I am only interested in the views of two people: one is called Bresson and one called Bergman.
I remember those days with Bergman with great nostalgia. We were aware that the films were going to be quite important, and the work felt meaningful.
I think Ingmar Bergman, Francoise Truffaut - all these people created images in my mind, beautiful pictures, I loved what was known at that time as the foreign film.
There are only seven movie stars in the world whose name alone will induce American bankers to lend money for movie productions, and the only woman on the list is Ingrid Bergman.
I have always admired him (Bergman), and I wish I could be an equally good filmmaker as he is, but it will never happen. His love for the cinema almost gives me a guilty conscience
Me sitting down for dinner with Ingmar Bergman felt like a house painter sitting down with Picasso.
I will watch everything that Cary Grant did, or Kubrick made or Bergman.
Sometimes I get a little tired of it. But you know, what a privilege, to get tired of working with Ingmar Bergman.
I was six years old when I saw my first Godard movie, eight when I first experienced Bergman. I wanted to be a director when I was fourteen.
I see the whole episode in my memory as if it were a very crisply photographed black and white movie. Directed by Bergman perhaps.We are playing ourselves in the movie version. If only we could escape from always having to play ourselves !
This man (Bergman) is one of the few film directors-perhaps the only one in the world-to have said as much about human nature as Dostoevsky or Camus.
Ingmar Bergman is a long way from me, but I admire him. He, too, concentrates a great deal on individuals; and although the individual is what interests him most, we are very far apart. His individuals are very different from mine; his problems are different from mine - but he's a great director. So is Fellini, for that matter.
I would not have made any of my films or written scripts such as Taxi Driver had it not been for Ingmar Bergman, What he has left is a legacy greater than any other director.... I think the extraordinary thing that Bergman will be remembered for, other than his body of work, was that he probably did more than anyone to make cinema a medium of personal and introspective value.
What I want to do is make films that astonish people, that astound people, and I hope you want to do that too. It's easy to make money. It's easy to make films like everybody else. But to make films that explode like grenades in people's heads and leave shrapnel for the rest of their lives is a very important thing. That's what the great filmmakers did for me. I've got images from Fellini, from Bergman, from Kurowsawa, from Bunuel, all stuck in my brain.
My mentor, [Ingmar] Bergman, when we worked on stage, he said you can't convince a thousand people at the big stage where we were working. You can't convince everybody, but just pick one every night that you perform for and make sure that he or she will have an experience that alters their life in a more positive way. So, just one every night. That's worth all the struggle and screaming.
Directors who have inspired me include Billy Wilder, Federico Fellini, lngmar Bergman, John Ford, Orson Welles, Werner Herzog, Stanley Kubrick, Alfred Hitchcock, Francis Ford Coppola and Ernst Lubitsch. In art school, I studied painters like Edward Hopper, who used urban motifs, Franz Kafka is my favorite novelist. My approach to film stems from my art background, as I go beyond the story to the sub-conscious mood created by sound and images.
In Bergman's world I represented a sort of intellectual, skeptical, ironic person, rather cold and frustrated. When I went abroad and made films in Italy and other places, I was used in different ways. I was rather often cast as crazy people, maniacs. It was very good for me and it was fun because it is nice to play crazy people if you are not in reality. And I think perhaps that changed how Ingmar saw me. Suddenly I was on the more magical side of his world, playing the people with fantasies, variety, the artists.
If a face like Ingrid Bergman's looks at you as though you're adorable, everybody does. You don't have to act very much.
[Akiro] Kurosawa, no doubt, was a big influence. Movies sometimes more than directors have influenced me: The Grapes of Wrath, by John Ford, was an extraordinary discovery. Sergei Eisenstein, of course. Later on, [Ingmar] Bergman.
The vengeful hag is played by Ingrid Bergman, which is like casting Eleanor Roosevelt as Lizzie Borden.
Most screenplays, most motion pictures, owe much more to the screenplay. Ingmar Bergman has such an economy of language, so little language in his piece, it is so visual, his moods are introduced and buttressed by camera rather than by word or character. But again, that's unique.
When I was first exposed to the films of Ingmar Bergman, I found them frank and disturbing portraits of the world we live in, but that was not something that displeased me. They were beautiful. I thought people would respond to my plays the way I responded to Bergman's films.
(On Ingrid Bergman) "I didn't do anything I've never done before, but when the camera moves in on that Bergman face, and she's saying she loves you, it would make anybody feel romantic."
A movie that I've seen probably the most is 'Fanny Alexander,' the Ingmar Bergman movie. I even dragged my friends to the super long version that had an intermission. I don't know how much they liked me that day.
I realized that a lot of the great directors that I admire from [Ingmar] Bergman to [Fredrico] Fellini re always shooting, then going into the editing room, and shooting again.
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