without knowing it because she knew--and she was silent. Watching the film, you may start thinking: "I will treat people around me more carefully. I will think about my choices--who do they involve, etc." That is the message of the film, although I don't really believe a film should have a message. Is it true that Bergman wrote the script with Lena Endre in mind? LU: Yes, when he writes a script he always thinks of certain people that he would like to have in the lead roles. Personally, I wouldn't have thought of anyone else than Lena for the part. That was a privilege for me. In Faithless, she has given one of the best portraits of a woman I have ever seen. Lena Endre's interpretation is remarkable because she gives true warmth to her part and adds a touch of lightness to the original script. As an actress yourself, how did you instruct her on her part and get that much emotion out of her? LU: As a woman, she could not really hide anything from me. She is a wonderful stage actress, but she knew that when she would do "the actress thing," that is to say act instead of being real I would see it because that's where I come from myself. I was then so proud of her when she showed she could be just a real woman. I marvel at what she did. For instance, we only used two takes for the wonderful scene where she talks with her daughter about leaving her. For the first take, she gave a stunning performance as an actress, and I thought "what a wonderful actress." But with the second take, she gave me a woman and that's of course what I kept. It's extraordinary to see something like that in a film. She really trusted me from the first day we met, and I her. For me, it's very important to work with stage actors because you know they have a very good discipline. Lena knew her lines, and if I would suggest continuing a scene a bit further, she would do so because she knew her text and was so prepared. It was an incredible pleasure to work with her. Was it your first collaboration with Lena Endre? LU: No, we had already worked together on my second feature film, Kristin Lavransdotter. We have the same kind of craziness and fantasy; we say let's do this and we do it, and we know that without too many words. You sometimes throw yourself into things... What about the other actors, how did you choose them? LU: With Erland Josephson (Bergman in the film), I would do anything to be able to work with him. Who else could really play the writer who has been named Bergman? He was perfect for the part of this man who lives in isolation on an island, growing old, remembering, longing, creating. Concerning Krister Henriksson who plays the lover, I had never worked with him, but I think he is one of the best stage actors in Sweden. He has also played in many films and has a great sense of humor, which you need for this very somber part. He was in much less of Bergman's dialogued script than in the film we show. You see, we often leave the monologues and show what she, Lena, is talking about. I had already worked with Thomas Hanzon on Private Confessions, loved it and just wanted to work with him again. What about the director of photography? LU: I had already worked with Jorgen Persson on my first film, Sofie. Sven Nykvist was ill when we made Faithless. To work with Sven is to work from heart-to-heart. With Jorgen, sometimes you have to discuss more, but he is a wonderful cinematographer. He did great work on Sophie and on this film. Faithless is based on long monologues. How did you go about shooting it to give it the necessary pace and to make it more visually interesting? LU: That was really the difficulty, because the vision was very much in my head. The toughest thing was to keep this vision alive inside of me and whenever I had to compromise, I had to make sure it would not be to the detriment of my own vision of the finished film. I am actually very proud of Faithless because it took craftsmanship and I didn't really know I could do it. I knew I could work with actors, use frames to make a specific look in the film, but I didn't think I could tango between all the different. But it worked; for once I take pride in my craftsmanship. How involved are you in the editing process? LU: I don't leave the cutting table. That's where your whole work, your vision, turns into a story. I had used different editors for my previous films but they were not available. So for Faithless I worked with a lovely woman editor, Sylvia Ingemarsson, which was important because it is very much a woman's film, and it was great. I don't understand directors who are not involved in the editing, because it is in the editing that your vision becomes clear. With Faithless, it is hard not to think of some of Bergman's films in which you acted, such as Persona, Scenes from a Marriage or Autumn Sonata. What specific elements from your past as an actress did you bring into this film? LU: The woman is called Marianne for instance, and I don't think it is an accident ...You bring what you know from