Ingrid Bergman: erinevus redaktsioonide vahel
Eemaldatud sisu Lisatud sisu
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30. rida:
:"Ei papa, ma ei tee seda. Vaata, ma võtan kaks krooni. Ülejäänu pane ära. Sa pead õppima rahaga ümber käima." Nii et ma pidin talle õpetama, kuidas mind õpetada. (lk 17)
<!--* Their worlds were so different. My father was a bohemian, an artist, very easygoing, and my mother was the complete bourgeois. But they were very happy together. My mother had three children. The first died at birth and the other a week after birth, and I arrived --><!--//--><!--seven years after that. I don’t remember my mother at all. My father filmed me sitting on her lap when I was one, and then again when I was two, and at three he photographed me putting flowers on her grave. (lk 19-20)
-->* Nende maailmad olid nii erinevad. Mu isa oli [[boheemlane]], kunstnik, väga kergekäeline, ema aga täielik [[kodanlane]]. Kuid nad olid koos väga õnnelikud. Mu emal oli kolm last. Esimene suri sündides ja teine nädal pärast sündi ning mina saabusin
<!--* Papa was mad about moving pictures as well as stills. Who knows, if he’d lived he might have gone into Swedish movies. Certainly he experimented with moving pictures and naturally photographed my mother with his movie camera. When I was in Hollywood, David Selznick had this old film processed and developed for me, and 1 was able to play it back and see my mother ''moving'' for the first time in my life. (lk 20)
-->* Papa oli hull mitte ainult fotograafia, vaid ka filmikunsti järele. Kes teab, kui ta oleks kauem elanud, olekski ta võib-olla Rootsi filmindusse tööle läinud. Kindlasti katsetas ta filmidega ja loomulikult võttis oma filmikaameraga üles ka mu ema. Kui ma Hollywoodis olin, lasi David Selznick seda vana filmi minu jaoks töödelda ja ilmutada ning ma sain seda ette mängida ja esimest korda elus näha oma ema ''liikumas''. (lk 20)
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