Ingmar Bergman Quotes About Film

• 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

  Thinking, Watches, Awful

  "Bergman 'depressed' by own films". news.bbc.co.uk. April 10, 2004.

• 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

  Dream, Reflection, Directors

  "The Magic Lantern". Book by Ingmar Bergman, www.indiewire.com. 1987.

• Ninguna forma de arte va más allá de la conciencia ordinaria como lo hace el cine, directo a nuestras emociones, a lo más profundo de la habitación crepuscular del alma.

  Ingmar Bergman

  Art, Twilight, Film Directing

  "The Magic Lantern: An Autobiography". Book by Ingmar Bergman, translated by Joan Tate, 1988.

• El cine como sueño, el cine como música. Ningún arte traspasa nuestra conciencia como lo hace el cine, y llega directamente a nuestros sentimientos, a lo más profundo de las oscuras habitaciones de nuestras almas.

  Ingmar Bergman

  Dream, Art, Dark

  "Ev'ry Time We Say Goodbye". "Sight & Sound" Magazine, June 1991.

• 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

  Play, Imagination, Feelings

  "Four Screenplays of Ingmar Bergman" by Ingmar Bergman, (Introduction), 1960.

• 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

  Fashion, Art, Play

  "Four Screenplays of Ingmar Bergman" by Ingmar Bergman, (Introduction), 1960.

• 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

  Dream, Art, Twilight

• Ningún otro medio artístico -ni la pintura ni la poesía- puede comunicar la cualidad específica del sueño tan bien como el cine. Cuando en el cine se apagan las luces y se abre ante nosotros ese punto blanco y luminoso, nuestra mirada deja de revolotear de un lado a otro, se posa y se queda inmóvil. Nos quedamos sentados, dejando que las imágenes fluyan sobre nosotros. Nuestra voluntad deja de funcionar. Perdemos la capacidad de ordenar las cosas y colocarlas en su sitio. Nos vemos arrastrados a un curso de acontecimientos, somos partícipes de un sueño. Y fabricar sueños es un negocio jugoso.

  Ingmar Bergman

  Dream, Art, White

• 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

  Dream, Moving, Reflection

  "Transported by the Images of Tarkovsky" by Brad Brevet, www.comingsoon.net. March 12, 2013.

• 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

  Music, Art, Emotion

  "Four Screenplays of Ingmar Bergman" by Ingmar Bergman, (Introduction), 1960.

• To shoot a film is to organize an entire universe.

  Ingmar Bergman

  Film, Organize, Universe

  "Biography/Personal Quotes". www.imdb.com.

• 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

  Running, Wall, Light

  Vlada Petrić, Ingmar Bergman (1981). “Film & dreams: an approach to Bergman”, Redgrave Publishing Company

• 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

  Past, Order, Worry

• 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

  Thinking, Darkness, Magic

• 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

  Couple, Attitude, Directors

  "Sydsvenska Dagbladet", Swedish daily newspaper, May 2002.

• 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

  Dream, Moving, Eggs

  "Biography/Personal Quotes". www.imdb.com.

• 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

  People, Giving, Answers

  Ingmar Bergman (1956). “The seventh seal: a film”

• 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

  Adorable, Addresses, Way

  "Sydsvenska Dagbladet", Swedish daily newspaper, May 2002.

• 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

  Atmosphere, Scent, Scripts

• Sé, por supuesto, que utilizando el cine podemos traer otros mundos antes desconocidos, realidades más allá de la realidad.

  Ingmar Bergman

  Reality, Unknown Worlds, Film

• 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

  Powerful, Relax, Three

• The theater is like a faithful wife. The film is the great adventure - the costly, exacting mistress.

  Ingmar Bergman

  Adventure, Wife, Faithful

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