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Film has dream, film has 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 in a second, darkness in between, the optic nerve incapable of registering darkness. At the editing table, when I run the trip of film through, frame by frame, I still feel that dizzy sense of magic of my childhood: in the darkness of the wardrobe, I slowly wind one frame after another, see almost imperceptible changes, wind faster — a movement.
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Laterna Magica (1987); The Magic Lantern : An Autobiography as translated by Joan Tate (1988)
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Variant translation: 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.
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As quoted in "Ev'ry Time We Say Goodbye" by John Berger, Sight and Sound (June 1991)

 

Ingmar Bergman

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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. Ever since childhood, music has been my great source of recreation and stimulation, and I often experience a film or play musically.

 

Ingmar Bergman

 

I don't like film. Film is too clankingly real, too permanent, too industrial for me. ... The worst thing about film, from my point of view, is that it cripples illusions which I have encouraged people to create in their heads. Film doesn't create illusions. It makes them impossible. It's a bullying form of reality, like the model rooms in the furniture department of Bloomingdale's.

 

Kurt Vonnegut

 

Working to timings and synchronising your musical thoughts with the film can be stimulating rather than restrictive. Scoring is a limitation but like any limitation is can be made to work for you. Verdi, except for a handful of pieces, worked best when he was 'turned on' by a libretto. The most difficult problem in music is form, and in a film you already have this problem solved for you. You are presented with a basic structure, a blueprint, and provided the film has been well put together, well edited, it often suggests its own rhythms and tempo. The quality of the music is strictly up to the composer. Many people seem to assume that because film music serves the visual it must be something of secondary value. Well, the function of any art is to serve a purpose in society. For many years, music and painting served religion. The thing to bear in mind is that film is the youngest of the arts, and that scoring is the youngest of the music arts. We have a great deal of development ahead of us.

 

Jerry Goldsmith

 

Admiration I did not feel. Sympathy I felt in the sense that I would feel it for a rabid dog, while accepting that it must be destroyed. I do not feel the film provides "a sufficient response to what Hitler actually did," because I feel no film can, and no response would be sufficient. All we can learn from a film like this is that millions of people can be led, and millions more killed, by madness leashed to racism and the barbaric instincts of tribalism.

 

Roger Ebert

 

Some of the acting is better than the film deserves. Make that all of the acting. Actually, the film stock itself is better than the film deserves. You know when sometimes a film catches fire inside a projector? If it happened with this one, I suspect the audience might cheer.

 

Roger Ebert