Swedish actor Stellan Skarsgård candidly shared his experiences working alongside the legendary filmmaker Ingmar Bergman during his appearance at the Karlovy Vary International Film Festival. His reflections shed light on their complex dynamic and the intricate nature of artistic collaboration.

“My complicated relationship with Bergman stems from the fact that he wasn’t exactly a kind man. While he was undeniably an accomplished director, it’s possible to acknowledge someone’s artistic talents while also criticizing their personal character. Much like Caravaggio, who was likely also difficult to deal with, Bergman produced remarkable work despite his flaws,” the acclaimed actor stated, emphasizing the often tumultuous intersection of artistry and personal ethics.

“Bergman exhibited manipulative tendencies. During the war, he was affiliated with the Nazi regime, and I’m aware of only one person who shed tears when Hitler died. We often excused his behavior, but I suspect he harbored a peculiar perspective regarding others. There were moments when it felt as if he deemed some individuals unworthy. This underlying manipulation was palpable; he wasn’t a good person,” he asserted, providing a stark portrayal of the director’s character.

During the festival, Skarsgård was there to present his latest film, “Sentimental Value,” and to accept the prestigious Crystal Globe Award. He additionally discussed his admiration for the latest work of Joachim Trier, noting how Trier’s evolving filmmaking style showcases a deep appreciation for his actors.

“I’ve observed how he genuinely engages with the actors he collaborates with. With each subsequent film, he becomes increasingly skilled, and there’s an inherent playfulness in his direction that is both generous and inviting,” Skarsgård remarked, highlighting the director’s growth and the collaborative spirit that enhances the filmmaking process.

In “Sentimental Value,” the narrative centers around two sisters who reconnect with their estranged father, Gustav, a once-renowned director. In a twist of fate, he offers one of them a role in his anticipated comeback film, challenging the family dynamics and personal aspirations.

“This character represents a director who has failed as a father. It prompted me to reflect on other directors I’ve encountered, leading me to think: ‘Avoid that path – focus instead on self-examination.’ As an artist, I navigate the complexities of parenthood, sometimes succeeding and at other times faltering. No one is perfect; you can be a good parent without being an ideal one, and your children may still critique your choices,” he expressed thoughtfully, revealing the nuanced portrayal of paternal relationships in the film.

Receiving the Grand Prix at Cannes, this film has emerged as a strong contender for the Academy Awards, showcasing its artistic merit and cultural impact.

“I am acutely aware of the fleeting nature of fame in this industry; it can vanish in an instant. Yet, there’s a delight in surprising oneself. I find it thrilling to be astonished by my own capabilities. Life is short, and I must cherish the moments that remain,” Skarsgård reflected, encapsulating the bittersweet reality of a career in the spotlight.

During a masterclass, he reminisced about some of the most significant films in his career. He recalled his humble beginnings, including his role opposite Juliette Binoche in “The Unbearable Lightness of Being,” where he portrayed a character in a complicated romantic relationship with Binoche’s character, who endured the heartache of her partner’s infidelity, played by Daniel Day-Lewis.

However, it was Lars von Trier’s “Breaking the Waves” that truly launched his career into the spotlight. This poignant drama tells the story of a woman who resorts to prostitution after her husband suffers paralysis. The role that ultimately went to Emily Watson was initially considered for Helena Bonham Carter, highlighting the competitive nature of casting in the film industry.

“I had watched Lars’ earlier works, which came across as incredibly cold and emotionally distant. They didn’t resonate with me. He recognized this himself, which is why he embraced the Dogme 95 movement. He stripped away his own cinematic tools to create more authentic storytelling. When I read the script, I thought, ‘Finally, a love story that speaks to me.’ It delves into the very essence of love and its purity,” he noted, expressing his admiration for the film’s emotional depth.

“Lars was quite shy. He once mentioned, ‘I’m not fond of physical contact,’ so I naturally hugged him. After that, he returned to his normal self. That marked the beginning of a beautiful friendship. I encouraged Helena Bonham Carter to take on the role, saying, ‘If you’re smart, you’ll do it.’ However, she ultimately declined, citing her discomfort with being nude in front of a new Danish director and a Swedish actor she barely knew. I later encountered her at Cannes, and she simply looked at me, acknowledging, ‘I know! I KNOW!’” he recounted, illustrating the unique dynamics of casting decisions.

Later, he collaborated again with Trier on “Dancer in the Dark,” which features Björk as a factory worker grappling with a degenerative eye condition. Their working relationship was complicated by Björk’s tumultuous interactions with the director.

