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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.

Ingmar Bergman

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Ingmar Bergman
Age: 89 †
Born: 1918
Born: July 14
Died: 2007
Died: July 30
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Ernst Ingmar Bergman
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More quotes by Ingmar Bergman

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I write scripts to serve as skeletons awaiting the flesh and sinew of images.
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I think I have made just one picture that I really like.
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Occasionally I sense an insane wail deep down in the pit, the echo alone reaching me, striking without warning, a child weeping uninhibitedly, imprisoned forever.
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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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We make each other alive it doesn’t make a difference if it hurts.
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To shoot a film is to organize an entire universe.
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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.
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I feel very strongly that I’m surrounded by other realities.
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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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I know, of course, that by using film we can bring in other previously unknown worlds, realities beyond reality.
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The individualists stare into each other's eyes and yet deny the existence of each other.
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I am living permanently in my dream, from which I make brief forays into reality.
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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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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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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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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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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 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'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 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.
Ingmar Bergman