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Fellini, Kurosawa, and Bunuel move in the same field as Tarkovsky. Antonioni was on his way, but expired, suffocated by his own tediousness.

Ingmar Bergman

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Ingmar Bergman
Age: 89 †
Born: 1918
Born: July 14
Died: 2007
Died: July 30
Actor
Author
Autobiographer
Director
Film Director
Film Producer
Filmmaker
Playwright
Screenwriter
Theatrical Director
Writer
Upsala
Ernst Ingmar Bergman
Fields
Move
Moving
Way
Suffocated
Kurosawa
Fellini
Expired
Field

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I know, of course, that by using film we can bring in other previously unknown worlds, realities beyond reality.
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Self-portraiture is something one should never get involved in, since it is wrong to lie even though one endeavours to tell the truth.
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To feel. To trust the feeling. I long for that
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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.
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We worked on 'Fanny and Alexander' for seven months and it was an amusing production. Still, it was very long and heavy and so awfully complicated, .. And when the premiere was over and everything went well, I thought, 'That's that.' .
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This damned ranting about doom. Is that food for the minds of modern people? Do they really expect us to take them seriously?
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Art lost its basic creative drive the moment it was separated from worship. It severed an umbilical cord and now lives its own sterile life, generating and degenerating itself. In former days the artist remained unknown and his work was to the glory of God.
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I'm planning, you see, to try to confine myself to the truth. That's hard for an old, inveterate fantasy martyr and liar who has never hesitated to give truth the form he felt the occasion demanded.
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Perhaps we are the same person. Perhaps we have no limits perhaps we flow into each other, stream through each other, boundlessly and magnificently. You bear terrible thoughts it is almost painful to be near you. At the same time it is enticing. Do you know why?
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Death: Do you never stop questioning? Antonius Block: No. I never stop.
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My discovery of Tarkovsky's first film was like a miracle. Suddenly, I found myself standing at the door of a room the keys of which had, until then, never been given to me. It was a room I had always wanted to enter and where he was moving freely and fully at ease.
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I think I have made just one picture that I really like.
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When we experience a film, we consciously prime ourselves for illusion. Putting aside will and intellect, we make way for it in our imagination. The sequence of pictures plays directly on our feelings.
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I want to stop. I want to stay on Fårö, and read the books I haven’t read, find out things I haven’t yet found out. I want to write things I haven’t written. To listen to music, and talk to my neighbors. To live together with my wife a very calm, very secure, very lazy existence, for the rest of my life.
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We make each other alive it doesn’t make a difference if it hurts.
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I am conscious about myself and everything, and then suddenly, or slowly, my conscious fades out. Switches off. And it's not existing, and that's a marvelous feeling. That from existing, I am not existing. And at that moment, nothing can happen to me.
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I write scripts to serve as skeletons awaiting the flesh and sinew of images.
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My basic view of things is - not to have any basic view of things. From having been exceedingly dogmatic, my views on life have gradually dissolved. They don't exist any longer.
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For me, in those days, the great question was: Does God exist? Or doesn't God exist? Can we, by an attitude of faith, attain to a sense of community and a better world? Or, if God doesn't exist, what do we do then? What does our world look like then? In none of this was there the least political colour.
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To shoot a film is to organize an entire universe.
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