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Ingmar Bergman

Biography

Swedish filmmaker whose movies Fanny and Alexander, Through a Cup Darkly, as well as the Virgin Springtime received Academy Awards for Ideal SPANISH Film. His various other well-known features consist of Crazy Strawberries, Cries & Whispers, as well as the Seventh Seal. He started his film profession rewriting scripts in 1941. He composed the screenplay for Torment/Frenzy in 1944 and was associate director in the film. He was regarded as one of the biggest filmmakers ever sold and became a Foreign Honorary Person in the Academy of Arts and Sciences in 1961. He wedded his 5th wife Ingrid von Rosen on November 11, 1971. He previously a complete of nine children. He was significantly respected by American movie director Woody Allen.

Quick Facts


Full Name Ingmar Bergman
Date Of Birth July 14, 1918
Died July 30, 2007, Fårö, Sweden
Place Of Birth Uppsala, Sweden
Height 1.79 m
Profession Director
Education Stockholm University
Nationality Swedish
Spouse Ingrid von Rosen, Käbi Laretei, Gun Grut, Ellen Bergman, Else Fisher
Children Linn Ullmann, Anna Bergman, Mats Bergman, Maria von Rosen, Daniel Bergman, Eva Bergman, Lena Bergman, Jan Bergman, Ingmar Bergman, Jr.
Parents Karin Bergman, Erik Bergman
Siblings Dag Bergman, Margareta Bergman
Awards Academy Award for Best Foreign Language Film, Palme d'Or, Golden Bear, Cannes Jury Prize, Cannes Best Director Award, César Award for Best Foreign Film, Golden Lion for Lifetime Achievement, Irving G. Thalberg Memorial Award, Grand Jury Prize, Guldbagge Award for Best Director, Praemium Imperiale, David di Donatello for Best Foreign Director, Guldbagge Award for Best Screenplay, BAFTA Fellowship, Erasmus Prize, David di Donatello for Best Foreign Film, Goethe Prize, National Society of Film Critics Award for Best Screenplay, National Society of Film Critics Award for Best Director, European Film Academy Lifetime Achievement Award, National Board of Review Award for Best Director, Bodil Award for Best Non-American Film, New York Film Critics Circle Award for Best Director, National Board of Review Award for Best Foreign Language Film, DGA Lifetime Achievement Award, New York Film Critics Circle Award for Best Screenplay, The Dorothy and Lillian Gish Prize, New York Film Critics Circle Award for Best Film, David di Donatello for Best Foreign Screenplay, David di Donatello Luchino Visconti Award, David di Donatello Golden Plate Award, Obie Award for Direction, Los Angeles Film Critics Association Award for Best Foreign Language Film, Obie Award for Special Citations, British Academy Television Award for Best Foreign Television Programme, Obie Award for Sustained Excellence of Direction, National Society of Film Critics Special Awards, Jussi Award for Best Foreign Director
Nominations Academy Award for Best Picture, Academy Award for Best Director, Academy Award for Best Original Screenplay, Golden Lion, BAFTA Award for Best Film, Golden Globe Award for Best Director - Motion Picture, BAFTA Award for Best Foreign Language Film, Nordic Council's Literature Prize, Directors Guild of America Award for Outstanding Directing – Feature Film, César Award for Best Film from the European Union, Drama League Award for Outstanding Production of a Broadway or Off-Broadway Play, César Award for Best European Film
Movies The Seventh Seal, Persona, Wild Strawberries, Fanny and Alexander, Autumn Sonata, Cries and Whispers, The Virgin Spring, Through a Glass Darkly, Winter Light, Scenes from a Marriage, The Silence, Hour of the Wolf, Smiles of a Summer Night, Saraband, Summer with Monika, The Magician, The Passion of Anna, The Magic Flute, Shame, Summer Interlude, The Serpent's Egg, Sawdust and Tinsel, Face to Face, From the Life of the Marionettes, The Best Intentions, After the Rehearsal, The Touch, Torment, The Devil's Eye, Secrets of Women, Brink of Life, All These Women, To Joy, In the Presence of a Clown, A Lesson in Love, It Rains on Our Love, Sunday's Children, Music in Darkness, Private Confessions, Faithless, Port of Call, A Ship Bound for India, Eva, Karin's Face, Prison, Dreams, Bergman Island, Stimulantia, The Making of Fanny and Alexander, The Rite, This Can't Happen Here
Star Sign Cancer

