Woody Allen on Ingmar Bergman

Richard Corliss in Time:

Woody_allen_0731He created indelible allegories of postwar man adrift without God. He was the movies’ great dramatist of strong, tortured women, and the finest director of actresses. More than any filmmaker, he raised the status of movies to an art form equal to novels and plays. Yet when Ingmar Bergman died on Monday, the popular description of him was: Woody Allen’s favorite director.

What did the domineering Swedish tragedian and the self-depreciating American comedian have in common? Plenty. Both created original scripts from their experiences and obsessions. Both worked fast — at least a movie a year for most of their long careers — and relatively cheap. Both forged long relationships with their sponsoring studios. And Bergman was a strong influence on Allen’s work: from his New Yorker parody of The Seventh Seal, “Death Knocks” (in which the hero plays not chess with Death but gin rummy) to a cameo by a Grim Reaper in Love and Death and, more deeply, the inspiration for the theme and tone of Interiors and Another Woman.

More here.  [Thanks to Asad Raza.] And bonus clip from Bergman’s The Serpent’s Egg, 1977: