Carl Theodor Dreyer is a young journalist in Copenhagen when he gets involved in the early Danish film industry. He writes scripts and inter-titles, and for some years he is the main editor at Nordisk Film. After those years of apprenticeship he gets the opportunity to direct his first film in 1917. Dreyer wanted his films to carry his personal imprints down to the smallest details, and already in his first silent movies it’s possible to find stylistic traits that characterize his entire film production until his last film in 1964. The settings of his first films are naturalistic, but for Dreyer realism is not an art in itself. Only psychological realism is. His main interest is not the outer life, but the inner, emotional life of human beings. Emotions are most visible in facial expressions, and Dreyer’s films are full of close-ups of human faces. By capturing the subtle, visual expressions of his characters, Dreyer tries to reveal the feelings they conceal and the storms that are raging inside them. Although many of his films end in tragedy, his intention is always to create a hymn to the triumph of the soul over life. Dreyer’s own character was just as complex and contradictory as his film characters. Many of the actors he worked with describe him as a modest, amiable man, who was quiet in his statements, but intense and strong-willed inside. While his outer appearance was utterly self-effacing, he had at the same time an insistent stubbornness, which didn’t accept any artistic compromises.