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#Fact
1He was approached by Italian television in the seventies, about making a TV-movie based on the life of Jesus Christ. He wrote a synopsis and planned on filming the entire movie in the Swedish province Gotland (for example, the rocky beaches of Langhammars on the island of Fårö were to serve as Golgatha). Eventually, Franco Zeffirelli was commissioned to helm the project, which became Jesus of Nazareth (1977).
2One of favorite filmmakers of Andrei Tarkovsky, Francis Ford Coppola, Guillermo del Toro, Woody Allen, and Stanley Kubrick.
3Died on the same day as Michelangelo Antonioni.
4Recovering from hip replacement surgery. [January 2007]
5Has now retired from directing, emptied his apartment in Stockholm and his room at the Dramatic Theater, and lives permanently at Fårö, Gotland (Sweden). [May 2004]
6Like his fellow World Cinema masters, Akira Kurosawa (who started in the Japanese art world) and Federico Fellini (who started in journalism) he came to cinema via circumvention after working as a theater director.
7Is going to appear in the new 200 Kronors banknote in 2015.
8Often directed plays for the radio.
9He was an admirer of the films of 'Francois Truffaut' and Jean-Pierre Melville.
10He said his favorite Hollywood director was Billy Wilder.
11Fluently spoke Swedish, French and English.
12Directed 2 actresses to Oscar nominations: Liv Ullmann (Best Actress, Face to Face (1976)) and Ingrid Bergman (Best Actress, Autumn Sonata (1978)).
13The Swedish film industry ground to a halt in 1951 due to a ten-month strike by studio personnel, intended as a protest against an "amusement tax" levied against motion picture producers. During this period he directed several TV commercials for a soap called Bris (i.e. Breeze). He later said he was "absurdly grateful" to get this job.
1410 of his films are listed in the 5th edition of 1001 Movies You Must See Before You Die (edited by Steven Jay Schneider). He is the third best represented director (behind Alfred Hitchcock and Howard Hawks) and has the greatest number of writing credits on that list of any screenwriter. On the list are the films Smiles of a Summer Night (1955), The Seventh Seal (1957), Wild Strawberries (1957), Through a Glass Darkly (1961), Winter Light (1963), Persona (1966), Hour of the Wolf (1968), Shame (1968), Cries & Whispers (1972) and Fanny and Alexander (1982).
15Considered Persona (1966) and Cries & Whispers (1972) his best movies.
16Profiled in "Films and Dreams: Tarkovsky, Bergman, Sokurov, Kubrick and Wong Kar-Wei" by Thurston Botz-Borsnstein. Lanham, MD: Scarecrow Press, 2008.
17Among his fellow directors, he listed the three most significant to him as Federico Fellini, Victor Sjöström and Akira Kurosawa.
18Erland Josephson appeared in 14 Bergman films as an actor in a span of almost 60 years (1946-2004): It Rains on Our Love (1946) ("It Rains on Our Love" (1946)), To Joy (1950) ("To Joy" (1950)), The Magician (1958) ("The Magician" (1959)), Brink of Life (1958) ("Brink of Life" (1959)), Hour of the Wolf (1968) ("Hour of the Wolf" (1968)), The Passion of Anna (1969) ("The Passion of Anna" (1970)), Cries & Whispers (1972) ("Cries and Whispers" (1972)), Scenes from a Marriage (1973) ("Scenes from a Marriage" (1974)), The Magic Flute (1975) ("The Magic Flute" (1975)), Face to Face (1976) ("Face to Face (1976)), Autumn Sonata (1978) ("Autumn Sonata" (1978)), Fanny and Alexander (1982), After the Rehearsal (1984) ("After the Rehearsal" (1984)), In the Presence of a Clown (1997) ("In the Presence of a Clown" (1997)), and Saraband (2003). In addition to acting in Bergman's films, Josephson also co-wrote Bergman's All These Women (1964) ("All These Women (1964)), one of Bergman's rare comedies (and his first film shot in color).
19Was romantically linked to Harriet Andersson from 1952 to 1955 and Bibi Andersson from 1955 to 1959.
20Born to Erik Bergman, a Lutheran minister who later became the chaplain to the King of Sweden, and his wife Karen Åkerblom.
21Lived on the island of Fårö since the early 1960s, but moved to Munich, Germany for a while battling with the Swedish government over alleged tax evasion.
22Is buried on the island of Fårö, where he had lived most of his life.
23He and Liv Ullmann made 10 movies together: Face to Face (1976), Autumn Sonata (1978), The Passion of Anna (1969), Persona (1966), Saraband (2003), Scenes from a Marriage (1973), Das Schlangenei (1977), Shame (1968), Hour of the Wolf (1968) and Cries & Whispers (1972).
24His Top 11 films are (as presented at Goteborg Film Festival, Sweden in 1994): The Circus (1928), Port of Shadows (1938), The Conductor (1980), Raven's End (1963), The Passion of Joan of Arc (1928). The Phantom Carriage (1921), Rashomon (1950), La Strada (1954), Sunset Blvd. (1950), Marianne & Juliane (1981), Andrei Rublev (1966).
25He and Bibi Andersson made 13 movies together: The Magician (1958), The Touch (1971), The Devil's Eye (1960), All These Women (1964), Brink of Life (1958), Mr. Sleeman Is Coming (1957) (not released), The Passion of Anna (1969), Persona (1966), Scenes from a Marriage (1973), Rabies (1958), The Seventh Seal (1957), Wild Strawberries (1957) and Smiles of a Summer Night (1955).
26He and Ingrid Thulin made 10 movies together: A Dream Play (1963), The Magician (1958), After the Rehearsal (1984), Winter Light (1963), Brink of Life (1958), The Rite (1969), Wild Strawberries (1957), The Silence (1963), Hour of the Wolf (1968) and Cries & Whispers (1972).
27His three favorite movies are: The Emigrants (1971), La Dolce Vita (1960) and Mr. Hulot's Holiday (1953).
28He and Max von Sydow made 13 movies together: The Magician (1958), The Touch (1971), Mr. Sleeman Is Coming (1957) (not released), The Virgin Spring (1960), Winter Light (1963), Brink of Life (1958), The Passion of Anna (1969), Rabies (1958), The Seventh Seal (1957), Shame (1968), Wild Strawberries (1957), Through a Glass Darkly (1961) and Hour of the Wolf (1968).
29Was fluent in French.
30His grandmother introduced Ingmar to the cinema and went with him to several shows when he was a little boy, always in secrecy since he wasn't allowed to go to the movies by his strict father.
31After their daughter Maria had been born out of wedlock in 1959, he finally married Ingrid Bergman (Ingrid von Rosen) in 1971. This was his only marriage which didn't end in divorce.
32Was chosen the world's greatest living filmmaker by "Time" magazine (11 July 2005).
33Published "Tre dagböcker", including the diaries of him, his fifth wife Ingrid and their daughter Maria von Rosen (2004).
34Among Woody Allen's biggest idols.
35No relation to Ingrid Bergman, although he was married to another Ingrid, Ingrid Bergman.
36Likes to watch BMX racing on television.
37Father-in-law of Henning Mankell.
38His movies The Virgin Spring (1960), Through a Glass Darkly (1961) and Fanny and Alexander (1982) were Oscar-nominated for "Best Foreign Language Film". All three movies won.
39Inspired the word "Bergmanesque"
40Has a daughter, Linn Ullmann, with actress Liv Ullmann. Linn, who played a child in several of her father's movies, became a literary critic, then novelist. Her debut novel, in 1999, was "Före du sover" (Before you fall asleep).
41The rock band Van Halen wrote a song called "The Seventh Seal" (from the "Balance" album) in honor of his films. The song talks about The Seventh Seal (1957) and The Virgin Spring (1960).
42He retired from filmmaking in 1984, and then in 2003, at the age of 85, he retired from directing plays.
43Biography in: John Wakeman, editor. "World Film Directors, Volume Two, 1945- 1985". Pages 103-115. New York: The H.W. Wilson Company, 1988.
44Was voted the 8th Greatest Film Director of all time by Entertainment Weekly,.
45For many years, he and actor Erland Josephson have had an hour-long telephone conversation once a week, on Saturdays.
46Swedish Film Institute announced Bergman will donate his raw footage, photographs and manuscripts from his films and plays to a new foundation established to honor him. (5 June 2002)
47Father of nine children. They include director Daniel Bergman, (with Käbi Laretei), actress Anna Bergman, actor Mats Bergman, director Eva Bergman, director Jan Bergman, (with Ellen Bergman), actress Lena Bergman, (with Else Fisher), airline captain Ingmar Bergman Jr. (born 1951) (with Gun Hagberg), writer Linn Ullmann, (with Liv Ullmann), and writer Maria won Rosen (with Ingrid Bergman).