your experience, and of course, my experience is having a wonderful relationship with the camera. What I tried to tell Pemilla August and Lena Endre is that the camera is your friend and will love you if you are true and real. What provides you the most pleasure: being in front or behind a camera? LU: For sure being behind the camera. You sit behind and see things happening in front of you. I never had the ambition that my actors should do things the way I would have chosen to do it as an actress. I never want to intervene, unless you have a very bad actor and are tempted to show him how to do a scene. I have no desire anymore to be in front of a camera. I want to write, direct, set the frame work because you can then get all the best talent within the frame. Ingmar Bergman once said, "For me, cinema is above all theatre ...In fact, everything is theatre, from sexuality to our relationships with God." Do you agree with him? LU: I don't agree with him at all. God is within you, not theatre. Theatre is fantastic, a bridge between you and the audience. It comes to life now and then. Cinema is an experience that people can share, again and again, because it is recorded forever. Therefore, it has to be as true as you can make it. This shared experience is very rare nowadays, as people isolate themselves in front of their computers. But no, it is not like our relationship with God, but a part of it. You used different settings, different places. Was it fun? How long was principal photography? LU: I loved the scenes shot in Paris for instance. We went there first to locate the shooting scenes, and then I came home and wrote the screenplay according to what we had seen, because Paris was not in Bergman's original script. Then we spent three days there and had so much fun. We used 50% of the material we shot, but I was so sad not to be able to use the other 50%. The whole shooting lasted for two and a half months. We actually ended on the day we were supposed to and stayed under budget. This film was produced by Swedish television SVT like Private Confessions... LU: Yes, although Private Confessions was first shown on TV and then as a film. Faithless, on the contrary, was made entirely as a feature film and will eventually be shown on television. With Under the Sun nominated at the Oscars and your film in competition in Cannes, Swedish cinema is making headlines again. What is your view on the state of Swedish cinema and the Swedish film industry as a whole? LU: I am Norwegian, but the Swedes do have a Norwegian woman now at the head of the Swedish Film Institute, lose Kleveland. I think Swedish cinema will always have a great stable of filmmakers because so many incredible directors have been--and are--able to bloom freely in Sweden. Such is true with the late Bo Widerberg, and Jan Troell who should make more movies because he is a genius. There is also, of course, Ingmar Bergman, Lasse Hallstrom and all the new generation of directors. What are your future projects? LU: I have written a script on the story of Anne Frank that was finished long before Faithless. Then there is a wonderful project about the Norwegian violinist, Bull, who lived 100 years ago. I would also love to make something about elderly people and show a different kind of love story. I know so many wonderful elderly actors who are not used-especially women. For me the challenge would be to use these actors who know so much about life. But right now, I really want to think, rest, and `smell the flowers'... INGMAR BERGMAN SCRIPTWRITER) Born in Uppsala (Sweden), Ingmar Bergman was a student of art history and literature at the University of Stockholm. He later worked at the Royal Opera House in Stockholm before accepting a job in the script department at Svensk Filmindustri and writing Torment (1944). He made his directorial debut with Crisis (1945) and drew international recognition for such early works as Suntrner with Monika (1942) and Sawdust And Tinsel (1953). Appreciation of his talent grew with Smiles Of a Summer Night (1955) as he entered one of the richest periods in his career with The Seventh Seal (1957), a game of chess between a medieval knight and death, and Wild Strawberries (1957). His studies of the darker side of the human condition have made him one of the outstanding auteurs of world cinema. A selection of his most distinguished work includes the Oscar winning The Virgin Spring (1960), a further exploration into the cruelty of medieval Sweden, Oscar winning Through a Glass Darkly (1961), and Persona (1966). Working with cinematographers Gunnar Fischer and later Sven Nykvist, he has employed a regular troupe of actors among them Liv Ullmann, Erland Josephson, Max Von Sydow and Harriet Andersson, to create a series of masterpieces renowned for their photographic artistry and haunting imagery. His versatility is displayed in works as diverse as the harrowing Cries And Whispers (1972), The Magic Flute (1974), Autumn Sonata (1978) with Ingrid Bergman and Liv Ullmann, and