Ingmar Bergman

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1:Necessary illusions enable us to live. ~ Ingmar Bergman,

2:No hay tiempo para discutir la soledad. ~ Ingmar Bergman,

3:I hope I never get so old I get religious. ~ Ingmar Bergman,

4:To feel. To trust the feeling. I long for that ~ Ingmar Bergman,

5:I would have been happier if I'd been anonymous. ~ Ingmar Bergman,

6:Artistic license sneered through the thin fabric. ~ Ingmar Bergman,

7:I could always live in my art but never in my life ~ Ingmar Bergman,

8:To shoot a film is to organize an entire universe. ~ Ingmar Bergman,

9:I think I am a better ghost than I am a human being. ~ Ingmar Bergman,

10:The older I become, the more I think about my mother. ~ Ingmar Bergman,

11:We make an idol of our fear and that idol we call God. ~ Ingmar Bergman,

12:I think I have made just one picture that I really like. ~ Ingmar Bergman,

13:One has to manage alone as best one can. (Karin Bergman) ~ Ingmar Bergman,

14:I feel very strongly that I’m surrounded by other realities. ~ Ingmar Bergman,

15:Its so horrible to see your own confusion and understand it. ~ Ingmar Bergman,

16:Jöns: But feel, to the very end, the triumph of being alive! ~ Ingmar Bergman,

17:It's so horrible to see your own confusion and understand it. ~ Ingmar Bergman,

18:Kuru kafa resmi, hemen hemen bir çıplak kadın kadar ilginçtir. ~ Ingmar Bergman,

19:Only he who is well prepared has any opportunity to improvise. ~ Ingmar Bergman,

20:Every inflection and every gesture a lie, every smile a grimace. ~ Ingmar Bergman,

21:I have always had the ability to attach my demons to my chariot. ~ Ingmar Bergman,

22:Most of my conscious efforts have ended in embarrassing failure. ~ Ingmar Bergman,

23:they said you were mentally healthy, but your madness is the worst ~ Ingmar Bergman,

24:Only someone who is well prepared has the opportunity to improvise. ~ Ingmar Bergman,

25:We make each other alive; it doesn't make a difference if it hurts. ~ Ingmar Bergman,

26:We make each other alive; it doesn’t make a difference if it hurts. ~ Ingmar Bergman,

27:Death: Do you never stop questioning? Antonius Block: No. I never stop. ~ Ingmar Bergman,

28:We're thankful for the horrors we are used to. The unknown ones are worst ~ Ingmar Bergman,

29:Death: Do you never stop questioning?
Antonius Block: No. I never stop. ~ Ingmar Bergman,

30:Here, in my solitude, I have the feeling that I contain too much humanity. ~ Ingmar Bergman,

31:I write scripts to serve as skeletons awaiting the flesh and sinew of images. ~ Ingmar Bergman,

32:I am living permanently in my dream, from which I make brief forays into reality. ~ Ingmar Bergman,

33:Aşk, bütün vebaların en karasıdır; kişi ondan ölebilseydi, aşkta biraz zevk olurdu. ~ Ingmar Bergman,

34:We’re left without a chance, ignorant and remorseful among the ruins of our ambitions. ~ Ingmar Bergman,

35:The individualists stare into each other's eyes and yet deny the existence of each other. ~ Ingmar Bergman,

36:Everyone likes happiness, no one likes pain. But you can't have a rainbow without a little rain. ~ Ingmar Bergman,

37:Me sitting down for dinner with Ingmar Bergman felt like a house painter sitting down with Picasso. ~ Woody Allen,

38:Bu kusurlu dünyada her şey kusurluysa kendi kusursuz kusurluluğu içinde en kusursuz olanıdır aşk. ~ Ingmar Bergman,

39:The theater is like a faithful wife. The film is the great adventure - the costly, exacting mistress. ~ Ingmar Bergman,

40:Everything is worth precisely as much as a belch, the difference being that a belch is more satisfying. ~ Ingmar Bergman,

41:You know I feel such tenderness for you. It’s difficult to bear. I don’t know what to do with my tenderness. ~ Ingmar Bergman,

42:Sometimes I get a little tired of it. But you know, what a privilege, to get tired of working with Ingmar Bergman. ~ Liv Ullmann,

43:I know, of course, that by using film we can bring in other previously unknown worlds, realities beyond reality. ~ Ingmar Bergman,

44: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,

45:Growing older is like climbing a mountain: the higher you get, the more strength you need, but the further you see. ~ Ingmar Bergman,

46:I have always had the ability to attach my demons to my chariot. And they have been forced to make themselves useful. ~ Ingmar Bergman,

47:I want knowledge. Not belief. Not surmise. But knowledge. I want God to put out His hand, show His face, speak to me. ~ Ingmar Bergman,

48:Reality is perhaps not at all what I imagine. Perhaps it doesn't exist, in fact. Perhaps it only exists as a longing. ~ Ingmar Bergman,

49:A film causes me so many worries and such a lot of reactions that I have to love it in order to get over it and past it. ~ Ingmar Bergman,

50:There is no art form that has so much in common with film as music. Both affect our emotions directly, not via the intellect. ~ Ingmar Bergman,

51:This damned ranting about doom. Is that food for the minds of modern people? Do they really expect us to take them seriously? ~ Ingmar Bergman,

52:You never know when I'm lying. So it would be more practical to believe what I say
-Pauline in "In the Presence of a Clown ~ Ingmar Bergman,

53:One of ennui's most terribel components is the overwhelming feeling of ennui that comes over you whenever you try to explain it. ~ Ingmar Bergman,

54:No form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul. ~ Ingmar Bergman,

55:Helena (börjar gråta): Ser du, nu gråter jag. Det glada, fina livet är slut, det hemska, skitige livet kastar sig över oss. Så är det. ~ Ingmar Bergman,

56: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. ~ Ingmar Bergman,

57:Self-portraiture is something one should never get involved in, since it is wrong to lie even though one endeavours to tell the truth. ~ Ingmar Bergman,

58:Sara: As professor emeritus, you ought to know why it hurts. But you don't know.
Sara: You know so much, and you don't know anything. ~ Ingmar Bergman,

59: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,

60:Regardless of whether I believe or not, whether I am a Christian or not, I would play my part in the collective building of the cathedral. ~ Ingmar Bergman,

61:First, I write down all I know about the story, at length and in detail. Then I sink the iceberg and let some of it float up just a little. ~ Ingmar Bergman,

62: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,

63:I'd prostitute my talents if it would further my cause, steal if there was no way out, killing my friends or anyone else if it would help my art. ~ Ingmar Bergman,

64:When you die, you are extinguished. From being you will be transformed to non-being. A god does not necessarily dwell among our capricious atoms. ~ Ingmar Bergman,

65:Faith is a torment, did you know that? It is like loving someone who is out there in the darkness but never appears, no matter how loudly you call. ~ Ingmar Bergman,

66: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. ~ Ingmar Bergman,

67:I want to be one of the artists in the cathedral on the great plain. I want to make a dragon's head, an angel, a devil - or perhaps a saint - out of stone. ~ Ingmar Bergman,

68:Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls. ~ Ingmar Bergman,

69: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. ~ Ingmar Bergman,

70: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. ~ Ingmar Bergman,

71:Tarkovsky for me is the greatest [director], the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream. ~ Ingmar Bergman,

72:Either I did away with that fear through writing, or in the course of writing, I discovered it was no longer so intrusive or threating. The bottom line is, it's gone. ~ Ingmar Bergman,

73:There's always a tension in me between my urge to destroy and my will to live... Every morning I wake up with a new wrath, a new suspiciousness, a new desire to live. ~ Ingmar Bergman,

74:I am so 100 percent Swedish... Someone has said a Swede is like a bottle of ketchup - nothing and nothing and then all at once - splat. I think I'm a little like that. ~ Ingmar Bergman,

75:I think Ingmar Bergman, Francoise Truffaut - all these people created images in my mind, beautiful pictures, I loved what was known at that time as the foreign film. ~ Jackie DeShannon,

76:Old age is like climbing a mountain. You climb from ledge to ledge. The higher you get, the more tired and breathless you become, but your views become more extensive. ~ Ingmar Bergman,

77:I was a very unpleasant young man. If I met the young Ingmar today I'd say, 'You're very talented and I'll try to help you, but I don't want anything else to do with you. ~ Ingmar Bergman,

78: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,

79:Sometimes I work on film sets. I've done this for 40 years. I always wanted to photograph on the set of an Ingmar Bergman film. Unfortunately, I never had the opportunity. ~ Mary Ellen Mark,

80:Ingmar Bergman said, “Imagine I throw a spear into the dark. That is my intuition. Then I have to send an expedition into the jungle to find the spear. That is my intellect. ~ Gavin de Becker,

81: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 ~ Ingmar Bergman,

82: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. ~ Ingmar Bergman,

83:Edvard: Du har levat i en konstgjord värld, insnärd i konstgjorda känslor. Jag måste lära dig och dina barn att leva i verkligheten. Det är inte mitt fel att verkeligheten är ett helvete ~ Ingmar Bergman,

84:I think I'm Swedish because I like to live here on this island. You can't imagine the loneliness and isolation in this country. In that way, I'm very Swedish - I don't dislike to be alone. ~ Ingmar Bergman,

85:When I was a child, I imagined the soul to be a dragon, a shadow floating in the air like blue smoke—a huge winged creature, half bird, half fish. But inside the dragon, everything was red. ~ Ingmar Bergman,

86: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. ~ Ingmar Bergman,

87:All of us collect fortunes when we are children. A fortune of colors, of lights, and darkness, of movement, of tensions. Some of us have the fantastic chance to go back to his fortune when grown up. ~ Ingmar Bergman,

88: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. ~ Ingmar Bergman,

89: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. ~ Ingmar Bergman,

90:Actually it deals ("as usual" I was about to say!) with Life, Love and Death. Because nothing in fact is more important. To occupy oneself with. To think of. To worry over. To be happy about. And so on. ~ Ingmar Bergman,

91:DESIREE: Don't forget, Madame, that love is a perpetual juggling of three balls. Their names are heart, word and sex. How easily these three balls can be juggled, and how easily one of them can be dropped. ~ Ingmar Bergman,

92:Our social relationships are limited, most of the time, to gossip and criticizing people's behavior. This observation slowly pushed me to isolate from the so-called social life. My days pass by in solitude. ~ Ingmar Bergman,

93:A movie that I've seen probably the most is 'Fanny Alexander,' the Ingmar Bergman movie. I even dragged my friends to the super long version that had an intermission. I don't know how much they liked me that day. ~ Gillian Jacobs,

94:I want to confess as best I can, but my heart is void. The void is a mirror. I see my face and feel loathing and horror. My indifference to man has shut me out. I live now in a world of ghosts, a prisoner in my dreams. ~ Ingmar Bergman,

95:I want to confess as best I can, but my heart is void. The void is a mirror. I see my face and feel loathing and horror. My indifference to men has shut me out. I live now in a world of ghosts, a prisoner in my dreams. ~ Ingmar Bergman,

96:I make all my decisions on intuition. But then, I must know why I made that decision. 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. ~ Ingmar Bergman,

97:Death: When next we meet, the hour will strike for you and your friends.
Antonius Block: And will you reveal your secrets?
Death: I have no secrets.
Antonius Block: So do you know nothing?
Death: I am unknowing. ~ Ingmar Bergman,

98: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. ~ Ingmar Bergman,

99:Mexican cinematographers Gabriel Figueroa and Emilio Fernandez were students of both Sergei Eisenstein and Toland. Their exteriors and lighting were gorgeous. And the films Ingmar Bergman did with Sven Nykvist were exceptional. ~ Vilmos Zsigmond,

100: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.' . ~ Ingmar Bergman,

101: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. ~ Ingmar Bergman,

102: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. ~ Ingmar Bergman,

103: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. ~ Ingmar Bergman,

104:Well, we're grasping for two things at once. Partly for communion with others - that's the deepest instinct in us. And partly, we're seeking security. By constant communion with others we hope we shall be able to accept the horrible fact of our total solitude. ~ Ingmar Bergman,

105: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? ~ Ingmar Bergman,

106: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. ~ Ingmar Bergman,

107:My play opens with an actor walking down into the audience, where he strangles the critic, then reads aloud from a little black book all the humiliations he has noted therein. Then he throws up on the audience, after which he exits and puts a bullet through his head. ~ Ingmar Bergman,

108:The film medium is some sort of magic. I think also it's a magic that every frame comes and stands still for a fraction of a second and then it darkens. A half part of the time when you see a picture you sit in complete darkness. Isn't that fascinating? That is magic. ~ Ingmar Bergman,

109: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,

110:I shall remember this moment: the silence, the twilight, the bowl of strawberries, the bowl of milk. Your faces in the evening light.[...] I shall carry this memory carefully in my hands as if it were a bowl brimful of fresh milk. It will be a sign to me, and a great sufficiency. ~ Ingmar Bergman,

111:On the whole, however, art is free, shameless, irresponsible, and, as I said: the movement is intense, almost feverish, like, it seems to me, a snakeskin full of ants. The snake itself has long been dead, eaten, deprived of its poison, but the skin moves, filled with meddlesome life. ~ Ingmar Bergman,

112:În ciuda faptului că port o mască,nu sunt nesincer.Intuiţia mea vorbeşte repede şi clar,sunt prezent în deplinătatea fiinţei mele.Masca este un filtru.Nimic din ceea ce este personal şi care nu are nici o importanţă,nu trebuie să treacă prin ea.Tumultul din mine trebuie ţinut în frâu. ~ Ingmar Bergman,

113: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. ~ Ingmar Bergman,

114:The time between midnight and dawn when most people die, when sleep is deepest, when nightmares are most palatable. It is the hour when the sleepless are pursued by their sharpest anxieties, when ghosts and demons hold sway. The hour of the wolf is also the hour when most children are born. ~ Ingmar Bergman,

115:I have thus decided to make a certain film and now begins the complicated and difficult-to-master work. To transfer rhythms, moods, atmosphere, tensions, sequences, tones and scents into words and sentences in a readable or at least understandable script. This is difficult but not impossible. ~ Ingmar Bergman,

116:Dacă mă simţeam atacat,muşcam la rândul meu ca un câine rănit.Nu aveam încredere în nimeni,nu iubeam pe nimeni,nu simţeam lipsa nimănui.Eram subjugat de o sexualitate care mă împingea spre o permanentă infidelitate şi acţiuni forţate,mereu chinuit de dorinţă,teamă,angoasă şi conştiinţă încărcată. ~ Ingmar Bergman,

117:Here in my solitude, I have the feeling that I contain too much humanity. It oozes out of me like a broken tube of toothpaste; it doesn't want to stay within the confines of my body. A strange feeling of weight and volume. Soul volume perhaps, which rises like clouds of smoke and envelops my body. ~ Ingmar Bergman,

