Ингмар Бергман цитаты

Ингмар Бергман фото
7   2

Ингмар Бергман

Дата рождения: 14. Июль 1918
Дата смерти: 30. Июль 2007

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Эрнст И́нгмар Бе́ргман — шведский режиссёр театра и кино, сценарист, писатель. Признан одним из величайших кинорежиссёров авторского кино. Среди наиболее известных фильмов Бергмана — «Седьмая печать» , «Земляничная поляна» , «Персона» , «Шёпоты и крики» , «Фанни и Александр» .

Ингмар Бергман поставил более шестидесяти художественных и документальных фильмов для кино и телевидения, при этом был автором сценария к большинству из них. Также на его счету более ста семидесяти театральных постановок. В 1953 году сформировалось многолетнее плодотворное сотрудничество Бергмана с кинооператором Свеном Нюквистом. В фильмах Бергмана часто снимались Харриет Андерссон, Лив Ульман, Гуннар Бьёрнстранд, Биби Андерссон, Эрланд Юзефсон, Ингрид Тулин и Макс фон Сюдов.

Подобные авторы

Грета Гарбо фото
Грета Гарбо12
шведская и американская киноактриса
Astrid Lindgren фото
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Жан-Пьер Жене фото
Жан-Пьер Жене2
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Геннадий Фёдорович Шпаликов фото
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Цитаты Ингмар Бергман

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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.“

—  Ingmar Bergman
Context: 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. "Introduction" of Four Screenplays (1960). <!-- Simon & Schuster -->

„I was incredibly excited. Because my father was a clergyman we never got our presents on Christmas Eve, like other Swedish children do. We got them on Christmas Day… Well, you can imagine my disappointment when it turned out to be my older brother — he's four years older than myself — who got the projector — and I was given a teddy bear. It was one of my life's bitterest disappointments. After all, my brother wasn't a scrap interested in cinematography. But both of us had masses of lead soldiers. So on Boxing Day I bought the projector off him for half my army and he beat me hollow in every war ever afterwars. But I'd got the projector, anyway.“

—  Ingmar Bergman
Context: In our family we had a well-to-do aunt who always gave us magnificent Christmas presents. She was so much part of the family that we even included her in our prayers at bedtime... I suppose I must have been nine or ten years old at the time. Suddenly Aunt Anna's Christmas presents were lying there too, and among them a parcel with 'Forsner's on it. So of course I instantly knew it contained a projector. For a couple of years I'd been consumed with a passionate longing to own one, but had been considered too small for such a present... I was incredibly excited. Because my father was a clergyman we never got our presents on Christmas Eve, like other Swedish children do. We got them on Christmas Day... Well, you can imagine my disappointment when it turned out to be my older brother — he's four years older than myself — who got the projector — and I was given a teddy bear. It was one of my life's bitterest disappointments. After all, my brother wasn't a scrap interested in cinematography. But both of us had masses of lead soldiers. So on Boxing Day I bought the projector off him for half my army and he beat me hollow in every war ever afterwars. But I'd got the projector, anyway. Stig Bjorkman interview <!-- pages 6-7 -->

„People think there's a solution… If everything is distributed in the proper quarters, put into the right pigeonholes, everything will be fine. But I'm not so sure. … Nothing, absolutely nothing at all has emerged out of all these ideas of faith and scepticism, all these convulsions, these puffings and blowings.“

—  Ingmar Bergman
Context: People think there's a solution... If everything is distributed in the proper quarters, put into the right pigeonholes, everything will be fine. But I'm not so sure. … Nothing, absolutely nothing at all has emerged out of all these ideas of faith and scepticism, all these convulsions, these puffings and blowings. For many of my fellow human beings on the other hand, I'm aware that these problems still exist — and exist as a terrible reality. I hope this generation will be the last to live under the scourge of religious anxiety. Jonas Sima interview <!-- p. 195 -->

„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.“

—  Ingmar Bergman
Context: 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. In that way, I'm very Swedish — I don't dislike to be alone As quoted in """"Ingmar Bergman: Summing Up A Life In Film"""" by Michiko Kakutani in The New York Times Magazine (26 June 1983).

„I was a peripheral fellow, regarded with deep suspicion from every quarter…“

—  Ingmar Bergman
Context: That I wasn't interested in politics or social matters, that's dead right. I was utterly indifferent. After the war and the discovery of the concentration camps, and with the collapse of political collaborations between the Russians and the Americans, I just contracted out. My involvement became religious. I went in for a psychological, religious line... the salvation-damnation issue, for me, was never political. It was religious. For me, in those days, the great question was: Does God exist? Or doesn't God exist? Can we, by an attitude of faith, attain to a sense of community and a better world? Or, if God doesn't exist, what do we do then? What does our world look like then? In none of this was there the least political colour. My revolt against bourgeois society was a revolt-against-the-father. I was a peripheral fellow, regarded with deep suspicion from every quarter... When I arrived in Gothenburg after the war, the actors at the Municipal Theatre fell into distinct groups: old ex-Nazis, Jews, and anti-Nazis. Politically speaking, there was dynamite in that company: but Torsten Hammaren, the head of the theatre, held it together in his iron grasp. Stig Bjorkman interview <!-- pages 12-14 -->

„In various contexts I'd made it into a sort of private game to have a diabolic figure hanging around. His evil was one of the springs in my watch-works. And that's all there is to the devil-figure in my early films… Unmotivated cruelty is something which never ceases to fascinate me; and I'd very much like to know the reason for it.“

—  Ingmar Bergman
Context: Now let's get this Devil business straight, once and for all. To begin at the beginning: the notion of God, one might say, has changed aspect over the years, until it has either become so vague that it has faded away altogether or else has turned into something entirely different. For me, hell has always been a most suggestive sort of place; but I've never regarded it as being located anywhere else than on earth. Hell is created by human beings — on earth! What I believed in those days — and believed in for a long time — was the existence of a virulent evil, in no way dependent upon environmental or hereditary factors. Call it original sin or whatever you like — anyway an active evil, of which human beings, as opposed to animals, have a monopoly. Our very nature, qua human beings, is that inside us we always carry around destructive tendencies, conscious or unconscious, aimed both at ourselves and at the outside world. As a materialization of this virulent, indestructible, and — to us — inexplicable and incomprehensble evil, I manufactured a personage possessing the diabolical traits of a mediaeval morality figure. In various contexts I'd made it into a sort of private game to have a diabolic figure hanging around. His evil was one of the springs in my watch-works. And that's all there is to the devil-figure in my early films... Unmotivated cruelty is something which never ceases to fascinate me; and I'd very much like to know the reason for it. Its source is obscure and I'd very much like to get at it. Torsten Manns interview <!-- p. 40 -->

„Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Etiam egestas wisi a erat. Morbi imperdiet, mauris ac auctor dictum.“

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