Quotes About Ingmar Bergman

I was going to design sports cars, but my father came to my college to visit me. At the time he was making a picture in Sweden and he took me there with him. I got to see Ingmar Bergman's company and I thought, 'Gee, filmmaking is a lot more fun than sports cars,' so I decided to follow him and go into acting.

I draw on a lot of cinematic influences like Ingmar Bergman and Wim Wenders, artists who let a story take its time. Comics are a visual medium, and visuals should be allowed to tell some of that story.

I want knowledge. Not belief. Not surmise. But knowledge. I want God to put out His hand, show His face, speak to me.

I saw an adaptation of Ingmar Bergman's 'Fanny and Alexander' at the Royal Theatre in Copenhagen. The story is just legendary for us Danes, and it was really well done.

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.

I pictured myself sitting by the fire and knitting the Celtic mists and shadowy pools into my cloth. I pictured Jonathan getting up from his typewriter and going out to split wood like a man in Ingmar Bergman, and the child, with woollen mittens flapping at its cuffs, tottering after him.

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

I own one movie by fellow Swede Ingmar Bergman, because I have to. You can't be a movie critic with a collection of six or seven hundred DVDs that includes everything from 'Tokyo Story' to 'Poison Ivy: The New Seduction' and not have a Bergman movie.

Ingmar Bergman had a great sense of humor, and he had a very special, characteristic laugh that you always recognized - if he went to watch a theater show, 'Ah! He is here tonight.'

Now I want to make it plain that 'The Virgin Spring' must be regarded as an aberration. It's touristic, a lousy imitation of Kurosawa.

I was booed at the premiere of 'Miss Julie,' a remarkably stimulating experience.

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.

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.

I am autobiographical in the way a dream transforms experience and emotions all the time.

I don't want to produce a work of art that the public can sit and suck aesthetically. I want to give them a blow in the small of the back, to scorch their indifference, to startle them out of their complacency.

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.