118: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. ~ Ingmar Bergman,

119: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. ~ Ingmar Bergman,

120: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. ~ Ingmar Bergman,

121:Film as dream, film as music. No form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul. A little twitch in our optic nerve, a shock effect: twenty-four illuminated frames a second, darkness in between, the optic nerve incapable of registering darkness. ~ Ingmar Bergman,

122:The world is a den of thieves, and night is falling. Evil breaks its chains and runs through the world like a mad dog. The poison affects us all. No one escapes. Therefore let us be happy while we are happy. Let us be kind, generous, affectionate and good. It is necessary and not at all shameful to take pleasure in the little world. ~ Ingmar Bergman,

123:Ingmar Bergman is a long way from me, but I admire him. He, too, concentrates a great deal on individuals; and although the individual is what interests him most, we are very far apart. His individuals are very different from mine; his problems are different from mine - but he's a great director. So is Fellini, for that matter. ~ Michelangelo Antonioni,

124:Then I felt that every inflection of my voice, every word in my mouth, was a lie, a play whose sole purpose was to cover emptiness and boredom. There was only one way I could avoid a state of despair and a breakdown. To be silent. And to reach behind the silence for clarity or at least try to collect the resources that might still be available to me. ~ Ingmar Bergman,

125:I usually take a walk after breakfast, write for three hours, have lunch and read in the afternoon. Demons don’t like fresh air - they prefer it if you stay in bed with cold feet; for a person who is as chaotic as me, who struggles to be in control, it is an absolute necessity to follow these rules and routines. If I let myself go, nothing will get done. ~ Ingmar Bergman,

126:I know that I shall have lost to the jungle if I take a weak moral standpoint or relax my mental punctiliousness. I have therefore come to a certain belief which is based on three powerful effective commandments: THOU SHALT BE ENTERTAINING AT ALL TIMES. THOU SHALT OBEY THY ARTISTIC CONSCIENCE AT ALL TIMES. THOU SHALT MAKE EACH FILM AS IF IT WERE THY LAST. ~ Ingmar Bergman,

127:Alexander: Ingen jävel har en tanke i huvet.
Oscar: Du måste vare rädd om mänskor, Alexander.
Alexander: Idiotar. Nästan allihop.
Oscar: Så småningom kommer du att förstå -
Alexander: Jag tror inte på det där snacket. “Så småningom kommer du att förstå.” Vilket förbannat så småningom? Jag ser klart. Mänskor är löjliga och jag tyckar illa om dem. ~ Ingmar Bergman,

128:Alexander: Ingen jävel har en tanke i huvet.
Oscar: Du måste vare rädd om mänskor, Alexander.
Alexander: Idiotar. Nästsn allihop.
Oscar: Så småningom kommer du att förstå -
Alexander: Jag tror inte på det där snacket. “Så småningom kommer du att förstå.” Vilket förbannat så småningom? Jag ser klart. Mänskor är löjliga och jag tyckar illa om dem. ~ Ingmar Bergman,

129:Fellini was more in love with breasts than Russ Meyer, more wracked with guilt than Ingmar Bergman, more of a flamboyant showman than Busby Berkeley... Amarcord seems almost to flow from the camera, as anecdotes will flow from one who has told them often and knows they work. This was the last of his films made for no better reason than Fellini wanted to make it. ~ Roger Ebert,

130:Sometimes I go for days without speaking to a soul. I think, “I should make that call", but I put it off. Because there’s something pleasurable about not talking. But then I love talking, so it’s not that. But sometimes it can be nice. It’s not like I sit here philosophizing, because I’ve no talent for that. It’s just this thing about silence that’s so wonderful. ~ Ingmar Bergman,

131:I've been very lucky and fortunate to meet people that are very inspirational in their spirits, too, and not just as filmmakers - in their personal life. I mean, Steven Spielberg is very inspirational just to sit down and talk for an hour, like Ingmar Bergman was. They know so much about life and, you know, movie-making, so it's just wonderful to be around those people. ~ Peter Stormare,

132:I would not have made any of my films or written scripts such as Taxi Driver had it not been for Ingmar Bergman, What he has left is a legacy greater than any other director.... I think the extraordinary thing that Bergman will be remembered for, other than his body of work, was that he probably did more than anyone to make cinema a medium of personal and introspective value. ~ Paul Schrader,

133:I've never felt Truth was Beauty. Never. I've always felt that people can't take too much reality. I like being in Ingmar Bergman's world. Or in Louis Armstrong's world. Or in the world of the New York Knicks. Because it's not this world. You spend your whole life searching for a way out. You just get an overdose of reality, you know, and it's a terrible thing. I'm always fighting against reality. ~ Woody Allen,

134:Among today's directors I'm of course impressed by Steven Spielberg and Scorsese, and Coppola, even if he seems to have ceased making films, and Steven Soderbergh - they all have something to say, they're passionate, they have an idealistic attitude to the filmmaking process. Soderbergh's Traffic is amazing. Another great couple of examples of the strength of American cinema is American Beauty and Magnolia. ~ Ingmar Bergman,

135:Beautiful self-delusion: Isn't that what being young is all about? You think you're immortal until one day when you're around sixty, it hits you: you see and Ingmar Bergman-y specter of death and you do some soul searching and possibly adopt a kid in need. You resolve to live the rest of your life in a way you can be proud of. But I am not one of those young people. I've been obsessed with death since I was born. ~ Lena Dunham,

136:Say anything you want against The Seventh Seal. My fear of death - this infantile fixation of mine - was, at that moment, overwhelming. I felt myself in contact with death day and night, and my fear was tremendous. When I finished the picture, my fear went away. I have the feeling simply of having painted a canvas in an enormous hurry - with enormous pretension but without any arrogance. I said, 'Here is a painting; take it, please.' ~ Ingmar Bergman,

137:In Woody Allen movies people stood in line for Ingmar Bergman films or Holocaust documentaries talking up media theory to pass the time. At 16 that was my idea of fun. Now that I live in New York I can tell you that people lined up for tickets don't debate theory. They talk about cute guys at the gym or whether or not they live within walking distance of a Krispy Kreme. I was such a young fogy that growing up involved becoming less mature. ~ Sarah Vowell,

138:Say anything you want against The Seventh Seal. My fear of death — this infantile fixation of mine — was, at that moment, overwhelming. I felt myself in contact with death day and night, and my fear was tremendous. When I finished the picture, my fear went away. I have the feeling simply of having painted a canvas in an enormous hurry — with enormous pretension but without any arrogance. I said, 'Here is a painting; take it, please. ~ Ingmar Bergman,

139:I supply my own angels and demons. I exist on a stony beach, which lowers itself in waves toward a protective ocean. A dog barks; a child cries; the day sinks and becomes night. You can never scare me. No human being will be able to scare me ever again. I have a prayer that I repeat to myself in absolute stillness: May a wind come to stir up the ocean and the stifling twilight. May a bird come from water out there and explode the silence with its call. ~ Ingmar Bergman,

140: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. Music works in the same fashion; I would say that there is no art form that has so much in common with film as music. Both affect our emotions directly, not via the intellect. And film is mainly rhythm; it is inhalation and exhalation in continuous sequence. ~ Ingmar Bergman,

141:When you feel perpetually unmotivated, you start questioning your existence in an unhealthy way; everything becomes a pseudo intellectual question you have no interest in responding whatsoever. This whole process becomes your very skin and it does not merely affect you; it actually defines you. So, you see yourself as a shadowy figure unworthy of developing interest, unworthy of wondering about the world - profoundly unworthy in every sense and deeply absent in your very presence. ~ Ingmar Bergman,

142:I make my films, Charlie. I do my lighting, place my camera angles and I tell the actors to walk this way and do this, and there you're supposed to cry and there you're in a rage, and we keep on doing it and keep it up like the very devil and we never give up. And then the audience sits there one evening, and if we're lucky they'll cry where we decided they would cry and laugh when we want them to - right. You know all that. That is the whole mystery, Charlie"
- Georg Af Klercker in Ingmar Bergman's play "The Last Scream ~ Ingmar Bergman,

143:I once had a dream, or a vision, and I imagined that dream to be of importance to other people, so I wrote the manuscript and made the film. But it is not until the moment when my dream meets with your emotions and your minds that my shadows come to life. It is your recognition that brings them to life. It is your indifference that kills them. I hope that you will understand; that you when you leave the cinema will take with you an experience or a sudden thought—or maybe a question. The efforts of my friends and myself have then not been in vain… ~ Ingmar Bergman,

144:No other art-medium–neither painting nor poetry–can communicate the specific quality of the dream as well as the film can. When the lights go down in the cinema and this white shining point opens up for us, our gaze stops flitting hither and thither, settles and becomes quite steady. We just sit there, letting the images flow out over us. Our will ceases to function. We lose our ability to sort things out and fix them in their proper places. We're drawn into a course of events–we're participants in a dream. And manufacturing dreams, that's a juicy business. ~ Ingmar Bergman,

145:When film is not a document, it is dream. That is why Tarkovsky is the greatest of them all. He moves with such naturalness in the room of dreams. He doesn't explain. What should he explain anyhow? He is a spectator, capable of staging his visions in the most unwieldy but, in a way, the most willing of media. All my life I have hammered on the doors of the rooms in which he moves so naturally. Only a few times have I managed to creep inside. Most of my conscious efforts have ended in embarrassing failure - The Serpent's Egg, The Touch, Face to Face and so on. ~ Ingmar Bergman,

146:Helena: Är du ledsen för at du har blivit gammal, Isak?
Isak: Nej. Det verkar som om allting blir värre. Värre väder, värre mänskor, värre maskiner, värre krig. Gränserna sprängs och allt det outsägliga breder ut sig och kan aldrig mere hejdas. Då är det gott att vara död.
Helena: Du er en ruskig gammal värdsfötaktare, Isak, det har du alltid varit. Jag tror inte alls som du.
Isak: Nej, nej, gudskelov för det.
Helena: Det hindrar inte att jag vill gråta. Tycker du det är otrevligt om jag gråter en liten stund. (Jon försökar gråta.) Nej, min själ det går inte. Det blir ingenting. Jag får lov att drikka litet mer konjak. ~ Ingmar Bergman,

