It’s been over a decade since Ingmar Bergman muse Liv Ullmann has been behind the camera with the actress-director staying relatively quiet throughout featuring only in a handful of film roles as well.
I kept the story and everything, but I thought maybe if Julie is thinking something I’ll let her say it.
Something like Ebola, the idea is to keep them out of here — we don’t want to see them, this is none of our business. But it is true that we have less full-on conversations these days. But I could be on the wrong side, because I’m not learning. You spent some time in the ’70s making Hollywood films, or even European films with Hollywood actors.
It certainly sounds like a welcome return for Ullmann, though her absence as a helmer was never supposed to be this long in the first place.
Throughout the ’00s, Ullmann was eyeing an adaptation of “A Doll’s House” with scribe Kjetil Bjornstad and had names like Cate Blanchett, Kate Winslet, Kevin Spacey, Annette Bening, Ralph Fiennes, John Cusack and Stellan Skarsgaard attached at point or another before things fell apart in 2007.
In a way I think “Miss Julie” has more strength today than when Strindberg wrote it. I have to find a course where they take old people who forgot to learn how to do it. We always have smartphones to fill time we might spent chatting with strangers. One of those was 1970’s “Cold Sweat,” in which you starred alongside Charles Bronson. I love all the people I’ve acted with, maybe with exception of him.
You’ve said that you don’t really do technology, social media, etc. [Laughs] I am going to be out of the world soon, and I still read the news in newspapers. James Mason, who was also in the movie, told me, “I’m going to live so long that I can see that it doesn’t work to be rude like Charles Bronson.” But I’m sure he was nice.
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The actress and filmmaker Liv Ullmann is most often associated with Ingmar Bergman, the director with whom she made several films (among them “Persona” and “Scenes from a Marriage”) and with whom she remained close until his death. Maybe the audience will think it’s similar to what’s going on today.
Firstly, an article dating back to December 2011 revealed that Ullmann was scouting Ireland as a potential location for an adaptation of August Strindberg‘s classic Swedish play “Froken Julie” (or “Miss Julie“) — a fascinating, controversial work exploring power, sexuality, class, identity, love and gender set in 1874 which will see Ullmann “use Irish actors as servants and British as the masters of the house.” Perhaps just as exciting as Ullmann’s return with such strong material, though, is news that she may have one of the best actresses of this generation on board to star.