48Had a dispute with the Swedish Royal Dramatic Theatre about his production of the play "Misantropen". Directed it for Swedish television instead. Ironically, the chief of Swedish Television's 'Dramatic Department' has become chief of the Royal Dramatic Theatre.
49One of favorite filmmakers of Andrei Tarkovsky, Francis Ford Coppola, Guillermo del Toro, Woody Allen, and Stanley Kubrick.
50Died on the same day as Michelangelo Antonioni.
51Recovering from hip replacement surgery. [January 2007]
52Has now retired from directing, emptied his apartment in Stockholm and his room at the Dramatic Theater, and lives permanently at Fårö, Gotland (Sweden). [May 2004]
53Like his fellow World Cinema masters, Akira Kurosawa (who started in the Japanese art world) and Federico Fellini (who started in journalism) he came to cinema via circumvention after working as a theater director.
54Is going to appear in the new 200 Kronors banknote in 2015.
55Often directed plays for the radio.
56He was an admirer of the films of 'Francois Truffaut' and Jean-Pierre Melville.
57He said his favorite Hollywood director was Billy Wilder.
58Fluently spoke Swedish, French and English.
59Directed 2 actresses to Oscar nominations: Liv Ullmann (Best Actress, Face to Face (1976)) and Ingrid Bergman (Best Actress, Autumn Sonata (1978)).
60The Swedish film industry ground to a halt in 1951 due to a ten-month strike by studio personnel, intended as a protest against an "amusement tax" levied against motion picture producers. During this period he directed several TV commercials for a soap called Bris (i.e. Breeze). He later said he was "absurdly grateful" to get this job.
6110 of his films are listed in the 5th edition of 1001 Movies You Must See Before You Die (edited by Steven Jay Schneider). He is the third best represented director (behind Alfred Hitchcock and Howard Hawks) and has the greatest number of writing credits on that list of any screenwriter. On the list are the films Smiles of a Summer Night (1955), The Seventh Seal (1957), Wild Strawberries (1957), Through a Glass Darkly (1961), Winter Light (1963), Persona (1966), Hour of the Wolf (1968), Shame (1968), Cries & Whispers (1972) and Fanny and Alexander (1982).
62Considered Persona (1966) and Cries & Whispers (1972) his best movies.
63Profiled in "Films and Dreams: Tarkovsky, Bergman, Sokurov, Kubrick and Wong Kar-Wei" by Thurston Botz-Borsnstein. Lanham, MD: Scarecrow Press, 2008.
64Among his fellow directors, he listed the three most significant to him as Federico Fellini, Victor Sjöström and Akira Kurosawa.
65Erland Josephson appeared in 14 Bergman films as an actor in a span of almost 60 years (1946-2004): It Rains on Our Love (1946) ("It Rains on Our Love" (1946)), To Joy (1950) ("To Joy" (1950)), The Magician (1958) ("The Magician" (1959)), Brink of Life (1958) ("Brink of Life" (1959)), Hour of the Wolf (1968) ("Hour of the Wolf" (1968)), The Passion of Anna (1969) ("The Passion of Anna" (1970)), Cries & Whispers (1972) ("Cries and Whispers" (1972)), Scenes from a Marriage (1973) ("Scenes from a Marriage" (1974)), The Magic Flute (1975) ("The Magic Flute" (1975)), Face to Face (1976) ("Face to Face (1976)), Autumn Sonata (1978) ("Autumn Sonata" (1978)), Fanny and Alexander (1982), After the Rehearsal (1984) ("After the Rehearsal" (1984)), In the Presence of a Clown (1997) ("In the Presence of a Clown" (1997)), and Saraband (2003). In addition to acting in Bergman's films, Josephson also co-wrote Bergman's All These Women (1964) ("All These Women (1964)), one of Bergman's rare comedies (and his first film shot in color).
66Was romantically linked to Harriet Andersson from 1952 to 1955 and Bibi Andersson from 1955 to 1959.
67Born to Erik Bergman, a Lutheran minister who later became the chaplain to the King of Sweden, and his wife Karen Åkerblom.
68Lived on the island of Fårö since the early 1960s, but moved to Munich, Germany for a while battling with the Swedish government over alleged tax evasion.
69Is buried on the island of Fårö, where he had lived most of his life.
70He and Liv Ullmann made 10 movies together: Face to Face (1976), Autumn Sonata (1978), The Passion of Anna (1969), Persona (1966), Saraband (2003), Scenes from a Marriage (1973), Das Schlangenei (1977), Shame (1968), Hour of the Wolf (1968) and Cries & Whispers (1972).
71His Top 11 films are (as presented at Goteborg Film Festival, Sweden in 1994): The Circus (1928), Port of Shadows (1938), The Conductor (1980), Raven's End (1963), The Passion of Joan of Arc (1928). The Phantom Carriage (1921), Rashomon (1950), La Strada (1954), Sunset Blvd. (1950), Marianne and Juliane (1981), Andrei Rublev (1966).
72He and Bibi Andersson made 13 movies together: The Magician (1958), The Touch (1971), The Devil's Eye (1960), All These Women (1964), Brink of Life (1958), Mr. Sleeman Is Coming (1957) (not released), The Passion of Anna (1969), Persona (1966), Scenes from a Marriage (1973), Rabies (1958), The Seventh Seal (1957), Wild Strawberries (1957) and Smiles of a Summer Night (1955).
73He and Ingrid Thulin made 10 movies together: A Dream Play (1963), The Magician (1958), After the Rehearsal (1984), Winter Light (1963), Brink of Life (1958), The Rite (1969), Wild Strawberries (1957), The Silence (1963), Hour of the Wolf (1968) and Cries & Whispers (1972).
74His three favorite movies are: The Emigrants (1971), La Dolce Vita (1960) and Mr. Hulot's Holiday (1953).
75He and Max von Sydow made 13 movies together: The Magician (1958), The Touch (1971), Mr. Sleeman Is Coming (1957) (not released), The Virgin Spring (1960), Winter Light (1963), Brink of Life (1958), The Passion of Anna (1969), Rabies (1958), The Seventh Seal (1957), Shame (1968), Wild Strawberries (1957), Through a Glass Darkly (1961) and Hour of the Wolf (1968).
76Was fluent in French.
77His grandmother introduced Ingmar to the cinema and went with him to several shows when he was a little boy, always in secrecy since he wasn't allowed to go to the movies by his strict father.
78After their daughter Maria had been born out of wedlock in 1959, he finally married Ingrid Bergman (Ingrid von Rosen) in 1971. This was his only marriage which didn't end in divorce.
79Was chosen the world's greatest living filmmaker by "Time" magazine (11 July 2005).
80Published "Tre dagböcker", including the diaries of him, his fifth wife Ingrid and their daughter Maria von Rosen (2004).
81Among Woody Allen's biggest idols.
82No relation to Ingrid Bergman, although he was married to another Ingrid, Ingrid Bergman.
83Likes to watch BMX racing on television.
84Father-in-law of Henning Mankell.
85His movies The Virgin Spring (1960), Through a Glass Darkly (1961) and Fanny and Alexander (1982) were Oscar-nominated for "Best Foreign Language Film". All three movies won.
86Inspired the word "Bergmanesque"
87Has a daughter, Linn Ullmann, with actress Liv Ullmann. Linn, who played a child in several of her father's movies, became a literary critic, then novelist. Her debut novel, in 1999, was "Före du sover" (Before you fall asleep).
88The rock band Van Halen wrote a song called "The Seventh Seal" (from the "Balance" album) in honor of his films. The song talks about The Seventh Seal (1957) and The Virgin Spring (1960).
89He retired from filmmaking in 1984, and then in 2003, at the age of 85, he retired from directing plays.
90Biography in: John Wakeman, editor. "World Film Directors, Volume Two, 1945- 1985". Pages 103-115. New York: The H.W. Wilson Company, 1988.
91Was voted the 8th Greatest Film Director of all time by Entertainment Weekly,.
92For many years, he and actor Erland Josephson have had an hour-long telephone conversation once a week, on Saturdays.
93Swedish Film Institute announced Bergman will donate his raw footage, photographs and manuscripts from his films and plays to a new foundation established to honor him. (5 June 2002)
94Father of nine children. They include director Daniel Bergman, (with Käbi Laretei), actress Anna Bergman, actor Mats Bergman, director Eva Bergman, director Jan Bergman, (with Ellen Bergman), actress Lena Bergman, (with Else Fisher), airline captain Ingmar Bergman Jr. (born 1951) (with Gun Hagberg), writer Linn Ullmann, (with Liv Ullmann), and writer Maria won Rosen (with Ingrid Bergman).
95Had a dispute with the Swedish Royal Dramatic Theatre about his production of the play "Misantropen". Directed it for Swedish television instead. Ironically, the chief of Swedish Television's 'Dramatic Department' has become chief of the Royal Dramatic Theatre.


Writer

Writer

TitleYearStatusCharacter
Sixty-Four Minutes with Rebecka2018original screenplay pre-production
A Spiritual Matter2015TV Movie play: En Själslig Angelägenhet
Skines apo ena gamo2006TV Movie original scenario
Bergmanova sonata2005TV Movie play
Saraband2003TV Movie
Persona2002Video short
Trolösa2000
Larmar och gör sig till1997TV Movie
Private Confessions1996TV Movie
Harald & Harald1996TV Short
Sista skriket1995TV Movie play / screenplay
Sunday's Children1992
The Best Intentions1992
The Best Intentions1991TV Mini-Series 4 episodes
Live from Lincoln Center1990TV Series by: was suggested by a film - 1 episode
Dokument Fanny och Alexander1986Documentary
After the Rehearsal1984TV Movie
Karins ansikte1984Documentary short
Fanny och Alexander1983TV Mini-Series
Fanny and Alexander1982written by
From the Life of the Marionettes1980TV Movie
The Making of Autumn Sonata1978Documentary
Autumn Sonata1978writer
The Serpent's Egg1977
A Little Night Music1977suggested by: a film by "Sommarnattens leende"
De fördömda kvinnornas dans1976Short
Face to Face1976
The Magic Flute1975TV Movie screenplay
Scener ur ett äktenskap1974
Scenes from a Marriage1973TV Mini-Series 6 episodes
The Lie1973TV Movie
Cries & Whispers1972
The Touch1971screenplay - uncredited
Play for Today1970TV Series writer - 1 episode
Reservatet1970TV Movie
Sliki na drvo1970TV Movie play
The Passion of Anna1969writer
Riten1969TV Movie
Shame1968writer
Hour of the Wolf1968writer
Stimulantia1967segment "Daniel"
Persona1966story and screenplay
All These Women1964written by
The Silence1963writer
Trämålning1963TV Movie
Nattvardsgästerna1963writer
Staden1962TV Movie play
Lustgården1961written by - as Buntel Ericsson
Through a Glass Darkly1961
The Devil's Eye1960screenplay
The Magician1958writer
Brink of Life1958uncredited
Wild Strawberries1957written by
Nattens ljus1957uncredited
The Seventh Seal1957play "Trämålning" / screenplay
Sista paret ut1956
Smiles of a Summer Night1955
Kvinnodröm1955
A Lesson in Love1954
Sawdust and Tinsel1953uncredited
Summer with Monika1953uncredited
Kvinnors väntan1952
Frånskild1951
Summer Interlude1951
Medan staden sover1950synopsis
Till glädje1950
Prison1949writer
Eva1948screenplay / short story "Trumpetaren och Vår Herre"
Port of Call1948screenplay
A Ship Bound for India1947
Kvinna utan ansikte1947
Det regnar på vår kärlek1946screenplay
Crisis1946screenplay
Torment1944

Director

Director

TitleYearStatusCharacter
Persona1966
Don Juan1965TV Mini-Series
All These Women1964
The Silence1963
Ett drömspel1963TV Movie
Nattvardsgästerna1963
Through a Glass Darkly1961
The Devil's Eye1960
The Virgin Spring1960
Oväder1960TV Movie
The Magician1958
Rabies1958TV Movie
Brink of Life1958
Venetianskan1958TV Movie
Wild Strawberries1957
Herr Sleeman kommer1957TV Movie
The Seventh Seal1957
Bakomfilm Smultronstället1957Documentary short
Smiles of a Summer Night1955
Kvinnodröm1955
A Lesson in Love1954
Sawdust and Tinsel1953
Summer with Monika1953
Kvinnors väntan1952
Summer Interlude1951
Sånt händer inte här1950
Till glädje1950
Thirst1949
Prison1949
Port of Call1948
Music in Darkness1948
A Ship Bound for India1947
Det regnar på vår kärlek1946
Crisis1946
On Set Home Movies2008Video documentary short
Spöksonaten2007TV Movie stage director
Saraband2003TV Movie
Bildmakarna2000TV Movie
Larmar och gör sig till1997TV Movie
Harald & Harald1996TV Short
Sista skriket1995TV Movie
Backanterna1993TV Movie
Markisinnan de Sade1992TV Movie
Dokument Fanny och Alexander1986Documentary
De två saliga1986TV Movie
Dom Juan1985TV Movie
After the Rehearsal1984TV Movie
Karins ansikte1984Documentary short
Hustruskolan1983TV Movie tv director
Fanny och Alexander1983TV Mini-Series
Fanny and Alexander1982
From the Life of the Marionettes1980TV Movie
Fårö-dokument 19791979TV Movie documentary
The Making of Autumn Sonata1978Documentary
Autumn Sonata1978
The Serpent's Egg1977
De fördömda kvinnornas dans1976Short
Face to Face1976
The Magic Flute1975TV Movie uncredited
Scener ur ett äktenskap1974
Misantropen1974TV Movie
Scenes from a Marriage1973TV Mini-Series 6 episodes
Cries & Whispers1972
The Touch1971
Fårö dokument1970TV Movie documentary
The Passion of Anna1969
Riten1969TV Movie
Shame1968
Hour of the Wolf1968
Stimulantia1967segment "Daniel"

Actor

Actor

TitleYearStatusCharacter
Larmar och gör sig till1997TV MovieMental patient (uncredited)
The Magic Flute1975TV MovieMan in Audience (uncredited)
Scenes from a Marriage1973TV Mini-SeriesPressfotografens röst
Cries & Whispers1972Narrator (voice, uncredited)
The Passion of Anna1969Narrator (voice, uncredited)
Riten1969TV MoviePriest
Kvinnodröm1955Man with poodle (uncredited)
A Lesson in Love1954Narrator / Man with Cap at Railway Station (uncredited)
Kvinnors väntan1952Man in the stairs at the gynecologist's (uncredited)
Till glädje1950Expecting Father at the Maternity Ward (uncredited)
Thirst1949Train Passenger (uncredited)
Music in Darkness1948Man with Newspaper on the Train (uncredited)
A Ship Bound for India1947Man wearing a beret at the funfair (uncredited)
Torment1944Voice on the Radio (voice, uncredited)

Producer

Producer

TitleYearStatusCharacter
Gotska Sandön1987Documentary producer
Sally and Freedom1981producer
From the Life of the Marionettes1980TV Movie producer
Min älskade1979producer
Rätt ut i luften1978TV Movie producer
Paradistorg1977producer
De fördömda kvinnornas dans1976Short producer
Cries & Whispers1972producer
The Touch1971producer - uncredited
Persona1966producer
The Virgin Spring1960producer - uncredited
Bakomfilm Smultronstället1957Documentary short producer

Miscellaneous

Miscellaneous

TitleYearStatusCharacter
Backanterna1993TV Movie stage director
Scenes from a Marriage1973TV Mini-Series speaker - 6 episodes
Prästen i Uddarbo1957script consultant - uncredited

Soundtrack

Soundtrack

TitleYearStatusCharacter
The Seventh Seal1957lyrics: "HÅLLAS MELLAN RONA", "DET SITTER EN DUVA", "ÖDET ÄR EN RACKARE", "HÄSTEN SITTER I TRÄDET", "SKATS SÅNG"
Sista paret ut1956lyrics: "DET ÄR LÖRDAG I DAG"
Smiles of a Summer Night1955writer: "BORT MED SORG OCH BITTERHET"
Kvinnors väntan1952lyrics: "Marta är Ett rosende träd" / writer: "Marta är Ett rosende träd"

Cinematographer

Cinematographer

TitleYearStatusCharacter
Bilder från lekstugan2009Documentary short
Stimulantia1967

Art Director

Art Director

TitleYearStatusCharacter
A Lesson in Love1954uncredited

Assistant Director

Assistant Director

TitleYearStatusCharacter
Torment1944assistant director

Camera Department

Camera Department

TitleYearStatusCharacter
Liv & Ingmar2012Documentary cinematographer: archive footage

Thanks

Thanks

TitleYearStatusCharacter
The Well2016Short the director wishes to thank
Nosferatu vs. Father Pipecock & Sister Funk2014special thanks
The Debridement of Rome2012Short acknowledgment
Acid Head: The Buzzard Nuts County Slaughter2011special thanks
The Pain of Creation2011Short special thanks for inspiration
Amor o Muerte2009Short in memoriam
Palermo Shooting2008in memory of
Milk2008/IIShort dedicatee - as Ernst Ingmar Bergman
7772007Short dedicatee
Tehzeeb2003this one's for you; the inspiration
Dansaren1994Documentary thanks
Dieter & Andreas1989Short grateful acknowledgment
Ingrid1984Documentary thanks
Summer Wishes, Winter Dreams1973acknowledgment: "Wild Strawberries" sequence courtesy - as Mr. Ingmar Bergman

Self

Self

TitleYearStatusCharacter
Gomorron2000-2009TV SeriesHimself / Himself - Om hans liv / pictures from his life
Ingmar Bergman: Intermezzo2004Documentary shortHimself
Bergman Island2004TV Movie documentaryHimself
I Bergmans regi2003TV Movie documentaryHimself
Ljuset håller mig sällskap2000DocumentaryHimself - Interviewee
Ingmar Bergman on Life and Work1998TV Movie documentaryHimself
The Voice of Bergman1997Documentary
Liv Ullmann scener fra et liv1997Documentary
Bergman: On Stage1994TV Movie documentaryHimself
The 1988 European Film Awards1988TV SpecialHimself
Ingmar Bergman: The Magic Lantern1988TV Movie documentary
Ingmar Bergman á Íslandi1986DocumentaryHimself
Dokument Fanny och Alexander1986DocumentaryHimself
Inför Scener ur ett äktenskap1986TV Short documentaryHimself
Ingmar Bergman tar farväl av filmen1983TV Movie documentaryHimself
Victor Seastrom1981DocumentaryHimself
A Look at Liv1979DocumentaryHimself
The Making of Autumn Sonata1978DocumentaryHimself
The South Bank Show1978TV Series documentaryHimself
The Bergman File1978Documentary
Ingmar Bergman inszeniert1977TV Movie documentaryHimself
Apropos Film1977TV Series documentaryHimself
Gespräch mit Ingmar Bergman1977TV Short documentaryHimself
Three Scenes with Ingmar Bergman1975DocumentaryHimself - Interviewee
Film Night1970-1971TV SeriesHimself
The Dick Cavett Show1971TV SeriesHimself
Hinter der Leinwand1970TV Series documentaryHimself
The 42nd Annual Academy Awards1970TV SpecialHimself - Commenting on New Freedom and Trends in Film: Pre-Recorded
Fårö dokument1970TV Movie documentaryReporter
Public Broadcast Laboratory1968TV SeriesHimself
Begegnung mit Ingmar Bergman1964TV Movie documentaryHimself - Narrator
Ingmar Bergman Makes a Movie1963TV Movie documentaryHimself
Die VII. Internationalen Filmfestspiele1957TV Mini-Series documentaryHimself

Archive Footage

Archive Footage

TitleYearStatusCharacter
Ammatti: elokuvaohjaaja - Jörn Donner2013TV Movie documentaryHimself
Liv & Ingmar2012DocumentaryHimself
Palme2012DocumentaryHimself
Viaggio in Bergmania2011Documentary
Corman's World: Exploits of a Hollywood Rebel2011DocumentaryHimself
The South Bank Show2010TV Series documentaryHimself
Hollywood sul Tevere2009DocumentaryHimself
Bilder från lekstugan2009Documentary short
The 80th Annual Academy Awards2008TV SpecialHimself - Memorial Tribute
The Orange British Academy Film Awards2008TV Movie documentaryHimself - Memorial Tribute
On Set Home Movies2008Video documentary shortHimself
Upp till kamp2007TV Mini-SeriesHimself
Allsång på Skansen2007TV SeriesHimself
Un écran nommé désir2006TV Movie documentaryHimself
The Originals2005Documentary shortHimself
Filmmakers in Action2005DocumentaryHimself
Hour of the Wolf: The Search for Sanity2004Video documentary shortHimself
Away from Home2004Video documentary shortHimself
Passion of Anna: Disintegration of Passion2004Video documentary shortHimself
Federico Fellini - un autoritratto ritrovato2000DocumentaryHimself
Cinema Europe: The Other Hollywood1995TV Mini-Series documentaryHimself
Karins ansikte1984Documentary shortHimself (uncredited)

Won awards

Won awards

YearAwardCeremonyNominationMovieAward shared with
2006Special AwardSant Jordi AwardsSaraband (2003)
2005Special CondorArgentinean Film Critics Association AwardsSaraband (2003)
1998Special AwardCamerimageBest Duo of All Times: Director - Cinematographer· Sven Nykvist
1998Prize of the Ecumenical JuryCannes Film FestivalSpecial award for his whole works.
1997Palm of the PalmsCannes Film Festival
1996Special Silver RibbonItalian National Syndicate of Film Journalists
1993GuldbaggeGuldbagge AwardsBest Screenplay (Bästa manuskript)Den goda viljan (1992)
1990Lifetime Achievement AwardDirectors Guild of America, USA
1988Academy FellowshipBAFTA Awards
1988Life Achievement AwardEuropean Film Awards
1986Luchino Visconti AwardDavid di Donatello Awards
1986Venice TV PrizeVenice Film FestivalDe två saliga (1986)
1984CésarCésar Awards, FranceBest Foreign Film (Meilleur film étranger)Fanny och Alexander (1982)
1984DavidDavid di Donatello AwardsBest Foreign Film (Miglior Film Straniero)Fanny och Alexander (1982)
1984DavidDavid di Donatello AwardsBest Foreign Director (Migliore Regista Straniero)Fanny och Alexander (1982)
1984DavidDavid di Donatello AwardsBest Foreign Screenplay (Migliore Sceneggiatura Straniera)Fanny och Alexander (1982)
1984Critics AwardFrench Syndicate of Cinema CriticsBest Foreign FilmFanny och Alexander (1982)
1984Silver RibbonItalian National Syndicate of Film JournalistsBest Foreign Director (Regista del Miglior Film Straniero)Fanny och Alexander (1982)
1983Nocciola d'OroGiffoni Film Festival
1983GuldbaggeGuldbagge AwardsBest Direction (Bästa regi)Fanny och Alexander (1982)
1983LAFCA AwardLos Angeles Film Critics Association AwardsBest Foreign FilmFanny och Alexander (1982)
1983NYFCC AwardNew York Film Critics Circle AwardsBest DirectorFanny och Alexander (1982)
1983FIPRESCI PrizeVenice Film FestivalFanny och Alexander (1982)
1979BodilBodil AwardsBest European Film (Bedste europæiske film)Höstsonaten (1978)
1979Silver RibbonItalian National Syndicate of Film JournalistsBest Foreign Director (Regista del Miglior Film Straniero)Höstsonaten (1978)
1978NBR AwardNational Board of Review, USABest DirectorHöstsonaten (1978)
1976BAFTA TV AwardBAFTA AwardsBest Foreign ProgrammeTrollflöjten (1975)
1976LAFCA AwardLos Angeles Film Critics Association AwardsBest Foreign FilmAnsikte mot ansikte (1976)
1975JussiJussi AwardsBest Foreign DirectorViskningar och rop (1972)
1975NSFC AwardNational Society of Film Critics Awards, USABest ScreenplayScener ur ett äktenskap (1973)
1975Special AwardNational Society of Film Critics Awards, USATrollflöjten (1975)
1974BodilBodil AwardsBest European Film (Bedste europæiske film)Viskningar och rop (1972)
1974DavidDavid di Donatello AwardsBest Foreign Director (Migliore Regista Straniero)Viskningar och rop (1972)
1974Silver RibbonItalian National Syndicate of Film JournalistsBest Foreign Director (Regista del Miglior Film Straniero)Viskningar och rop (1972)
1974NYFCC AwardNew York Film Critics Circle AwardsBest ScreenplayScener ur ett äktenskap (1973)
1973Technical Grand PrizeCannes Film FestivalViskningar och rop (1972)
1973KCFCC AwardKansas City Film Critics Circle AwardsBest DirectorViskningar och rop (1972)
1973NBR AwardNational Board of Review, USABest DirectorViskningar och rop (1972)
1973NYFCC AwardNew York Film Critics Circle AwardsBest DirectorViskningar och rop (1972)
1973NYFCC AwardNew York Film Critics Circle AwardsBest ScreenplayViskningar och rop (1972)
1972NSFC AwardNational Society of Film Critics Awards, USABest ScreenplayViskningar och rop (1972)
1971Irving G. Thalberg Memorial AwardAcademy Awards, USAIngmar Bergman was not present at the awards ceremony. Liv Ullmann
1971NSFC AwardNational Society of Film Critics Awards, USABest DirectorEn passion (1969)
1971Career Golden LionVenice Film Festival
1969NSFC AwardNational Society of Film Critics Awards, USABest DirectorSkammen (1968)
1968NSFC AwardNational Society of Film Critics Awards, USABest DirectorPersona (1966)
1967Golden PlateDavid di Donatello AwardsFor his career.
1964GuldbaggeGuldbagge AwardsBest Direction (Bästa regi)Tystnaden (1963)
1963Kinema Junpo AwardKinema Junpo AwardsBest Foreign Language FilmSmultronstället (1957)
1962OCIC AwardBerlin International Film FestivalSåsom i en spegel (1961)
1962CEC AwardCinema Writers Circle Awards, SpainBest Foreign Director (Mejor Director Extranjero)Det sjunde inseglet (1957)
1962Kinema Junpo AwardKinema Junpo AwardsBest Foreign Language FilmJungfrukällan (1960)
1962Kinema Junpo AwardKinema Junpo AwardsBest Foreign Film Language DirectorJungfrukällan (1960)
1962Sant JordiSant Jordi AwardsBest Film of the Year (Mejor Película del Año)Det sjunde inseglet (1957)
1962Sant JordiSant Jordi AwardsBest Foreign Director (Mejor Director Extranjero)Det sjunde inseglet (1957)
1961Silver RibbonItalian National Syndicate of Film JournalistsBest Foreign Director (Regista del Miglior Film Straniero)Det sjunde inseglet (1957)
1960Special MentionCannes Film FestivalJungfrukällan (1960)
1960Silver RibbonItalian National Syndicate of Film JournalistsBest Foreign Director (Regista del Miglior Film Straniero)Smultronstället (1957)
1959BodilBodil AwardsBest European Film (Bedste europæiske film)Smultronstället (1957)
1959Best FilmMar del Plata Film FestivalSmultronstället (1957)
1959Special CitationNational Board of Review, USA
1959Special Jury PrizeVenice Film FestivalAnsiktet (1958)
1959New Cinema AwardVenice Film FestivalBest FilmAnsiktet (1958)
1959Pasinetti AwardVenice Film FestivalCompetitionAnsiktet (1958)
1958Golden Berlin BearBerlin International Film FestivalSmultronstället (1957)
1958Best DirectorCannes Film FestivalNära livet (1958)
1958Pasinetti AwardVenice Film FestivalParallel SectionsSmultronstället (1957)
1957BodilBodil AwardsBest European Film (Bedste europæiske film)Sommarnattens leende (1955)
1957Jury Special PrizeCannes Film FestivalDet sjunde inseglet (1957)
1956AwardCannes Film FestivalBest Poetic HumorSommarnattens leende (1955)

Nominated awards

Nominated awards

YearAwardCeremonyNominationMovieAward shared with
2005CésarCésar Awards, FranceBest European Union Film (Meilleur film de l'Union Européenne)Saraband (2003)
1986Gold HugoChicago International Film FestivalBest DocumentaryKarins ansikte (1984)
1984OscarAcademy Awards, USABest DirectorFanny och Alexander (1982)
1984OscarAcademy Awards, USABest Writing, Screenplay Written Directly for the ScreenFanny och Alexander (1982)
1984Golden GlobeGolden Globes, USABest Director - Motion PictureFanny och Alexander (1982)
1984BAFTA Film AwardBAFTA AwardsBest Foreign Language FilmFanny och Alexander (1982)· Jörn Donner
1984DGA AwardDirectors Guild of America, USAOutstanding Directorial Achievement in Motion PicturesFanny och Alexander (1982)
1980Gold HugoChicago International Film FestivalBest DocumentaryFårö-dokument 1979 (1979)
1979OscarAcademy Awards, USABest Writing, Screenplay Written Directly for the ScreenHöstsonaten (1978)
1979CésarCésar Awards, FranceBest Foreign Film (Meilleur film étranger)Höstsonaten (1978)
1977OscarAcademy Awards, USABest DirectorAnsikte mot ansikte (1976)
1976CésarCésar Awards, FranceBest Foreign Film (Meilleur film étranger)Trollflöjten (1975)
1974OscarAcademy Awards, USABest PictureViskningar och rop (1972)
1974OscarAcademy Awards, USABest DirectorViskningar och rop (1972)
1974OscarAcademy Awards, USABest Writing, Story and Screenplay Based on Factual Material or Material Not Previously Published or ProducedViskningar och rop (1972)
1968Silver RibbonItalian National Syndicate of Film JournalistsBest Foreign Director (Regista del Miglior Film Straniero)Persona (1966)
1965Silver RibbonItalian National Syndicate of Film JournalistsBest Foreign Director (Regista del Miglior Film Straniero)Tystnaden (1963)
1963OscarAcademy Awards, USABest Writing, Story and Screenplay - Written Directly for the ScreenSåsom i en spegel (1961)
1962Golden Berlin BearBerlin International Film FestivalSåsom i en spegel (1961)
1960OscarAcademy Awards, USABest Writing, Story and Screenplay - Written Directly for the ScreenSmultronstället (1957)
1960BAFTA Film AwardBAFTA AwardsBest Film from any SourceAnsiktet (1958)
1960Palme d'OrCannes Film FestivalJungfrukällan (1960)
1959Golden LionVenice Film FestivalAnsiktet (1958)
1958Palme d'OrCannes Film FestivalNära livet (1958)
1957Palme d'OrCannes Film FestivalDet sjunde inseglet (1957)
1956Palme d'OrCannes Film FestivalSommarnattens leende (1955)
1953Golden LionVenice Film FestivalKvinnors väntan (1952)
1952Golden LionVenice Film FestivalSommarlek (1951)
1948Grand International AwardVenice Film FestivalMusik i mörker (1948)
1947AwardCannes Film FestivalFeature filmsSkepp till India land (1947)

2nd place awards

2nd place awards

YearAwardCeremonyNominationMovieAward shared with
1978LAFCA AwardLos Angeles Film Critics Association AwardsBest Foreign FilmHöstsonaten (1978)
1974NYFCC AwardNew York Film Critics Circle AwardsBest DirectorScener ur ett äktenskap (1973)
1972NSFC AwardNational Society of Film Critics Awards, USABest DirectorViskningar och rop (1972)
1971NSFC AwardNational Society of Film Critics Awards, USABest ScreenplayEn passion (1969)
1969NSFC AwardNational Society of Film Critics Awards, USABest ScreenplaySkammen (1968)
1968NSFC AwardNational Society of Film Critics Awards, USABest ScreenplayPersona (1966)

3rd place awards

3rd place awards

YearAwardCeremonyNominationMovieAward shared with
1984NSFC AwardNational Society of Film Critics Awards, USABest DirectorFanny och Alexander (1982)
1978NYFCC AwardNew York Film Critics Circle AwardsBest DirectorHöstsonaten (1978)


Looks like we don't have salary information. Sorry!


