"Ingmar Bergman"の名言

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.

I make all my decisions on intuition. 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'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.

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.

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 had a bad conscience until I discovered that having a bad conscience about something so gravely serious as leaving your children is an affectation, a way of achieving a little suffering that can't for a moment be equal to the suffering you've caused.

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.

The only thing I consider appalling would be to suddenly become a vegetable and a burden on other people. A soul slowly dying out, trapped in a body in which the insides gradually sabotage me - that, I think, would be terrifying.

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

I write scripts to serve as skeletons awaiting the flesh and sinew of images.

I have always appreciated the honest brutality of the international film world. One need never doubt one's worth in the market. Mine was zero.

I have such difficulty calming down - my stomach, my head, reality, everything. That is the reason I live in Faro.

The demons are innumerable, appear at the most inconvenient times, and create panic and terror. But I have learnt that if I can master the negative forces and harness them to my chariot, then they can work to my advantage.

I think that for some time now I have been living with an anxiety which has had no tangible cause. It has been like having a toothache, without the conscientious dentist having been able to find anything wrong with the tooth or with the person as a whole.

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.

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. He is not rational; he is impulsive and extremely emotional.

I have a feeling of complete balance. The sea, the house, the loneliness, the light. Everything is clearer. Much more precise. I have the feeling that I am living on a limit, and I'm crossing that limit sometimes.

Mother was actually a great doer and organizer. All the special occasions were directed by mother.

I am normally afraid of birds and have never dreamt of any bird in my life.

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: I try to tell the truth about the human condition, the truth as I see it. This answer seems to satisfy everyone, but it is not quite correct.