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I think the film you hear about the most is 'The Exorcist.' When people come up to me and say, 'Oh, you scared me!' I was the good guy in that film!
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Bergman has a very special eye for people. His background taught him to listen and to feel.
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I've never been in a barroom brawl in my life. I just don't do such things.
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Movies give me an opportunity to go places. I'm not only a Swede but an American, not just a man of my time, but I've been living 2,000 years ago-and not just in a new country, America, but in the Holy Land, too.
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When I know what the character I'm supposed to play wants in general terms, and when I know what did the other characters want to do, that's when all these wills collide and the emotions show up.
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When I was brought up in Sweden, there was a great opportunity for young people to learn how to act in our municipal theaters with their small companies. You would be under contract for eight months and have the summer free to take other opportunities.
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Mr. Bergman had a great imagination and saw the possibilities within every one of his actors, and he gave us great challenges. It was very inspiring.
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All my life I've been looking for diversity.
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What is important, I think, is to reach as many people as you can and do it as well as you can. Reach them and inspire them or amuse them, or maybe in some odd moments help them to discover something they hadn't thought of before.
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I began imagining scenes in public which some drunk would come up to me and slap me in the face. Nothing like that ever happened, but I often wonder if I would have turned the other cheek.
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The Devil, of course, must have been or must be a very charming person.
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Only very rarely are foreigners or first-generation immigrants allowed to be nice people in American films. Those with an accent are bad guys.
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We should look back now and then. Our politicians should look back every now and then.
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It often disturbs me, when I see a film set in a historical time, that the people are too modern.
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Sometimes you become friends with the characters you portray.
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I don't have a philosophy for choosing roles. Sometimes, it's just, 'This might be interesting; that might be fun to do.' There might be interesting actors or directors in the project, even if the part is not important. And then sometimes, you need the money.
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I'm getting too old to play some parts, but I'm still greedy.
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Nobody told me there was any idea for a sequel to 'The Exorcist.' But my agent called me to tell me they were going to do it, and there was a part for me. I said, 'But I died in the first film.' 'Well,' he told me, 'this is from the early days of Father Merrin's life.' I told him I just didn't want to do it again.
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I find it very hard to take myself seriously.
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When I finished the role of Christ, I felt as though I'd been let out on parole. A man who has served 18 months isn't eager to go back to prison.
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I think it's good that we're sometimes reminded of important events in history.
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Sometimes you remember more about the location where you shot the film than the film itself.
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Producers are not gamblers. They want a good return on their investment.
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To me, part of the fascinating profession of acting is to participate in all these strange situations, to try to understand all these interesting characters, fictitious or real, their human nature... It's extraordinarily fascinating.