The Guardian: Electra/Persona review – Blanchett and Hoss face off in lopsided Sophocles/Bergman double bill
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Ernst Ingmar Bergman was a Swedish film and theatre director and screenwriter. He is considered one of the greatest and most important filmmakers in the history of cinema, most notably as a prominent figure of both European film industry and Swedish cinema. His films have been described as "profoundly personal meditations into the myriad struggles facing the psyche and the soul."
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entertainment · Swedish filmmaker (1918–2007) · film director · theatre director · screenwriter · playwright · actor · film producer · autobiographer · director · writer · film actor · also Ingmar Bergman, Bergman
Born 14 July 1918 · Died 30 July 2007 · Q7546
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The Guardian: Electra/Persona review – Blanchett and Hoss face off in lopsided Sophocles/Bergman double bill
kalkinemedia.com: Fastly CTO Artur Bergman Reports Sale of 851 Shares and Transfers 52,603 Shares to Revocable Trust
marketscreener.com: Bergman & Beving and Systemair trade today on Nasdaq Stockholm ex-dividend
cookislandsnews.com: Tangaroa and Bergman mark 25-year partnership with new exhibition
simplywall.st: How Investors May Respond To Ecovyst (ECVT) Appointing Veteran Financial Leader Laurie Bergman As CFO And Treasurer
Masescena: Ricardo Darín y Andrea Pietra vuelven con "Escenas de la vida conyugal", de Ingmar Bergman, para su cita anual con el público español
simplywall.st: Bergman & Beving AB (publ) (STO:BERG B) Looks Like A Good Stock, And It's Going Ex-Dividend Soon
“which was one of the best two months ever.”
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“jittery and ready to cry... and miserable.”
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“screenplays, thinking about them for months or years before starting the actual process of writing, which he viewed as somewhat tedious. His earlier films are carefully constructed and are either based on his plays or written in collaboration with other authors. Bergman stated that in his later works, when on occasion his actors would want to do things differently from his own intention, he would let them, noting that the results were often”
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“hated school as a principle, as a system and as an institution. And as such I have definitely not wanted to criticize my own school, but all schools.”
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“I devoted my interest to the church”
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Daytime Confidential: The Young and The Restless Vet Tracey Bergman Debuts Talk Show
West End Theatre: Sophocles meets Ingrid Bergman: Cate Blanchett and Nina Hoss in rehearsals for Electra/Persona at the National Theatre
Mshale: Peter Bergman & Daphnée Duplaix Interview | Beyond The Gates & The Young And The Restless Crossover Daniel Negreanu (O9Rn8xxET0)
Alternate Ending - Movie Reviews: The Podcast: Ingmar Bergman’s Trilogy - Alternate Ending
Vulture: Ingmar Bergman
The Guardian: Stellan Skarsgård on Ingmar Bergman: ‘The only person I know who cried when Hitler died’
Collider: Ingmar Bergman's Only Horror Movie Is a Chilling Gothic Folk Fantasy About the Monster Within Every Man
Wall Street Journal: ‘God and the Devil’ Review: Ingmar Bergman’s Inner Vision
Collider: Wes Craven Took an Ingmar Bergman Movie and Created a New Horror Subgenre
The Guardian: ‘I felt Ingmar Bergman was looking over my shoulder, laughing at me’: my month writing at the maestro’s desk
Collider: 10 Best Ingmar Bergman Movies, Ranked By IMDb
The Guardian: Fanny and Alexander review – Ingmar Bergman’s dark fusion of Shakespeare and Dickens
The Guardian: Bergman Island review – marital woes revealed on a trip to Ingmar Bergman territory
The Guardian: ‘We can forgive even bad fathers’: Mia Hansen-Løve on making a movie haunted by Ingmar Bergman
The Guardian: Cries and Whispers review – Ingmar Bergman’s diabolically inspired claustrophobic horror
The Guardian: ‘My son reeks of Persona’: a week with a scent inspired by Ingmar Bergman’s most challenging film
JSTOR Daily: Ingmar Bergman's The Silence: Pictures in the Typewriter, Writings on the Screen
Yahoo: Ingmar Bergman’s Centennial: A Time to Celebrate Joy of Filmmaking
Hyperallergic: 48 Ingmar Bergman Films Ranked
In honor of Bergman's 100th birthday, The Criterion Collection compiled and released a Blu-ray disc box set comprising 39 of Bergman's features
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Washington Post: Ingmar Bergman’s muse, Liv Ullmann, brings his ‘Private Confessions’ to Kennedy Center
New York magazine ranked Bergman at number 55 on their list of The 100 Best Screenwriters of All Time
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The British Film Institute (BFI) hosted an Ingmar Bergman season and Ayoade said in a Guardian interview that he saw everything in it, "which was one of the best two months ever
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Max von Sydow stated to Charlie Rose that he had had many discussions with Bergman about religion which seemed to indicate that Bergman believed in an afterlife and von Sydow said that Bergman contacted him after his dea
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“Citation choisie pour le 1 décembre 2009.”
Died 2007-07-30.
