Bergman's film notes "Silence": Action is the only truth

1. The extension of the action. Anna washes from the bathroom, walks out, takes a look to the right outside the painting, walks to the closet and takes out the clothes, passes the half-open door that leads to the inner room, and the camera stops at the door, the bed in the inner room. Stewart was looking into the camera. This series of actions is divided into two nodes, one is Anna's glance out of the camera, and the other is East's gaze at the end. In this way, those who change their sights and emotions in the middle of the journey will use the “back” to act on the “front” and use the positive ones to explain what has appeared, making it more complicated.

2. Action compression. In the previous scene, Anna and East were standing in front of the window, East left and walked to the bed to lie down. In the next shot, East yelled softly, "Come here and sit on the side of the bed, sit here, and sit with me." Then he half stood up and pulled back from the camera. Anna appeared in the foreground and was already sitting on the side of the bed.
Both the character movements and camera movements are deliberately compressed, and the emotions are also condensed and full.

These two points are everywhere in the movie.

3. Anna and East, who have emotional conflicts, are structured in a vertical relationship in the picture, from the body to the face to the line of sight. This is a looming and still movement relationship.

4. For each character, set the range of action and mode of action that suits their personality and emotions.
John's flow is unobstructed, East's rigidity, Anna's stagnation.
East has danced and smiled, but Anna has maintained that kind of confinement, which can be regarded as showing the weight of the body.

5. Bergman is not a threat to the audience's IQ, as long as you are patient to watch it a few more times.

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