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I have a lot of tics and phobias. I hate to travel. I hate to go to festivals. I hate it when somebody gets close behind me. I'm scared of the darkness. I hate open doors.

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
Open
Travel
Hate
Close
Darkness
Doors
Phobias
Behinds
Tics
Gets
Phobia
Behind
Festivals
Somebody
Scared

More quotes by Ingmar Bergman

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I have always had the ability to attach my demons to my chariot.
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There are moments when I can wander through my childhood's landscape, through rooms long ago, remember how they were furnished, where the pictures hung on the walls, the way the light fell. It's like a film - little scraps of a film, which I set running and which I can reconstruct to the last detail - except their smell.
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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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Fellini, Kurosawa, and Bunuel move in the same field as Tarkovsky. Antonioni was on his way, but expired, suffocated by his own tediousness.
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It's a strange thing that every human being has a sort of dignity or wholeness in him, and out of that develops relationships to other human beings, tensions, misunderstandings, tenderness, coming in contact, touching and being touched, the cutting off of a contact and what happens then.
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The demons are innumerable, arrive at the most inappropriate times and create panic and terror. But I have learned that if I can master the negative forces and harness them to my chariot, then they can work to my advantage. Lilies often grow out of carcasses' arseholes.
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Death: Do you never stop questioning? Antonius Block: No. I never stop.
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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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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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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 feel very strongly that I’m surrounded by other realities.
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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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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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The individualists stare into each other's eyes and yet deny the existence of each other.
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Today we say all art is political. But I'd say all art has to do with ethics. Which after all really comes to the same thing. It's a matter of attitudes.
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We make each other alive it doesn’t make a difference if it hurts.
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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.
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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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To humiliate and be humiliated, I think, is a crucial element in our whole social structure. It's not only the artist I'm sorry for. It's just that I know exactly where he feels most humiliated.
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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.
Ingmar Bergman