Ingmar Bergman Quotes
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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 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'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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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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I am forever living in my childhood.
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I dream about doing a film about once a week.
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In 'The Serpent's Egg,' I created a Berlin which no one recognized, not even I.
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My education was very tough.
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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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If I don't create, I don't exist.
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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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When you're as chaotic as I am, you need a very firm structure in your life.
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The individualists stare into each other's eyes and yet deny each other's existence. We walk in circles, so limited by our own anxieties that we can no longer distinguish between true and false, between the gangster's whim and the purest ideal.
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I was bloody ill-tempered when I was young.
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My pictures are always part of my thinking, and my emotions, tensions, dreams, desires.
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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 normally afraid of birds and have never dreamt of any bird in my life.
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I am extremely suspicious of dreams, apparitions and visions, both in literature and in films and plays. Perhaps it's because mental excesses of this sort smack too much of being 'arranged.'
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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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For me, the human face is the most important subject of the cinema.
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I write scripts to serve as skeletons awaiting the flesh and sinew of images.
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I have such difficulty calming down - my stomach, my head, reality, everything. That is the reason I live in Faro.
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When I was young, I was extremely scared of dying. But now I think it a very, very wise arrangement. It's like a light that is extinguished. Not very much to make a fuss about.
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We didn't know that Mother had gone through a passionate love affair or that Father suffered from severe depression. Mother was preparing to break out of her marriage, Father threatening to take his own life.