Ingmar Bergman Quotes
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I throw a spear into the darkness. That is intuition. Then I must send an army into the darkness to find the spear. That is intellect.
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I'm very, very lazy. I love to sit in a chair and look out the window and do nothing.
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I am forever living in my childhood.
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Aging is not uncomplicated. Creativity is an extraordinary help against destructive demons.
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My education was very tough.
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I don't watch my own films very often. I become so jittery and ready to cry... and miserable. I think it's awful.
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On a personal level, there are many people who have meant a great deal to me. My father and mother were certainly of vital importance, not only in themselves but because they created a world for me to revolt against.
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If I don't create, I don't exist.
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I dream about doing a film about once a week.
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My pictures are always part of my thinking, and my emotions, tensions, dreams, desires.
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I've never liked Welles as an actor, because he's not really an actor. In Hollywood you have two categories, you talk about actors and personalities. Welles was an enormous personality, but when he plays Othello, everything goes down the drain, you see, that's when he's croaks. In my eyes he's an infinitely overrated filmmaker.
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When you're as chaotic as I am, you need a very firm structure in your life.
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I liked Truffaut a lot, I've felt a lot of admiration for his way to address the audience, and his storytelling.... La nuit américaine is adorable, and another film I like to see is L'enfant sauvage, with its fine humanism.
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In 'The Serpent's Egg,' I created a Berlin which no one recognized, not even I.
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For me, the human face is the most important subject of the cinema.
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I don't want to produce a work of art that the public can sit and suck aesthetically…. I want to give them a blow in the small of the back, to scorch their indifference, to startle them out of their complacency.
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The smallest wound or pain of the ego is examined under a microscope as if it were of eternal importance. The artist considers his isolation, his subjectivity, his individualism almost holy.
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I am autobiographical in the way a dream transforms experience and emotions all the time.
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I am very much aware of my own double self. The well-known one is very under control; everything is planned and very secure. The unknown one can be very unpleasant. I think this side is responsible for all the creative work - he is in touch with the child. He is not rational; he is impulsive and extremely emotional.
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If you have a faith, if you've some deep conviction, whether you're a Nazi or a Communist or what the hell else you are - then you can sacrifice yourself and others to your faith. But from the moment you've no faith - from that moment you live in a deep inner confusion - from then on you're exposed to what Strindberg calls 'the powers'.
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Life wasn't about freeing up human souls. It was about creating obedient slaves in the hierarchical construction of the society - with God at the top, then the king and then the father.
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People ask what are my intentions with my films - my aims. It is a difficult and dangerous question, and I usually give an evasive answer: I try to tell the truth about the human condition, the truth as I see it. This answer seems to satisfy everyone, but it is not quite correct.
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The anger and the creativity are so closely intertwined with me, and there's plenty of anger left.
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I have such difficulty calming down - my stomach, my head, reality, everything. That is the reason I live in Faro.