ILI? EII? IEI?
Ingmar Bergman
ILI? EII? IEI?
IEI > ESI
Fe-INFp?
ENFJ
Last edited by Sol; 07-30-2019 at 10:28 AM.
updated: I'm leaning on EII-Fi 9w8 for him at this point. He sounds incredibly static in his speech and his movements look kind of abrupt and sometimes out of rhythm as happens for Se-PoLR types. He alternates between dreamy ruminative haziness and sudden flashes of anger when he's trying to make some point, a combination of attitudes displayed by 9s with an 8 wing.
Last edited by silke; 06-28-2018 at 09:25 AM.
Bump.
...
Scenes from a Marriage originates from the image of a successful and happily married couple sitting on a green velvet sofa being photographed for a magazine feature. This image provides the opening scene of the series. Bergman claimed to have met those people before. He had been friends with a Danish couple who were always pleasant, bountiful, and who never got drunk, just charmingly tipsy. They always said the right things, and even when they had the flu they still managed to be chirpy.
'I remember they irritated me so intensely, that I once tried to seduce the wife (this is over twenty years ago). I failed, of course, and that made me even more annoyed. I did it in pure desperation just to bloody well show them. Suddenly I pictured them sitting in my old sofa and being interviewed. And I thought: 'now I'll get them'…On 27 September, a few days before shooting is due to start, Björnstrand goes for a medical check-up. There are many twists and turns to this story, yet according to his wife, the writer Lillie Björnstrand, the check-up was at Bergman's insistence, under the premise that the role was so demanding. Björnstrand protested that he was in robust health, but the SF company doctor prevailed and carried out the examination. The diagnosis was high blood pressure and he was placed under strict doctor's orders: no alcohol, no sex, etc. Otherwise, he warned, the actor would be at risk of cerebral haemorrhage and paralysis. On the other hand, the doctor saw no reason why he should pull out of the shooting, despite Lillie's entreaties.
'Gunnar was frightened to death. He couldn't sleep, couldn't banish the thoughts of death and paralysis from his mind. It was sheer hell. We stayed awake during the nights that remained before he was due up at the film shoot in Dalarna.' When he arrives at the studio the next day, the atmosphere is strained. In his book of interviews Vilgot Sjöman recounts a question he asked Bergman that day: 'You look so goddam smug when you speak of Gunnar's illness.' Bergman laughed and said: 'Well, of course it is wonderful that Gunnar is so off-color and unwell when heäs to play this sort of part. Imagine if I'd gotten a sun-tanned, hale-and-hearty guy to play someone worn out and ailing!'
It is disagreeable to think that the director to some extent welcomed the illness for the sake of the film, yet the situation was to take a further turn for the worse. Björnstrand is so upset by the news that he decides to get a second opinion, and is examined by the heart specialist Clarence Craaford. The results were the exact opposite: his blood pressure was considerably lower, there were no risks either for a heart attack or a cerebral haemorrhage. Craaford also discarded half of the medicines previously prescribed for Björnstrand and after a week he stopped taking any medicine and felt fit once again. It is impossible to apportion any blame, but is clear that Björnstrand himself believed that his director had manipulated him in some way into believing that he was ill. Although Björnstrand did not say so in so many words, the perceptive Sjöman discerned something in the relationship between the two:
"There is a tension between Ingmar and Gunnar. It has evidently increased the last few days. What it consists of I don’t really know yet. With Gunnar I notice a feeling of not being free; an idea that Ingmar has a deep contempt for actors, 'And when you've done a good job, you still don't get the credit for it yourself.' With Ingmar I notice an aggressiveness which he cannot camouflage: his tone is sharp, and Gunnar tightens up still more. Gunnar is silent or aggressive in return. Ingmar seems disappointed. Gunnar too. How is that tension going to affect the film?"
Even after he is declared fit, Björnstrand is still shattered. The role is a difficult one, made all the more difficult by the suspicion that his friend Ingmar has deceived him. Bergman continues to appear unaffected. At one point the make-up artist Börje Lundh is worried that Björnstrand's appearance has changed; that he has become noticeably thinner. They ask Bergman what they should do, since the first half of the film is already in the can: 'It doesn't matter if he's a bit hollow-cheeked. Good thing, in fact. Lose a bit more weight!'
Bump.
His "Persona" dwells a lot on psychology. Interestingly it's about an actress who loses her ability to speak after spending too much time on stage. I can't type him based on this as it sounds like either a critique of FeNi or something more existential. I have a hard time typing him from the films he's made. I'm inclined to agree with Radio simply because i don't have a better idea at the moment.
Ingmar Bergman - ISTJ - Gorky
LII friend of mine really likes him. Maybe Ne/Si values?
IEI
you should watch the interview op posted. he mentions in the first few minutes that he was a dreamer living in his own reality as a child. it's no surprise that all the greatest filmmakers (tarkovsky, godard, kubrick for example) were Ni leading types
That's quite a bold statement.Originally Posted by soundofconfusion
Anyway, EII
EII have 4 dimensional Ni too. Ni directors are able to visualize their inner worlds and mental frameworks on the screen. it makes them the most creative filmmakers. I'm curious, what makes you think that he's an EII? it's the only other type that I would consider for bergman
Well, he talks just like me, doesn't seem to values Fe and overall he strike me as an Ij type.
fair enough. might read more about him in the next few days and post here again.
LSE-Si
Sorry you were all wrong.
I agree lots of great filmmakers are Ni. Like Roman Polanski and Lars von Trier. And often Creative subtype
The decisive thing is not the reality of the object, but the reality of the subjective factor, i.e. the primordial images, which in their totality represent a psychic mirror-world. It is a mirror, however, with the peculiar capacity of representing the present contents of consciousness not in their known and customary form but in a certain sense sub specie aeternitatis, somewhat as a million-year old consciousness might see them.
(Jung on Si)
I don't buy IEI. They are more hopeful and admiring of others. Has lots of past anchors as well and not really zoning towards the future. Dislikes societal hierarchies. Might be democratic type. ILI?
MOTTO: NEVER TRUST IN REALITY
Winning is for losers
Sincerely yours,
idiosyncratic type
Life is a joke but do you have a life?
Joinif you dare https://matrix.to/#/#The16Types:matrix.org
yeah he does mention in the interview that it's very important for him that he wants everyone that he works with to be treated equally. he also mentions that it's very important that his actors feel save and secure, and he has a very good eye for their feelings. I think in the interview you can really see that he has highly developed Ni and Fi, and I'm beginning to lean more towards EII.
https://www.youtube.com/watch?v=4jLkM6Afwgs
(at the beginning). I don't think he has a coldblooded communication style. it makes ILI very unlikely
I think he seems EII - Creative
Here he is interviewed in Swedish
The decisive thing is not the reality of the object, but the reality of the subjective factor, i.e. the primordial images, which in their totality represent a psychic mirror-world. It is a mirror, however, with the peculiar capacity of representing the present contents of consciousness not in their known and customary form but in a certain sense sub specie aeternitatis, somewhat as a million-year old consciousness might see them.
(Jung on Si)
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