“CASABLANCA” IS BACK

75 years after its release, the 1942 romance, “Casablanca” will revisit theaters. Ingrid Bergman’s daughter, Pia Lindström, shares behind-the-scenes stories of this American classic film.

Aired on November 9, 2017.

TRANSCRIPT

I THOUGHT I TOLD YOU NEVER TO PLAY.

YOU MUST REMEMBER THIS.

'CASABLANCA' ITS THE FILM OF THE 20TH CENTURY.

WHO BETTER TO TALK TO US THAN INGRID BERMAN.

SHE'S NOW THE HOST OF THE XM SATELLITE SHOW.

I AM SO GLAD THAT YOU ARE HERE TO DISH.

HELLO.

'CASABLANCA' GOT THREE ACADEMY AWARDS AND MANY OF THE SCENES YOU SAY THEY WERE NOT PLANNED.

WELL, THEY HAD SEVERAL VERSIONS OF WHAT THEY'RE GOING TO DO.

THE SCRIPT CAME AND IT WAS REWRITTEN.

THE EPSTEIN TWINS CAME IN AND THERE WERE TWO BRIGHT KIDS AND THEY DID A LOT.

THEY WENT OFF AND MAKE THE PROPAGANDA FILM AND HOWARD KOCH CAME IN AND ADDED THE POLITICAL ELEMENT.

AT THE ENDING THEY WERE NOT QUITE SURE WHETHER MY MOTHER'S CHARACTER GOES OFF WITH HER HUSBAND OR STAYS WITH THE CAFE'S OWNER.

SO THEY HAD IDEAS AND THEY DID THE ENDING AND THE FIRST ONE IN WHICH SHE GOES OFF WITH THE HUSBAND, THAT'S GOOD ENOUGH, LETS GUNPET OUT OF HERE.

NOBODY IS INTERESTED AND MAKING THE MONEY AND CERTAINLY NOT MY MOTHER.

WHY?

BECAUSE SHE WAS PLANNING TO DO WITH LARRY COOPER WHICH SHE REALLY LOVED.

OH, FOR THOSE DAYS, YOU WERE UNDER THE GUIDE OF THE SYSTEM.

IF YOU WERE NOT WORKING, THEY LEND YOU OUT.

YEAH, YOU DID NOT WANT TO DO IT.

IN FACT, THEY WERE DPGOING TO SHOOT THAT SCENE THAT YOU JUST SAW WAS GOING TO BE SHOT OVER AGAIN.

MAX STEINER WHO WROTE THE MUSIC HATED THAT SONG.

HE HATED THAT SONG.

HOW COULD YOU HATE THAT SONG.

HE DID NOT WRITE IT.

THE SONG WAS THERE.

HE WANTED TO WRITE HIS OWN SONG BECAUSE HE DID ALL THE MUSIC.

THEY COULD NOT DO IT BECAUSE THE SECOND THEY SHOT THAT LAST S SCENE, MY MOTHER CUT HER HAIR OFF.

THEY COULD NOT SHOOT IT AGAIN.

THE OTHER INTERESTING THING ABOUT THAT SCENE IS WILSON COULD NOT PLAY THE PIANO.

HE DID NOT PLAY THE PIANO SO YOU WILL NOTICE WHEN YOU WATCH IT AGAIN, YOU DON'T SEE HIS HANDS.

[ LAUGHTER ]

THEY'RE LOOKING OVER HIS SHOULDERS OR SOMETHING.

AND OF COURSE, THERE WAS NO RELATIONSHIP WITH BOGAERTS.

PEOPLE HAVE ALWAYS SAID OH, THEY MUST HAVE KNOWN EACH OTHER OR LOOKED AT EACH OTHER.

THAT'S ACTING.

HER FAMOUS LINE WAS I KISSED HIM BUT I NEVER KNEW HIM.

OUCH.

HE WAS ALWAYS IN HIS TRAILER.

HE HAD HIS OWN DEMONS.