#Quote
1My professor told me when I started in the '40s that a director should listen and keep his mouth shut. Took me a long time to understand I talked too much. Now I know you should listen with your ears - and your heart.
2Directing is more fun with women. Everything is.
3[Interviewed for Sommar on Swedish Radio P1 in 2004] I have asked prominent composers. I have asked prominent musicians. Several conductors. Where does the music come from? What, how can it be that we are the only animals, on the entire globe of the earth that makes music? And why do we do it and how has it come to be? That is something I really would like to know because none of these people I have asked has been able to give any answer to "where does the music come from?" "Why do we have music?" Personally I have an impression, that the music is a thing we have been given as a gift. I am not a believer but I do still believe that the music is a gift, so that we might have an impression of realities and worlds beyond the world we live in.
4Working in this medium and being a man of the theater, I'm like the common whore. I have an enormous need for people to like me and what I'm doing. That it be accepted and praised and so forth. It's always painful to be disapproved of.
5Fellini, Kurosawa and Buñuel move in the same fields as Tarkovsky. Antonioni was on his way, but expired, suffocated by his own tediousness.
6[on Akira Kurosawa] Now I want to make it plain that The Virgin Spring (1960) must be regarded as an aberration. It's touristic, a lousy imitation of Kurosawa.
7[on Andrei Tarkovsky]: My discovery of Tarkovsky's first film was like a miracle. Suddenly I found myself standing at the door of a room, the key to which, until then, had never been given to me. It was a room I had always wanted to enter and where he was moving freely and fully at ease. I felt encouraged and stimulated: someone was expressing what I had always wanted to say without knowing how. Tarkovsky is for me the greatest, the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream.
8To shoot a film is to organize an entire universe.
9New cities arouse too many sensations in me. They give me too many impressions to experience at the same time. They all crowd in on me. Being in a new city overwhelms me, unsettles me.
10I've had to learn everything about movies by myself. For the theater, I studied with a wonderful old man in Goteborg, where I spent four years. He was a hard, difficult man, but he knew the theater- and I learned from him. For the movies, however, there was no one. Before the War, I was a schoolboy. Then, during the War, we got see no foreign films at all. By the time it was over, I was working had to support a wife and three children. Before, fortunately, I am by nature an autodidact, one who can teach himself- though it's an uncomfortable thing at times. Self-taught people sometimes cling too much to the technical side, the sure side and place technical perfection too high.
11I'd prostitute my talents if it would further my cause, steal if there was no way out, killing my friends or anyone else if it would help my art.
12When I was young, I was extremely scared of dying. But now I think it a very, very wise arrangement. It's like a light that is extinguished. Not very much to make a fuss about.
13[on Alfred Hitchcock] I think he's a very good technician. And he has something in Psycho (1960), he had some moments. "Psycho" is one of his most interesting pictures because he had to make the picture very fast, with very primitive means. He had little money, and this picture tells very much about him. Not very good things. He is completely infantile, and I would like to know more - no, I don't want to know - about his behavior with, or, rather, against women. But this picture is very interesting.
14[on Federico Fellini] He is enormously intuitive. He is intuitive; he is creative; he is an enormous force. He is burning inside with such heat. Collapsing. Do you understand what I mean? The heat from his creative mind, it melts him. He suffers from it; he suffers physically from it. One day when he can manage this heat and can set it free, I think he will make pictures you have never seen in your life. He is rich. As every real artist, he will go back to his sources one day. He will find his way back.
15[on Andrei Tarkovsky]: 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- Das Schlangenei (1977), The Touch (1971), Face to Face (1976) and so on.
16I'm deeply fixated on my childhood. Some impressions are extremely vivid, light, smell, and all. There are moments when I can wander through my childhood's landscape, through rooms long ago, remember how they were furnished, where the pictures hung on the walls, the way the light fell. It's like a film-little scraps of a film, which I set running and which I can reconstruct to the last detail-except their smell.
17My basic view of things is - not to have any basic view of things. From having been exceedingly dogmatic, my views on life have gradually dissolved. They don't exist any longer.
18Everything is worth precisely as much as a belch, the difference being that a belch is more satisfying.
19Film 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.
20I think I have made just one picture that I really like, and that is Winter Light (1963). Everything is exactly as I wanted to have it, in every second of this picture.
21I write scripts to serve as skeletons awaiting the flesh and sinew of images.
22[on Michelangelo Antonioni] He's done two masterpieces, you don't have to bother with the rest. One is Blow-Up (1966), which I've seen many times, and the other is La Notte (1961), also a wonderful film, although that's mostly because of the young Jeanne Moreau. In my collection I have a copy of Il Grido (1957) and damn what a boring movie it is. So devilishly sad, I mean. You know, Antonioni never really learned the trade. He concentrated on single images, never realizing that film is a rhythmic flow of images, a movement. Sure, there are brilliant moments in his films. But I don't feel anything for L'Avventura (1960), for example. Only indifference. I never understood why Antonioni was so incredibly applauded. And I thought his muse Monica Vitti was a terrible actress."
23Among today's directors I'm of course impressed by Steven Spielberg and Scorsese [Martin Scorsese], and Coppola [Francis Ford Coppola], even if he seems to have ceased making films, and Steven Soderbergh - they all have something to say, they're passionate, they have an idealistic attitude to the filmmaking process. Soderbergh's Traffic (2000) is amazing. Another great couple of examples of the strength of American cinema is American Beauty (1999) and Magnolia (1999).
24[on Jean-Luc Godard] I've never gotten anything out of his movies. They have felt constructed, faux intellectual and completely dead. Cinematographically uninteresting and infinitely boring. Godard is a fucking bore. He's made his films for the critics. One of the movies, Masculin Féminin (1966), was shot here in Sweden. It was mind-numbingly boring.
25[on Orson Welles] I've never liked Welles as an actor, because he's not really an actor. In Hollywood you have two categories, you talk about actors and personalities. Welles was an enormous personality, but when he plays Othello, everything goes down the drain, you see, that's when he croaks. In my eyes he's an infinitely overrated filmmaker.
26[on Orson Welles] For me he's just a hoax. It's empty. It's not interesting. It's dead. Citizen Kane (1941), which I have a copy of, is all the critics' darling, always at the top of every poll taken, but I think it's a total bore. Above all, the performances are worthless. The amount of respect that movie's got is absolutely unbelievable.
27In a quarrel with one of my sons, I said, "I know I've been a lousy father". He said, "A father? You haven't been a father at all!"
28I hope I never get old so I get religious.
29No form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul.
30The theater is like a faithful wife. The film is the great adventure -- the costly, exacting mistress.
31My professor told me when I started in the '40s that a director should listen and keep his mouth shut. Took me a long time to understand I talked too much. Now I know you should listen with your ears - and your heart.
32Directing is more fun with women. Everything is.
