By Ray Pride Pride@moviecitynews.com

Forty years after I first embarked on the research for my biography, I ask myself if I can muster both the energy and the sagacity to find a fresh path through the murky forest that is Bergman’s legacy. Should I take a fictional approach to his life and films, as his son Daniel counsels me to do? Should I accept that one must question virtually everything Bergman ever said about himself or his work, that he was a serial fibber in matters emotional and professional? Or should I just expand and flesh out the original book, as Harvey Sachs did with his studies of Toscanini (first in 1978 and definitively in 2017)? As Oscar Wilde said, “The truth is rarely pure, and never simple.”

“Forty years after I first embarked on the research for my biography, I ask myself if I can muster both the energy and the sagacity to find a fresh path through the murky forest that is Bergman’s legacy. Should I take a fictional approach to his life and films, as his son Daniel counsels me to do? Should I accept that one must question virtually everything Bergman ever said about himself or his work, that he was a serial fibber in matters emotional and professional? Or should I just expand and flesh out the original book, as Harvey Sachs did with his studies of Toscanini (first in 1978 and definitively in 2017)? As Oscar Wilde said, “The truth is rarely pure, and never simple.””

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“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima