Frases de Ingmar Bergman
Data de nascimento: 14. Julho 1918
Data de falecimento: 30. Julho 2007
Ernst Ingmar Bergman foi um dramaturgo e cineasta sueco. Diretor de alguns dos mais influentes e aclamados filmes de todos os tempos . Alguns dos temas centrais das suas obras estão centrados no estudo psicológico dos personagens e das famílias disfuncionais, assim como na angústia causada pela ausência de um Deus, deixando o ser humano abandonado entre Deus e o Diabo.
Citações Ingmar Bergman
„Entre os diretores de hoje eu estou naturalmente impressionado por Steven Spielberg, Scorsese e Coppola, mesmo quando ele parece ter deixado fazer filmes, e Steven Soderbergh - todos eles têm algo a dizer, eles estão apaixonados, têm uma atitude idealista do processo cinematográfico. Traffic de Soderbergh é incrível. Outra grande par de exemplos da força do cinema americano é Beleza Americana e Magnolia.“
„Eu era muito cruel para os atores e para outras pessoas. Eu acho que fui muito, muito desagradável quando jovem. Se eu conhecesse o jovem Ingmar hoje, eu acho que eu diria "Você é muito talentoso e eu vou ver se posso te ajudar, mas não acho que eu quero mais alguma coisa com você." Não digo que estou agradável agora, mas eu acho que mudei lentamente nos meus 50 anos. Pelo menos eu espero que eu tenha mudado.“
„A French critic cleverly wrote that "with Autumn Sonata Bergman does Bergman." It is witty but unfortunate. For me, that is.“
— Ingmar Bergman
Context: A French critic cleverly wrote that "with Autumn Sonata Bergman does Bergman." It is witty but unfortunate. For me, that is. I think it is only too true that Bergman (Ingmar, that is) did a Bergman... I love and admire the filmmaker Tarkovsky and believe him to be one of the greatest of all time. My admiration for Fellini is limitless. But I also feel that Tarkovsky began to make Tarkovsky films and that Fellini began to make Fellini films. Yet Kurosawa has never made a Kurosawa film. I have never been able to appreciate Buñuel. He discovered at an early stage that it is possible to fabricate ingenious tricks, which he elevated to a special kind of genius, particular to Buñuel, and then he repeated and varied his tricks. He always received applause. Buñuel nearly always made Buñuel films.
„Regardless of whether I believe or not, whether I am a Christian or not, I would play my part in the collective building of the cathedral.“
— Ingmar Bergman
Context: 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. This answer seems to satisfy everyone, but it is not quite correct. I prefer to describe what I would like my aim to be. There is an old story of how the cathedral of Chartres was struck by lightning and burned to the ground. Then thousands of people came from all points of the compass, like a giant procession of ants, and together they began to rebuild the cathedral on its old site. They worked until the building was completed — master builders, artists, labourers, clowns, noblemen, priests, burghers. But they all remained anonymous, and no one knows to this day who built the cathedral of Chartres. Regardless of my own beliefs and my own doubts, which are unimportant in this connection, it is my opinion that art lost its basic creative drive the moment it was separated from worship. It severed an umbilical cord and now lives its own sterile life, generating and degenerating itself. In former days the artist remained unknown and his work was to the glory of God. He lived and died without being more or less important than other artisans; 'eternal values,' 'immortality' and 'masterpiece' were terms not applicable in his case. 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. The smallest wound or pain of the ego is examined under a microscope as if it were of eternal importance. The artist considers his isolation, his subjectivity, his individualism almost holy. Thus we finally gather in one large pen, where we stand and bleat about our loneliness without listening to each other and without realizing that we are smothering each other to death. The individualists stare into each other's eyes and yet deny the existence of each other. We walk in circles, so limited by our own anxieties that we can no longer distinguish between true and false, between the gangster's whim and the purest ideal. Thus if I am asked what I would like the general purpose of my films to be, I would reply that I want to be one of the artists in the cathedral on the great plain. I want to make a dragon's head, an angel, a devil — or perhaps a saint — out of stone. It does not matter which; it is the sense of satisfaction that counts. Regardless of whether I believe or not, whether I am a Christian or not, I would play my part in the collective building of the cathedral. Four Screenplays of Ingmar Bergman (1960).