147:Lines On The Death Of Ingmar Bergman
A woman sketching, a man steeped in gin—
Note how the final scene assembling
In the rain shadow of a mountain range
Ablaze from ridge to ridge carries no hint
Of the catastrophe: the smoke, the wind.
Nor do the daily rushes, catalogued
For a committee of historians
Attempting to discern the exact moment
Of the republic’s death, contain instructions
For the executor of the estate—
The editor, that is, who was unwisely
Sacked on the second day of shooting, then hired
By the film maker’s estranged wife to save
From the approaching fire a commentary
On eschatology: The Seventh Seal.
~ Christopher Merrill,

148:Today the individual has become the highest form, and the greatest bane, of artistic creation. 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. Thus we finally gather in one large pen, where we stand and bleat about our loneliness without listening to each other and without realizing that we are smothering each other to death. 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. ~ Ingmar Bergman,

149:Nu citesc ziare,nu ascult şi nici nu mă uit la pogramele de ştiri.Încet şi pe neobservate dispare cel mai credincios tovarăş din viaţa mea:anxietatea,moştenită atât de la mama cât şi de la tata,aşezată chiar în centrul identităţii mele,demonul şi în aceelaşi timp prietenul şi stimulatorul meu.Mi se antenuează nu numai suferinţa,angoasa şi sentimentul de umilire ireparabilă,dar mi se eclipsează şi estompează şi forţa propulsivă a creativităţii.
Aş fi putut rămâne un caz medical pentru tot restul vieţii mele.Existenţa îmi era aşa de plăcută în aceea stare de melancolie.Ea era ocrotită cu atâta delicateţe.Nimic nu mai este real,nimic nu mai are vreo importanţă,nimic nu mai este neliniştitor sau chinuitor.Mă mişc cu precauţie,reacţiile îmi sunt întârziate sau inexistente,sexualitatea încetează,viaţa este o elegie,un madrigal cântat de un cor,undeva departe,sub o boltă cu ecou,în timp ce ferestrele rotunde cu vitralii strălucesc şi spun poveşti care nu mă mai intereseză. ~ Ingmar Bergman,

150:WE DO OUR TWENTY minutes of meditation a day in the hope that, properly stilled, our minds will stop just reflecting back to us the confusion and multiplicity of our world but will turn to a silvery mist like Alice’s looking glass that we can step through into a world where the beauty that sleeps in us will come awake at last. We send scientific expeditions to Loch Ness because if the dark and monstrous side of fairy tales can be proved to exist, who can be sure that the blessed side doesn’t exist, too? I suspect that the whole obsession of our time with the monstrous in general—with the occult and the demonic, with exorcism and black magic and the great white shark—is at its heart only the shadow side of our longing for the beatific, and we are like the knight in Ingmar Bergman’s film The Seventh Seal, who tells the young witch about to be burned at the stake that he wants to meet the devil her master, and when she asks him why, he says, “I want to ask him about God. He, if anyone, must know. ~ Frederick Buechner,

151:I'll tell you something banal.We're emotional illiterates.And not only you and I-practically everybody,that's the depressing thing.We're taught everything about the body and about agriculture in Madagascar and about the square root of pi, or whatever the hell it's called,but not a word about the soul.We're abysmally ignorant,about both ourselves and others.There's a lot of loose talk nowadays to the effect that children should be brought up to know all about brotherhood and understanding and coexistence and equality and everything else that's all the rage just now.But it doesn't dawn on anyone that we must first learn something about ourselves and our own feelings.Our own fear and loneliness and anger.We're left without a chance,ignorant and remorseful among the ruins of our ambitions.To make a child aware of it's soul is something almost indecent.You're regarded as a dirty old man.How can you understand other people if you don't know anything about yourself?Now you're yawning,so that's the end of the lecture. ~ Ingmar Bergman,

152:I understand, all right. The hopeless dream of being - not seeming, but being. At every waking moment, alert. The gulf between what you are with others and what you are alone. The vertigo and the constant hunger to be exposed, to be seen through, perhaps even wiped out. Every inflection and every gesture a lie, every smile a grimace. Suicide? No, too vulgar. But you can refuse to move, refuse to talk, so that you don't have to lie. You can shut yourself in. Then you needn't play any parts or make wrong gestures. Or so you thought. But reality is diabolical. Your hiding place isn't watertight. Life trickles in from the outside, and you're forced to react. No one asks if it is true or false, if you're genuine or just a sham. Such things matter only in the theatre, and hardly there either. I understand why you don't speak, why you don't move, why you've created a part for yourself out of apathy. I understand. I admire. You should go on with this part until it is played out, until it loses interest for you. Then you can leave it, just as you've left your other parts one by one. ~ Ingmar Bergman,

