Ingmar Bergman (1918 – 2007)
Swedish director and screenwriter whose unique cinematographic style made him one of the most notable directors of the twentieth century.
This is a testament of love and anguish from the man who used to be called the greatest living filmmaker. Well, dammit, he was. And, as proves, he still is.
Since at this time I was still very much in a quandary over religious faith, I placed my two opposing beliefs side by side, allowing each to state its case in its own way. In this manner, a virtual cease-fire could exist between my childhood piety and my newfound harsh rationalism. Thus, there are no neurotic complications between the knight and his vassals. Also, I infused the characters of Jof and Mia with something that was very important to me: the concept of the holiness of the human being. If you peel off the layers of various theologies, the holy always remains.
The demons are innumerable, arrive at the most inappropriate times and create panic and terror... but I have learned that if I can master the negative forces and harness them to my chariot, then they can work to my advantage.... Lilies often grow out of carcasses' arseholes.
I don't watch my own films very often. I become so jittery and ready to cry... and miserable. I think it's awful.
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. Perhaps it is not even a "he," but a "she."
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.'
Today we say all art is political. But I'd say all art has to do with ethics. Which after all really comes to the same thing. It's a matter of attitudes. ... All this talk about me standing aside, cutting myself off and so forth, has always amazed me... I've stated, firmly and clearly, that though as an artist I'm not politically involved, I obviously am an expression of the society I live in. Anything else would be grotesque. But I don't make propaganda for either one attitude or the other. No. As I told you, I vote for the Social Democrats. Their way of solving social problems comes closest to what I regard as decent. That I also find their actual solutions odd in many ways is another matter...
I believe Bergman, De Sica, and Fellini are the only three filmmakers in the world who are not just artistic opportunists. By this I mean they don't just sit and wait for a good story to come along and then make it. They have a point of view which is expressed over and over and over again in their films, and they themselves write or have original material written for them.
I was very cruel to actors and to other people. I think I was a very, very unpleasant young man. If I met the young Ingmar today, I think I would say, "You are very talented and I will see if I can help you, but I don't think I want anything else to do with you." I don't say I'm pleasant now, but I think I changed slowly in my 50's. At least I hope I've changed.
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...
If you have a faith, if you've some deep conviction, whether you're a Nazi or a Communist or what the hell else you are then you can sacrifice yourself and others to your faith. But from the moment you've no faith from that moment you live in a deep inner confusion from then on you're exposed to what Strindberg calls 'the powers'.
When Jesus was nailed to the cross and hung there in torment - he cried out "God, my God! Why hast thou forsaken me?" He cried out as loud as he could. He thought that his heavenly father had abandoned him. He believed everything he'd ever preached was a lie. The moments before he died, Christ was seized by doubt. Surely that must have been his greatest hardship? God's silence.
I hope I never get so old I get religious.
When I was young, I was extremely scared of dying, but now I think it a very, very wise arrangement. Its like a light that is extinguished. Not very much to make a fuss about.
Love her? You're devoid of all feeling. You lack common decency. You know how to express yourself. You always have just the right words. There's just one thing you haven't the slightest clue about: life itself. You're a craven coward, but a genius at evasions and excuses.
I come from a world of conservative Christian thought. I've absorbed Christianity with my mother's milk. So it must be obvious that certain... archetypes, aren't they called? stick in one's mind, and that certain lines, certain courses of events, certain ways of behaving, become adequate symbols for what goes on in the Christian system of ideas. ... I keep myself supplied with my own angels and demons...
I think his films have eternal relevance, because they deal with the difficulty of personal relationships and lack of communication between people and religious aspirations and mortality, existential themes that will be relevant a thousand years from now. When many of the things that are successful and trendy today will have been long relegated to musty-looking antiques, his stuff will still be great.
I liked Truffaut a lot, I've felt a lot of admiration for his way to address the audience, and his storytelling.... La nuit am้ricaine is adorable, and another film I like to see is L'enfant sauvage, with its fine humanism.
No one is safe from religious ideas and confessional phenomena. Neither you nor I. We can fall victim to them when we least expect it. It's like Mao flu, or being struck by lightning. You're utterly helpless. Exposed. As I see it today, any relapse is utterly out of the question. But I can't say it's out of the question tomorrow.
One of the strongest feelings I remember from my childhood is, precisely, of being humiliated; of being knocked about by words, acts, or situations.
Isn't it a fact that children are always feeling deeply humiliated in their relations with grown-ups and each other? I have a feeling children spend a good deal of their time humiliating one another. Our whole education is just one long humiliation, and it was even more so when I was a child. One of the wounds I've found hardest to bear in my adult life has been the fear of humiliation, and the sense of being humiliated. . . Every time I read a review, for instance whether laudatory or not this feeling awakes. . . To humiliate and be humiliated, I think, is a crucial element in our whole social structure. It's not only the artist I'm sorry for. It's just that I know exactly where he feels most humiliated. Our bureaucracy, for instance. I regard it as in high degree built up on humiliation, one of the nastiest and most dangerous of all poisons.