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Ingmar Bergman Quotes
, 1918 -
I'm very, very lazy. I love to sit in a chair and look out the window and do nothing.
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 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.
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.
Aging is not uncomplicated. Creativity is an extraordinary help against destructive demons.
My pictures are always part of my thinking, and my emotions, tensions, dreams, desires.
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.
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.
For me, the human face is the most important subject of the cinema.
I make all my decisions on intuition.
Everything is worth precisely as much as a belch, the difference being that a belch is more satisfying.
The doors between the old man today and the child are still open, wide open. I can stroll through my grandmother's house and know exactly where the pictures are, the furniture was, how it looked, the voice, the smells. I can move from my bed at night today to my childhood in less than a second.
I am normally afraid of birds and have never dreamt of any bird in my life.
If I don't create, I don't exist.
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.
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.
There hasn't been anyone with whom I can discuss my scripts. Even when the film is done, there is no one I can show it to who gives his sincere opinion. There is silence.
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 am forever living in my childhood.
We didn't know that Mother had gone through a passionate love affair or that Father suffered from severe depression. Mother was preparing to break out of her marriage, Father threatening to take his own life.
I have such difficulty calming down - my stomach, my head, reality, everything. That is the reason I live in Faro.
When you finish a film, you never want to see it again.
If I let myself go, nothing will get done.
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.
There is something joyous about not talking.
The anger and the creativity are so closely intertwined with me, and there's plenty of anger left.
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