153:¿Crees que no lo entiendo? El sueño imposible de ser. No de parecer, sino de ser. Consciente en cada momento. Vigilante. Al mismo tiempo, el abismo entre lo que eres para los otros y para ti misma, el sentimiento de vértigo y el deseo constante de, al menos, estar expuesta, de ser analizada, diseccionada, quizás incluso aniquilada. Cada palabra una mentira, cada gesto una falsedad, cada sonrisa una mueca. ¿Suicidarse? ¡Oh, no! ¡Eso es horrible! Tú no harías eso. Pero puedes quedarte inmóvil y en silencio. Por lo menos así no mientes. Puedes encerrarte en ti misma, aislarte. Así no tendrás que desempeñar roles, ni poner caras ni falsos gestos. Piensas. Pero, ¿ves? La realidad es atravesada, tu escondite no es hermético. La vida se cuela por todas partes. Estás obligada a reaccionar. Nadie pregunta si es real o irreal, si tú eres verdadera o falsa. La pregunta sólo importa en el teatro. Y casi ni siquiera allí. Te entiendo, Elisabeth. Entiendo que estés en silencio, que estés inmóvil, que hayas situado esta falta de voluntad en un sistema fantástico. Te entiendo y te admiro. Creo que deberías mantener este papel hasta que se agote, hasta que deje de ser interesante. Entonces podrás dejarlo. Igual que poco a poco fuiste dejando los demás papeles. ~ Ingmar Bergman,

154:Tror du inte jag förstår? Den hopplösa drömmen om att vara. Inte verka utan vara. I varje ögonblick medveten, vaksam. Och samtidigt avgrunden mellan vad du är inför andra och vad du är inför dig själv. Svindelkänslan och den ständiga hungern att äntligen få bli avslöjad. Att få bli genomskådad, reducerad, kanske till och med utplånad. Varje tonfall en lögn, varje gest en förfalskning, varje leende en grimas. Ta livet av sig? Nej då, det är för otäckt. Det gör man inte. Men man kan bli orörlig, man kan bli tyst. Då ljuger man åtminstone inte. Man kan stänga in sig, skärma av. Då behöver man inte spela några roller, visa några ansikten, göra några falska gester – tror man. Men ser du, verkligheten jävlas. Ditt gömställe, det är inte tillräckligt tätt. Överallt sipprar det in livsyttringar. Du tvingas reagera. Det är ingen som frågar efter om det är äkta eller oäkta, om du är sann eller förljugen. Det är bara på teatern som sådant är en fråga av vikt. Knappt där heller för den delen. Jag förstår dig, Elisabet. Jag förstår att du tiger, jag förstår att du är orörlig, att du har satt viljelösheten i ett fantastiskt system. Jag förstår och jag beundrar. Jag tycker att du ska hålla på med den rollen tills den är färdigspelad, tills den inte längre är intressant. Då kan du ju lämna den, precis som du undan för undan lämnar alla dina andra roller. ~ Ingmar Bergman,

155:Minus: Papa, I'm scared. When I was hugging Karin in the boat, reality burst open. Do you understand?

David: I do.

Minus: Reality burst open, and I tumbled out. It's like a dream. Anything can happen. Anything.

David: I know.

Minus: I can't live in this new world.

David: Yes, you can. But you must have something to hold on to.

Minus: What would that be? A god? Give me proof of God. You can't.

David: Yes, I can. But you have to listen carefully.

Minus: Yes, I need to listen.

David: I can only give you a hint of my own hope. It is to know that love exists as something real in the human world.

Minus: A special kind of love, I suppose?

David: All kinds, Minus. The highest and the lowest, the most absurd and the most sublime. All kinds of love.

Minus: And the longing for love?

David: Longing and denial. Trust and distrust.

Minus: Then love is the proof?

David: I don't know if love is proof of God's existence, or if love is God himself.

Minus: To you, love and God are the same thing.

David: That thought helps me in my emptiness and despair.

Minus: Tell me more, Papa.

David: Suddenly the emptiness turns into abundance, and despair into life. It's like a reprieve, Minus, from a death sentence.

Minus: Papa... If it is as you say, then Karin is surrounded by God, since we love her.

David: Yes.

Minus: Can that help her?

David: I believe so.

Minus: ... Papa, would you mind if I go for a run?

David: Off you go. I'll make dinner. See you in an hour.