HE WAS IN HIS OWN TRAILER.

ALCOHOL.

HE HAD A WIFE WHO WAS QUITE JEALOUS WHO THOUGHT THERE IS SOMETHING I THINK GONE BETWEEN MY MOTHER AND HUMPHREY BOGAERTS.

NOT.

[ LAUGHTER ]

SHE REALLY HAD NO RELATIONSHIP WITH HIM AT ALL.

DID YOU EVER TALK TO HER ABOUT WHY SHE LEFT YOUR DAD FOR RUSSOLINI?

YES, SHE FELL IN LOVE?

THAT SIMPLE

YES .

YES, AS A TEN-YEAR-OLD, FIRST OF ALL, I DID NOT HAVE THE KNOWLEDGE TO FEEL ANYTHING.

EXCEPT FOUR MOTHER WAS LEAVING YOU?

I DIDN'T KNOW SHE WAS LEAVING.

YOU ARE ASKING ME A QUESTION I HAVE TO GO BACK TO WHEN I AM TEN-YEAR-OLD.

SHE TWWENT TO MAKE FILMS QUITE OFTEN.

THIS TIME SHE DID NOT COME BACK BECAUSE SHE GOT PREGNANT.

THAT'S WHY SHE DID NOT COME BACK.

WITH ALBERTO.

YES, SHE FELL IN LOVE.

WHAT'S YOUR FAVORITE?

'NOTORIOUS.'

I LOVED HER PERFORMANCE IN IT AND IT CAPTURES HER REAL ESSENCE AND WHAT SHE HAD WAS SUCH EXPRESSIVE EYES WHICH WAS THEATER AND FILM ACTING REQUIRES THAT.

AS PART OF IT, I OFTEN THOUGHT WHY, I THINK IT MIGHT HAVE TO DO WITH FACIAL CONSTRUCTION.

WHERE EVER YOUR EYE BROWS OR LID WOULD DEPEND ON HOW MUCH THE LIGHTS HIT OUR EYES OR HOW MUCH THEY SHINE.

HER FACE WAS SO PHOTOGENIC.

YOU SAW THE PART HER FATHER WAS A PHOTOGRAPHER.

YOU REMEMBER THAT?

.

UH-HUH.

AS A LITTLE GIRL, SHE LOOKS THROUGH THE LENS OF HER FATHER.

THAT'S WHERE LOVE CAME THROUGH.

THE LENS.

SHE SMILES AND SHE JUMPED AND PLAYED AND WAS IN COSTUMES THROUGH THE LENS TO A MAN.

IN HER LATER LIFE, SHE CERTAINLY FELL IN LOVE WITH THE DIRECTOR.

SHE HAD A LOVE AFFAIR WITH THE WAR PHOTOGRAPHER, I WON'T REVEAL ALL THE PEOPLE SHE HAD LOVE AFFAIRS WITH.

[ LAUGHTER ]

VERY OFTEN IT WAS SOMEBODY WHO LOOKED AT HER THROUGH A LENS AND THAT'S WHY SHE WAS VERY COMFORTABLE WITH A LENS AND OTHER ACTORS SOMETIMES FIND THE CAMERA INTRUSIVE OR DAUNTING.

SHE MADE LOVE TO THE CAMERA.

IT WAS A TERRIFIC DOCUMENTARY AND YOU WERE TERRIFIC TO BE HERE TODAY.

THANK YOU VERY MUCH.

THANK YOU.

Funders

MetroFocus is made possible by James and Merryl Tisch, Sue and Edgar Wachenheim III, the Sylvia A. and Simon B. Poyta Programming Endowment to Fight Anti-Semitism, Bernard and Irene Schwartz, Rosalind P. Walter, Barbara Hope Zuckerberg, Jody and John Arnhold, the Cheryl and Philip Milstein Family, Janet Prindle Seidler, Judy and Josh Weston and the Dr. Robert C. and Tina Sohn Foundation.

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