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Roy Andersson Poster

Biography

Jump to: Overview (2)  | Mini Bio (1)  | Trade Mark (7)  | Trivia (8)  | Personal Quotes (10)

Overview (2)

Born in Gothenburg, Västra Götalands län, Sweden
Birth NameRoy Arne Lennart Andersson

Mini Bio (1)

Roy Andersson was born on March 31, 1943 in Gothenburg, Västra Götalands län, Sweden as Roy Arne Lennart Andersson. He is a director and writer, known for Sånger från andra våningen (2000), En kärlekshistoria (1970) and En duva satt på en gren och funderade på tillvaron (2014).

Trade Mark (7)

Gentle lighting so that shadows are never pitch black
Stationary camera, long takes
Stiff caricaturing of Swedish culture
Meticulously designed sets
Long tableaux shots
Bleak social criticism
Absurdist comedy and surrealism

Trivia (8)

Lars von Trier once described Andersson as the only Palme d'Or competitor he truly fears.
In 1975, he took a 25-year break from film directing.
Finances his films by making commercials. He also spent much of his professional life working on advertisement spots, directing over 400 commercials.
Ingmar Bergman was his inspector at the film school in Sweden he attended.
Village Voice branded him the "slapstick Ingmar Bergman - wacky yet depressing".
Is a fan of Luis Bunuel, Vittoria De Sica, Federico Fellini and Samuel Beckett.
His most important source of inspiration is painting and its history, and photo history as well. Especially the expressionism they had in Germany between the two World Wars.
Is the author of two books.

Personal Quotes (10)

I'm one for solidarity. A society where one shares, and feels responsibility towards others. Unfortunately, we've had a period where to look after one another is seen as old-fashioned. This is the path Sweden has taken politically. But it's evident that it hasn't worked out. It is a painful insight, which I think people will start to realise more and more.
I'm trying to show we have to care for the little we have left. I want to show the vulnerability, and the weakness we carry.
[on the motivation behind A Pigeon Sat on a Branch Reflecting on Existence] In (Bruegel's) painting, Hunters in the Snow, the birds appear to be speculating: 'What are the humans doing down there? Why are they so busy?'... A Pigeon Sat on a Branch consists of a bird's panoramic view of the human condition, in which the bird not only reflects on human existence but also worries deeply about it, as I do myself. The pigeon is astonished that humans do not see an approaching apocalypse, though it is in man's ability to avoid destroying the future for themselves. A Pigeon Sat on a Branch shows the looming apocalypse and offers the possibility to believe in our capacity to avoid it.
[on the wide shot] I think that the wide shot tells a lot about the human being that a close-up can't. About their place in the world. The wide shot defines the human being more than the close-up because, for example, the room where the person is tells about his tastes, his life. Even if it's not home, you can read the history of a person better in a wide shot. When you read this wide shot, there are so many elements that make the picture more tragic.
[on lightening in cinema] Nowadays I prefer lighting without shadows. There should not be a possibility for people to hide. They should be seen. They should be illuminated all the time. That's what I mean when I say "light without mercy." You make the people, the human beings in the movie, very naked.
[on the meaning behind A Pigeon Sat on a Branch Reflecting on Existence] The tension in existing between the banal and the serious; the wide spectrum of life, of existence. For me, there are three themes that are the most important. One is the lack of empathy, which is a very bad thing - especially nowadays - as it shows an increasing lack of respect. Vulnerability is also one of my themes. I am so sad if I see vulnerable people being humiliated. Humiliation is also a theme that preoccupies me.
[on his mission as an artist] ...the small human being... (who) symbolises all of us. I'm trying to show what it's like to be human and to be alive.
[on audience] The audience should not find control over what they've seen. They should not feel comfortable. Well, they should be comfortable in the sense that it should be nice for them to sit and watch the movie, but they should not be very sure of what it's about. Is it humorous or tragic? In my opinion, in my films a larger portion is comedy than tragedy. But I know that many people think the contrary. I prefer comedy, but not a comedy that very easily read. As I said before, you shouldn't be too comfortable or sure of where you are. But of course the comic side of our existence is greater than the tragic side. There's more comedy than tragedy in life. But it depends on how you see it.
[on his passion for making films] There are some subjects that I'm dealing with all the time. The vulnerability of the human being. Humiliation, when people humiliate each other and when they humiliate themselves.
I was going to be an author, but I saw so many good movies.

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