Minus: ... Papa spoke to me. ~ Ingmar Bergman,

156:Şövalye: - Benzerlerime, insanlara ilgisizliğim, onların düzeninden ayırdı beni. Şimdi bir hayaletler dünyasında yaşıyorum. Düşlerim, kuruntularım içre kapatılmışım.
Ölüm: - Yine de ölmek istemiyorsunuz.
Şövalye: - Hayır istiyorum.
Ölüm: - Ne bekliyorsunuz?
Şövalye: - Bilgi istiyorum.
Ölüm: - Dayanak mı istiyorsunuz?
Şövalye: - Adına ne derseniz dein. Tanrıyı duyularla kavramak, öyle amansızcasına anlaşılmaz bir şey mi? Ne diye yarım sözler ve görünmeyen mucizeler sisinde saklıyor kendini? Kendimize inancımız yokken, inananlara nasıl inanabiliriz? İnanmak isteyip de inanamayanların başına neler gelecek? Peki, ne inanmak isteyen ne de inanmaya gücü yetenler ne olacak? Tanrıyı neden öldüremem içimde? Ona kötü sözler söylerim, yüreğimden söküp fırlatmak isterim de, neden böyle ağrılar içinde, böyle aşağılanarak yaşar durur? Neden, her şeye karşın , silkip atamadığım şaşırtıcı bir gerçektir o? İşitiyor musunuz beni?
Ölüm: - Evet, işitiyorum.
Şövalye: - Bilgi istiyorum, inanç değil, varsayımlar değil, bilgi. Tanrı elini bana doğru uzatsın, kendini açığa vurup benimle konuşsun istiyorum.
Ölüm: - Ama sessiz durur o.
Şövalye: - Karanlıkta ona doğru haykırıyorum, ama sanki hiç kimse yok orada.
Ölüm: - Hiç kimse yok belki de.
Şövalye: - Yaşamak iğrenç bir korku öyleyse. Kimse ölümün karşısında her şeyin bir hiç olduğunu bile bile yaşayamaz.
Ölüm: - İnsanların çoğu ölüm ya da yaşamın boşluğu üzerine kafa yormaz ki.
Şövalye: - Ama bir gün yaşantının o son anına varıp, karanlığa doğru bakmak zorunda kalacaklar.
Ölüm: - O gün geldiğinde...
Şövalye: - Korku içindeyken bir görüntü yaratırız, sonra o görüntüye Tanrı deriz. ~ Ingmar Bergman,

157:Sometimes I think my ability to concentrate is being nibbled away by the internet; other times I think it's being gulped down in huge, Jaws-shaped chunks. In those quaint days before the internet, once you made it to your desk there wasn't much to distract you. You could sit there working or you could just sit there. Now you sit down and there's a universe of possibilities – many of them obscurely relevant to the work you should be getting on with – to tempt you. To think that I can be sitting here, trying to write something about Ingmar Bergman and, a moment later, on the merest whim, can be watching a clip from a Swedish documentary about Don Cherry – that is a miracle (albeit one with a very potent side-effect, namely that it's unlikely I'll ever have the patience to sit through an entire Bergman film again).

Then there's the outsourcing of memory. From the age of 16, I got into the habit of memorising passages of poetry and compiling detailed indexes in the backs of books of prose. So if there was a passage I couldn't remember, I would spend hours going through my books, seeking it out. Now, in what TS Eliot, with great prescience, called "this twittering world", I just google the key phrase of the half-remembered quote. Which is great, but it's drained some of the purpose from my life.

Exactly the same thing has happened now that it's possible to get hold of out-of-print books instantly on the web. That's great too. But one of the side incentives to travel was the hope that, in a bookstore in Oregon, I might finally track down a book I'd been wanting for years. All of this searching and tracking down was immensely time-consuming – but only in the way that being alive is time-consuming. ~ Geoff Dyer,

158:arrived in Cambridge, and made an appointment to meet the formidable Krister Stendahl, a Swedish scholar of fierce intelligence, now to be my first adviser. We met in his office. I was nervous, but also amused that this tall and severe man, wearing a black shirt and clerical collar, looked to me like an Ingmar Bergman version of God. After preliminary formalities, he abruptly swiveled in his chair and turned sternly to ask, “So really, why did you come here?” I stumbled over the question, then mumbled something about wanting to find the essence of Christianity. Stendahl stared down at me, silent, then asked, “How do you know it has an essence?” In that instant, I thought, That’s exactly why I came here: to be asked a question like that—challenged to rethink everything. Now I knew I had come to the right place. I’d chosen Harvard because it was a secular university, where I wouldn’t be bombarded with church dogma. Yet I still imagined that if we went back to first-century sources, we might hear what Jesus was saying to his followers when they walked by the Sea of Galilee—we might find the “real Christianity,” when the movement was in its golden age. But Harvard quenched these notions; there would be no simple path to what Krister Stendahl ironically called “play Bible land” simply by digging through history. Yet I also saw that this hope of finding “the real Christianity” had driven countless people—including our Harvard professors—to seek its origins. Naive as our questions were, they were driven by a spiritual quest. We discovered that even the earliest surviving texts had been written decades after Jesus’s death, and that none of them are neutral. They reveal explosive controversy between his followers, who loved him, and outsiders like the Roman senator Tacitus and the Roman court historian Suetonius, who likely despised him. Taken together, what the range of sources does show, contrary to those who imagine that Jesus didn’t exist, is that he did: fictional people don’t have real enemies. What came next was a huge surprise: our professors at Harvard had file cabinets filled with facsimiles of secret gospels I had never heard of—the Gospel of Thomas, the Gospel of Philip, the Gospel of Mary Magdalene, the Gospel of Truth—and dozens of other writings, transcribed by hand from the original Greek into Coptic, and mimeographed in blue letters on pages stamped TOP SECRET. Discovered in 1945, these texts only recently had become available to scholars. This wasn’t what I’d expected to find in graduate school, or even what I wanted—at least, not so long as I still hoped to find answers instead of more questions ~ Elaine Pagels,

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