third Oscar winner for Best Foreign Language Film, Fanny And Alexander (1982), with which he announced his retirement from filmmaking. He is still active as director at the Royal Dramatic Theatre (Dramaten) in Stockholm and also for Swedish TV. Most recently, Ingmar Bergman wrote the screenplays for Bille August's Palme d'Or winner The Best Intentions (1989), and for Liv Ullmann's Private Confessions (1997). KAJ LARSEN (PRODUCER) Kaj Larsen has been working in film since 1970 in various capacities such as art director and production manager. He has worked on many internationally acclaimed feature films including Ingmar Bergman's Autumn Sonata, Fanny & Alexander, and After The Rehearsal, Bille August's The Best Intentions, and Andrei Tarkovski's Sacrifice. Faithless is his second collaboration with Liv Ullmann after Private Confessions, selected in Un Certain Regard at the 1997 Cannes Film Festival. INTERVIEW WITH KAJ LARSEN When did you first hear about Faithless? KL: I first heard about Faithless in April 1998 through Maria Curman, Executive Producer on Faithless, who at the time was Head of Drama at Swedish television SVT (she has since been promoted as General Manager of SVT). Liv Ullmann and Lena Endre were already on board. It was interesting to follow Liv Ullmann and see how she turned Ingmar Bergman's dialogued script into a shooting script, implementing her own vision and making it her own film. How was the financing put together? KL: The project was produced by SVT Drama and co-produced with Svensk Filmindustri (also handling international sales), Classic Srl, the Italian public broadcaster RAI, the German TV ZDF, the Norwegian TV NRK and the Finnish TV YLE. The Swedish Film Institute and the Nordic Film & TV Fund also supported the film. What were the biggest challenges during the shooting? KL: Much of the action takes place in the writer's small study with a big bay window facing the open sea. We couldn't shoot it on location because there was a problem with the light, so we had to build the whole study in a studio at SVT Drama Department, and use a few exterior shots from the island of FAro, from where you can see into the study. Another challenge was Lena Endre's very demanding part. It was really thrilling to see her work and her dedication. Which scenes did you film on location? KL: The scenes at the theatre were shot at Stockholm's Royal Dramatic Theatre, Dramaten. The ones at the villa were shot outside of Stockholm with a very open architecture, perfect for our needs. We also shot three days in Paris where we were very lucky with the light and the weather. We worked with a very small team there, getting around in many different places. The scenes with Erland Josephson walking around outdoors, alone, were shot on the island of Faro -where Ingmar Bergman lives. The whole shooting took place from August to November 1999. How was your collaboration with Liv Ullmann? KL: Liv Ullmann had an extremely strong vision of the film and she managed to keep that vision alive all through pre-production, production and post-production. She also had a very practical and human way of solving all the different problems that occurred. I certainly hope she will make more films in the future. Who do you think Faithless will appeal to? KL: The film will appeal to anyone interested in love and relationships, timeless concerns. Faithless is like a journey that makes you understand and recognize your own behavior and feelings towards one another, even the deep and darker side of ourselves. The film will also please those who enjoy very good acting. LENA ENDRE (MARIANNE) In 1987 Lena Endre started at the Royal Dramatic Theatre in Stockholm (Dramaten) where she made a great name for herself through her interpretations notably of Juliet (Romeo and Juliet), Solveig (Peer Gynt), Celimene (The Misanthrope) and Marie Steuber (Rummet och tiden), the last three under the direction of Ingmar Bergman. The same year, she left drama school in Stockholm and subsequently, achieved a breakthrough in the TV series The Department Store. Lena Endre's film and TV credits include Bille August's Jerusalem, Daniel Bergman's Sundays Children and Expectations, Richard Hobert's Run For Your Life, The Eye, YVhere the Rainbow Ends and The Birthday; Margaret Garpe's Hedda Gabler, as well as Ingmar Bergman's TV drama In the Presence of a Clown. She has won a number of prestigious prizes among others a `Guldbagge' (Swedish Oscar) for Best supporting role in Bille August's Jerusalem, the Best Actress Award at the Karlovy Vary International Film Festival for the film The Christmas Oratorio, and the same award at the Troy International Film Festival for the film The Eye. She was awarded Dramaten's prestigious O'Neill Fellowship. KRISTER HENRIKSSON (DAVID) Krister Henriksson started acting during his military service and later entered drama school in Malmo. He has worked at the Stockholm Municipal Theatre for over 20 years where he made his breakthrough in 1973 with the leading role