Stellan Skarsgård

Yeah, it sure does.

I haven't seen the film since 30 years, so I remember very well.

Yeah, he – I mean the man is – he asked her first to forget about him because he's not – he doesn't function as a man anymore.

So she should get another man and she refuses and he comes up with this scheme to make her sleep around and find another man.

And of course it misfires.

It's a stupid way to do it.

But –

What I learned from Lars von Trier is that there's no rules that are sacred.

And that's a good rule to have.

In making art.

And Lars – it's his first five films.

were very controlled.

He's a master filmmaker and he knew it and he was doing those wild, beautiful films that were totally void of humanity in a way.

Because the people in it, the actors, they were sort of directed in minutiae.

And that kills the life.

And he realized that.

So he constructed, among other things, a dogma, the dogma manifesto, which was a way of him to take away all his tools.

But also he started with letting the actors free.

And one way of making sure that they were free was having signs on the set that said, make mistakes.

And he was very adamant about it.