33[Interviewed for Sommar on Swedish Radio P1 in 2004] I have asked prominent composers. I have asked prominent musicians. Several conductors. Where does the music come from? What, how can it be that we are the only animals, on the entire globe of the earth that makes music? And why do we do it and how has it come to be? That is something I really would like to know because none of these people I have asked has been able to give any answer to "where does the music come from?" "Why do we have music?" Personally I have an impression, that the music is a thing we have been given as a gift. I am not a believer but I do still believe that the music is a gift, so that we might have an impression of realities and worlds beyond the world we live in.
34Working in this medium and being a man of the theater, I'm like the common whore. I have an enormous need for people to like me and what I'm doing. That it be accepted and praised and so forth. It's always painful to be disapproved of.
35Fellini, Kurosawa and Buñuel move in the same fields as Tarkovsky. Antonioni was on his way, but expired, suffocated by his own tediousness.
36[on Akira Kurosawa] Now I want to make it plain that The Virgin Spring must be regarded as an aberration. It's touristic, a lousy imitation of Kurosawa
37[on Andrei Tarkovsky]: My discovery of Tarkovsky's first film was like a miracle. Suddenly I found myself standing at the door of a room, the key to which, until then, had never been given to me. It was a room I had always wanted to enter and where he was moving freely and fully at ease. I felt encouraged and stimulated: someone was expressing what I had always wanted to say without knowing how. Tarkovsky is for me the greatest, the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream.
38To shoot a film is to organize an entire universe.
39New cities arouse too many sensations in me. They give me too many impressions to experience at the same time. They all crowd in on me. Being in a new city overwhelms me, unsettles me.
40I've had to learn everything about movies by myself. For the theater, I studied with a wonderful old man in Goteborg, where I spent four years. He was a hard, difficult man, but he knew the theater- and I learned from him. For the movies, however, there was no one. Before the War, I was a schoolboy. Then, during the War, we got see no foreign films at all. By the time it was over, I was working had to support a wife and three children. Before, fortunately, I am by nature an autodidact, one who can teach himself- though it's an uncomfortable thing at times. Self-taught people sometimes cling too much to the technical side, the sure side and place technical perfection too high.
41I'd prostitute my talents if it would further my cause, steal if there was no way out, killing my friends or anyone else if it would help my art.
42When I was young, I was extremely scared of dying. But now I think it a very, very wise arrangement. It's like a light that is extinguished. Not very much to make a fuss about.
43[on Alfred Hitchcock] I think he's a very good technician. And he has something in Psycho (1960), he had some moments. "Psycho" is one of his most interesting pictures because he had to make the picture very fast, with very primitive means. He had little money, and this picture tells very much about him. Not very good things. He is completely infantile, and I would like to know more - no, I don't want to know - about his behavior with, or, rather, against women. But this picture is very interesting.
44[on Federico Fellini] He is enormously intuitive. He is intuitive; he is creative; he is an enormous force. He is burning inside with such heat. Collapsing. Do you understand what I mean? The heat from his creative mind, it melts him. He suffers from it; he suffers physically from it. One day when he can manage this heat and can set it free, I think he will make pictures you have never seen in your life. He is rich. As every real artist, he will go back to his sources one day. He will find his way back.
45[on Andrei Tarkovsky]: 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- Das Schlangenei (1977), The Touch (1971), Face to Face (1976) and so on.
46I'm deeply fixated on my childhood. Some impressions are extremely vivid, light, smell, and all. There are moments when I can wander through my childhood's landscape, through rooms long ago, remember how they were furnished, where the pictures hung on the walls, the way the light fell. It's like a film-little scraps of a film, which I set running and which I can reconstruct to the last detail-except their smell.
47My basic view of things is - not to have any basic view of things. From having been exceedingly dogmatic, my views on life have gradually dissolved. They don't exist any longer.
48Everything is worth precisely as much as a belch, the difference being that a belch is more satisfying.
49Film 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.
50I think I have made just one picture that I really like, and that is Winter Light (1963). Everything is exactly as I wanted to have it, in every second of this picture.
51I write scripts to serve as skeletons awaiting the flesh and sinew of images.
52[on Michelangelo Antonioni] He's done two masterpieces, you don't have to bother with the rest. One is Blow-Up (1966), which I've seen many times, and the other is La Notte (1961), also a wonderful film, although that's mostly because of the young Jeanne Moreau. In my collection I have a copy of Il Grido (1957) and damn what a boring movie it is. So devilishly sad, I mean. You know, Antonioni never really learned the trade. He concentrated on single images, never realizing that film is a rhythmic flow of images, a movement. Sure, there are brilliant moments in his films. But I don't feel anything for L'Avventura (1960), for example. Only indifference. I never understood why Antonioni was so incredibly applauded. And I thought his muse Monica Vitti was a terrible actress."
53Among today's directors I'm of course impressed by Steven Spielberg and Scorsese [Martin Scorsese], and Coppola [Francis Ford Coppola], even if he seems to have ceased making films, and Steven Soderbergh - they all have something to say, they're passionate, they have an idealistic attitude to the filmmaking process. Soderbergh's Traffic (2000) is amazing. Another great couple of examples of the strength of American cinema is American Beauty (1999) and Magnolia (1999).
54[on Jean-Luc Godard] I've never gotten anything out of his movies. They have felt constructed, faux intellectual and completely dead. Cinematographically uninteresting and infinitely boring. Godard is a fucking bore. He's made his films for the critics. One of the movies, Masculin Féminin (1966), was shot here in Sweden. It was mind-numbingly boring.
55[on Orson Welles] I've never liked Welles as an actor, because he's not really an actor. In Hollywood you have two categories, you talk about actors and personalities. Welles was an enormous personality, but when he plays Othello, everything goes down the drain, you see, that's when he croaks. In my eyes he's an infinitely overrated filmmaker.
56[on Orson Welles] For me he's just a hoax. It's empty. It's not interesting. It's dead. Citizen Kane (1941), which I have a copy of, is all the critics' darling, always at the top of every poll taken, but I think it's a total bore. Above all, the performances are worthless. The amount of respect that movie's got is absolutely unbelievable.
57In a quarrel with one of my sons, I said, "I know I've been a lousy father". He said, "A father? You haven't been a father at all!"
58I hope I never get old so I get religious.
59No form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul.
60The theater is like a faithful wife. The film is the great adventure -- the costly, exacting mistress.

#Trademark
1Two characters having an intense and emotional - sometimes heated - conversation while barley looking at each other.
2Frequently has a character surnamed "Jacobi"
3Most of his films are around 90 minutes long
4Religious themes
5Frequently casted Gunnar Björnstrand (23 films), Erland Josephson (14 films), Max von Sydow (13 films), Bibi Andersson (13 films), Liv Ullmann (10 films) and Ingrid Thulin (10 films).
6Dynamic use of shadows
7Close-ups of ticking clocks
8Close-ups of faces
9Two characters having an intense and emotional - sometimes heated - conversation while barley looking at each other.
10Frequently has a character surnamed "Jacobi"
11Most of his films are around 90 minutes long
12Religious themes
13Frequently casted Gunnar Björnstrand (23 films), Erland Josephson (14 films), Max von Sydow (13 films), Bibi Andersson (13 films), Liv Ullmann (10 films) and Ingrid Thulin (10 films).
14Dynamic use of shadows
15Close-ups of ticking clocks
16Close-ups of faces

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