in Peer Gynt. It was there also that he had the title role in the widely publicized five-hour performance of Harvey Flerstein's play, Torch Song Trilogy. Krister Henriksson came to Dramaten in 1993 where he had memorable roles in plays such as The Homecoming, A Winter's Tale and as the cavalry captain in Strindberg's The Father. In 1999, he received Dramaten's prestigious O'Neill Fellowship. In film he has appeared in The Christmas Oratorio, True Moments and Magic Stronger Than Life. He was awarded a Golden Ram for Best actor in Lisa Olin's Waiting for the Tenor - highly praised by the critics. His major breakthrough for TV came in 1992 with the SVT Drama film High Seas and in 1993 in A Fatal Affair. He has also played in Lars Noren's TV version of A Leaves in Vallontrosa and Kind of Hades. THOMAS HANZON (MARhl15) In 1982, Thomas Hanzon started his own theatre group, Teater Cameleont, which was active in Stockholm until 1985. He made his stage debut in the play Torch Song Trilogy at the Stockholm Municipal Theatre in 1985. Since 1989 he has been employed at the Royal Dramatic Theatre in Stockholm, Dramaten. There he has played the young Danceny in Les Liaisons Dangereuses, several roles in Ingmar Bergman's setting of Peer Gynt, both Tybalt and Romeo in Romeo and Juliet, Happy in Death of a Salesman, Joey in The Homecoming, Philante in the Misanthrope and Heiner in Personkrets 3:1. His latest role at Dramaten was in Celestina in 1998. Thomas Hanzon made his feature film debut with the leading role in Colin Nutley's The Ninth Company. He played Anna Bergman's young lover Tomas in Liv Ullmann's previous film, Private Confessions, also based on an Ingmar Bergman script. Hanzon also appeared in Yrrol, Against All Odds, Tic Tac and recently in Mikael Hylin's Hassel - There is no Mercy! On TV, Thomas Hanzon had one of the leading roles in SVT Drama's The Zone and Anna Holt. ERLAND JOSEPHSON (BERGMAN) Erland Josephson is one of Sweden's most esteemed actors, having played for some of the world's greatest filmmakers such as Angelopoulos, Bergman, Brusati, Cavani, Greenaway, Kaufman, Lizzani, Tarkovski, Szabo, Zetterling, Erland Josephson's first feature film was in Bergman's It Rains On Our Love (1946). He then became one of Bergman's closest collaborators, appearing in most of his films including The Hour Of The Wolf, A Passion of Anna, Fanny and Alexander and After the Rehearsal. Screen partner to Liv Ullmann in some of Ingmar Bergman's most famous films, including Cries And Whispers, Scenes From a Marriage, Face to Face and Autumn Sonata, Erland Josephson then acted in Liv Ullmann's own films as a director: Sophie and Kristin Lavransdotter. Erland Josephson's other international film triumphs include Andrej Tarkovski's The Sacrifice, Philip Kaufman's The Unbearable Lightness of Being, Peter Greenaway's Prospero's Books, Ivan Szabo's Meeting Venus, and Theo Angelopoulos' Ulysse's Gaze. On TV, Erland Josephson has most recently been seen in SVT Drama's productions As Leaves in Vallomrosa, In the presence of a Clown (Bergman), 77ze Tattooed Widow and Ivar Kreuger. His co-operation with Bergman has resulted in many stage performances at Dramaten such as A Doll's House, The Goldberg Variation, Yvonne, Princess of Bur gundy and The Backay. Erland Josephson is also active as an author. He has so far written seven novels, five autobiographical books, two volumes of verse, and a number of plays. During the 1960's and 1970's Josephson was director of Dramaten, chairman of the Swedish Actors' Equity Association and chairman of the Swedish National Theatre Association. JORGEN PERSSON (CINEMATOGRAPHER) Jorgen Persson is one of Sweden's most successful cinematographers, having worked on Lasse Hallstrom's Oscar winner My Life As A Dog and on some of Bille August's most acclaimed international films such as Palme d'Or winners Pelle The Conqueror and The Best Intentions, Jerusalem, House of Spirits, Smilla 's Sense for Snow, and most recently Les Miserables. At an early stage Jorgen Persson developed his interest in still photography. A student at the Swedish Film Institute's film school, he made his debut as a film photographer on Bo Widerberg's Go for it Roland! His work with Widerberg immediately followed with the internationally acclaimed Elvira Madigan and The.4dalen Riots. In 1970, Jorgen Persson worked for Roy Andersson on A Love Story and later for Vilgot Sjoman on A Handful of Love. His first co-operation with Hans Alfredsson won him the FSF Prize for Best film photography with The Simple-Minded Murderer. In 1985, Jorgen Persson filmed the internationally acclaimed My Life as a Dog for Lasse Hallstrom. His partnership with Bille August started in 1987 with the Oscar and Palme d'Or winner Pelle the Conqueror and continued with SVT Drama's The Best Intentions, Jerusalem, and international productions House of Spirits, Smilla's Sense of Snow and Les Miserables. Jorgen Persson worked for the first time with Liv Ullmann in 1992 on her feature film debut Sophie.