“I had a tight schedule and could only manage a small role, but Lars encountered significant challenges. He and Björk clashed frequently, both being strong-willed individuals accustomed to getting their way. When I finally arrived on set, the producer was in tears, indicating that something was amiss,” he revealed, providing insight into the behind-the-scenes drama that often accompanies film productions.

“I doubt they truly hated each other; at least, Lars didn’t harbor any animosity towards her. However, it was evident that they simply didn’t get along,” he elaborated, highlighting the complex interpersonal relationships within the film industry.

Afterward, he worked with Trier on “Dogville” and “Melancholia,” featuring his son Alexander Skarsgård in the latter.

“I had previously collaborated with him when he was just 7 years old, in addition to my other son Gustav. People often express a desire for us to work together again, yet I challenge them to present me with something worthwhile! Most suggestions seem to revolve around mere marketing concepts,” he stated, reflecting on the pressures of familial collaborations within the industry.

“Melancholia” faced overshadowing controversy when a Cannes press conference went disastrously wrong for von Trier, temporarily branding him as persona non grata at the French festival.

“Everyone present was aware that he was not a Nazi; in fact, he was quite the opposite, yet the media sensationalized his remarks into headlines. Those who only skimmed the headlines mistakenly believed he supported Nazism. He simply made a poor joke. Lars had a Jewish father, and when his mother was on her deathbed, she revealed that he wasn’t his biological father but rather her boss, who was German,” the actor explained, offering a critical perspective on the misconceptions surrounding von Trier’s comments.

“When I engage with people, particularly in the U.S., they still exhibit misunderstandings about him. There are so many taboo phrases over there. My children, however, can express themselves freely; it depends on their intentions behind the words,” he added, addressing cultural differences in perceptions of language and expression.

He commended von Trier for the strong female characters he has created, even in the provocative film “Nymphomaniac.”

“He is not a misogynist; rather, his work is a reflection of himself through the female roles,” he clarified, emphasizing the importance of understanding the intent behind artistic choices.

“I have great affection for the man and respect for his body of work, which doesn’t imply that I agree with every decision he makes. Much like in any relationship, even with your spouse, you may not see eye to eye on everything. He once called me to say, ‘My next film will be a porno. I responded, ‘Okay, Lars.’ Then he added, ‘And I want you to play the lead, but we won’t show your genitalia until the very last moment, and it will be quite floppy,’” he chuckled, sharing the director’s unconventional approach to filmmaking.

Skarsgård began his journey in the entertainment industry as a child star in the beloved show “Bombi Bitt och jag,” akin to a Swedish version of Huckleberry Finn, which followed the adventures of a free-spirited wild child. His younger brother submitted applications for both of them, leading to his casting, much to his brother’s chagrin. “I think he was quite frustrated. Everyone, including 14-year-old girls, recognized my talent. That was certainly a positive for me,” he recalled, reflecting on his early success and its impact.

Throughout his career, he has participated in notable films such as “Good Will Hunting,” “Amistad,” directed by Steven Spielberg, and “Insomnia,” which was later remade by Christopher Nolan. He also featured in the “Pirates of the Caribbean” franchise, where director Gore Verbinski humorously drenched him with water during filming, making the experience memorable. His involvement in Marvel movies and the musical “Mamma Mia!” further diversified his filmography.

“We were the only three male characters, and we were portrayed as the bimbos—no background story and no depth. We were just cute and foolish. I finally understood what women often experience in the industry,” he laughed, acknowledging the absurdities of gender representation in film.

He also portrayed the iconic villain, Baron Harkonnen, in the adaptation of Dune.

“It’s crucial to understand the type of film you are part of and what is expected of you. In a large Hollywood production where you play the antagonist, sometimes your role is simply to embody the essence of evil, as I did in ‘Dune,’” he explained. Recently, he appeared in the Disney+ series “Andor,” showcasing his versatility as an actor.

“Fortunately, I managed to avoid having a stroke before delivering that extensive monologue,” he remarked humorously, referencing his past health issues. “I am not fully recovered, which is quite distressing; my memory for lines has suffered, and I relied on a prompter in my ear,” he shared, candidly discussing the challenges he faces in his acting career.

Yet, he insists that he still has more to offer the world of cinema.

“Are there still experiences I wish to explore in my career? Absolutely. However, I’m uncertain of what those might be,” he concluded, leaving the door open for future opportunities and adventures in his ongoing journey as an actor.