I am conscious about myself and everything, and then suddenly, or slowly, my conscious fades out. Switches off. And it’s not existing, and that’s a marvelous feeling. That from existing, I am not existing. And at that moment, nothing can happen to me.
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Ingmar Bergman
Ernst Ingmar Bergman (Swedish pronunciation: [ˈɪŋmar ˈbærjman] ( listen); 14 July 1918 – 30 July 2007) was a Swedish director, writer, and producer who worked in film, television, theatre and radio. He is recognized as one of the most accomplished and influential filmmakers of all time, and is most famous for films such as The Seventh Seal (1957), Wild Strawberries (1957), Persona (1966), Cries and Whispers (1972), and Fanny and Alexander (1982). Also well-regarded are works such as Winter Light (1963), The Silence (1963), and Scenes from a Marriage (1973). Bergman directed over sixty films and documentaries for cinematic release and for television, most of which he also wrote. He also directed over 170 plays. From 1953, he forged a powerful creative partnership with his full-time cinematographer Sven Nykvist. Among his company of actors were Harriet and Bibi Andersson, Liv Ullmann, Gunnar Björnstrand, Erland Josephson, Ingrid Thulin and Max von Sydow. Most of his films were set in Sweden, and numerous films from Through a Glass Darkly (1961) onward were filmed on the island of Fårö. His work often deals with death, illness, faith, betrayal, bleakness and insanity. Philip French referred to Bergman as "one of the greatest artists of the 20th century [...] he found in literature and the performing arts a way of both recreating and questioning the human condition." Mick LaSalle argued, "Like Virginia Woolf and James Joyce in literature, Ingmar Bergman strove to capture and illuminate the mystery, ecstasy and fullness of life, by concentrating on individual consciousness and essential moment
The ability to create was a gift. In such a world flourished invulnerable assurance and natural humility. Today the individual has become the highest form and the greatest bane of artistic creation.
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.
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.
When we experience a film, we consciously prime ourselves for illusion. Putting aside will and intellect, we make way for it in our imagination.
I am so 100 percent Swedish... Someone has said a Swede is like a bottle of ketchup — nothing and nothing and then all at once — splat. I think I'm a little like that. And I think I'm Swedish because I like to live here on this island. You can't imagine the loneliness and isolation in this country.…
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…
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.
When film is not a document, it is dream.