page_title: Fanny and Alexander
section_title: Filming
hierarchical_section_title: Fanny and Alexander / Production / Filming
caption_attribution_description: English: The old University mill on the Fyris River in central Uppsala. Now housing the county museum (Upplandsmuseet) of Uppsala County. The exterior of the building was used by Ingmar Bergman for the bishop's house in the film Fanny and Alexander (1982).
context_page_description: Fanny and Alexander is a 1982 historical drama film written and directed by Ingmar Bergman. The plot focuses on two siblings and their large family in Uppsala, Sweden during the first decade of the twentieth century. Following the death of the eponymous children's father, their mother remarries a prominent bishop who becomes abusive towards Alexander for his vivid imagination.
  Bergman intended Fanny and Alexander to be his final picture before retiring, and his script is semi-autobiographical. The characters Alexander, Fanny and stepfather Edvard are based on himself, his sister Margareta and his father Erik Bergman, respectively. Many of the scenes were filmed on location in Uppsala. The documentary film The Making of Fanny and Alexander was made simultaneously with the feature and chronicles its production.
  The production was originally conceived as a television miniseries and cut in that version, spanning 312 minutes; a 188-minute cut version was created later for cinematic release, although this version was in fact the one to be released first. The television version has since been released as a complete film, and both versions have been shown in theaters throughout the world.
context_section_description: Principal photography began in Uppsala, Sweden, lasting from 7 September 1981 to 22 March 1982. The filmmakers began shooting around Uppsala streets, which municipal leaders allowed the crew to redecorate. Scenes were filmed in the order they appear in the film, and Guve only learned the thrust of the story was his conflict with his stepfather during production. On the first day of photography, Bergman decided to stage a pillow fight, which the apprehensive Wallgren credited for putting her at ease. It also endeared the director to the child actors. Guve developed a generally amiable relationship with Bergman and later Pernilla Allwin, and Allwin and Guve's habit of playing on bicycles between filming would dirty their costumes and cause the crew to rush to clean them. Guve also conflicted with Bergman when he laughed during a shoot, at which point Bergman accosted him and said that it was "the most outrageous, the most unprofessional behaviour" he had ever seen. While production meant full-time days during the workweek, Guve remained in school by spending the weekend on homework.
  Scenes were shot outside of Uppsala Cathedral, with the crew conflicting with the dean over whether an antenna could be removed. For Edvard's house, shooting moved to Upplandsmuseet, Uppsala County's museum. For interiors, the same sets in Uppsala and the Swedish Film Institute were used to portray multiple places.
  With Bergman suffering from influenza, his colleagues substituted for him in shooting Oscar's funeral scene with 500 extras and a brass band. At one point during production, a crossbeam fell over in the studio and nearly hit Bergman and cinematographer Sven Nykvist. Other crew were injured in workplace accidents. One injury took place when  a male stunt performer portraying the burning Aunt Elsa was actually burned by spilled napalm. Much of the production was recorded by Bergman and Arne Carlsson for the 1984 documentary, The Making of Fanny and Alexander.
caption: Upplandsmuseet was used as a location.
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