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“Gdyby nie mój zawód, wylądowałbym w domu wariatów. Ale pracowałem bez przerwy i praca okazała się zbawienna dla mojego zdrowia. Dlatego nie musiałem przechodzić terapii.”
“Bóg stworzył kobiety bez poczucia humoru – w rezultacie potrafią one tylko kochać mężczyzn, zamiast śmiać się z nich.”
“Opis: o swoich „demonach.”
“W młodości przeżywałem skrajny lęk przed umieraniem, śmiercią. Ale dziś udało mi się, jak sądzę, zawrzeć z nimi bardzo, bardzo rozsądne porozumienie. Przypomina mi to ogień, który dogasł. Nie ma co robić wokół tego hałasu.”
“Telewizja wspaniale opowiada historie. Rodzina może się spotkać, usiąść razem, rozmawiać o tym, co widać na ekranie. Istnieje jeszcze jedna wspaniała związana z nią sprawa – program trwa godzinę, dwie, a później znika.”
“Opis: o zakończeniu kariery.”
“Od dzieciństwa wyobrażałem sobie wnętrze duszy, jak wilgotną drgającą membranę w czerwonych odcieniach.”
“Oczywiście w swojej pracy opieram się na własnym życiu. To moja autobiografia, czerpię z niej w taki sam sposób, w jaki sny przekształcają nasze doświadczenie i uczucia.”
“Opis: w wywiadzie telewizyjnym.”
“Mam poczucie, że w młodości byłem tak niesprawiedliwy wobec rodziców. Dziś czuję się szczęśliwy i zadowolony, iż doszedłem z tym wszystkim do ładu.”
“Jestem nieśmiały w kontaktach z ludźmi, których nie znam.”
“Jednym z celów [stworzenia filmu lub przedstawienia teatralnego] jest sprawienie, by ludzie mogli się śmiać, byli szczęśliwi i choć na chwilę zapomnieli o sobie. Inny z kolei polega na tym, by pokazać im rzeczy przerażające i nie do zniesienia w taki sposób, by mogli je znieść i czegoś się nauczyć.”
“Harujesz osiem godzin, a w tym czasie powstają ledwie trzy minuty filmu. I masz świadomość tego, iż owe trzy minuty muszą być absolutnie najlepsze. Czasem czułem, że wariuję. Teatr natomiast dawał poczucie stabilności.”
“Głęboko kochałem matkę. Była osobą jednocześnie bardzo ciepłą i bardzo zimną. Gdy czułem jej ciepło, próbowałem garnąć się do niej, ale w takich chwilach potrafiła odrzucać mnie.”
Total Film magazine ranked Bergman at No
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“Opis: o Wiarołomnych Bergmana.”
“I want very much to tell, to talk about, the wholeness inside every human being. It's a strange thing that every human being has a sort of dignity or wholeness in him, and out of that develops relationships to other human beings, tensions, misunderstandings, tenderness, coming in contact, touching and being touched, the cutting off of a contact and what happens then.”
“I make all my decisions on intuition. I throw a spear into the darkness. That is intuition. Then I must send an army into the darkness to find the spear. That is intellect.”
“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 extremely emotional. Perhaps it is not even a "he," but a "she.”
“I was very cruel to actors and to other people. I think I was a very, very unpleasant young man. If I met the young Ingmar today, I think I would say, "You are very talented and I will see if I can help you, but I don't think I want anything else to do with you." I don't say I'm pleasant now, but I think I changed slowly in my 50's. At least I hope I've changed.”
“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”
“Variant translation: Film 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.”
“I hope I never get so old I get religious.”
“The demons are innumerable, arrive at the most inappropriate times and create panic and terror... but I have learned that if I can master the negative forces and harness them to my chariot, then they can work to my advantage.... Lilies often grow out of carcasses' arseholes.”
“I don't want to produce a work of art that the public can sit and suck aesthetically…. I want to give them a blow in the small of the back, to scorch their indifference, to startle them out of their complacency.”
“When 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.”
“Wielu reżyserów nie pamięta o tym, że punktem wyjścia naszej pracy jest ludzka twarz. Możemy oczywiście kłaść nacisk na montaż, nadawać zdjęciom szczególny rytm, ale największym przywilejem filmu jest obecność w nim ludzkiej twarzy.”
On the island of Fårö, Bergman said that despite being active during the exile, he had effectively lost eight years of his professional life
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“BBC article (10 April 2004)”
Bergman said that of his works, he held Winter Light, Persona, and Cries and Whispers in the highest regard
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Bergman was listed at number nine on the British Film Institute's Sight & Sound list of the top ten film directors of modern times
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Stated that a conversation he had with Erland Josephson helped him to believe that he would see Ingrid again
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Was awarded the Palme des Palmes (Palm of the Palms) at the 50th anniversary of the Cannes Film Festival
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Entertainment Weekly ranked Bergman at No
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Awarded honorary doctor of the University Lille-III (1995).
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Awarded Guldbagge Award for Best Screenplay for The Best Intentions (1992).
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Awarded Praemium Imperiale (1991).
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Awarded European Film Academy Lifetime Achievement Award (1988).
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Awarded BAFTA Fellowship (1988).
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“On Andrei Tarkovsky in Laterna Magica (1987); The Magic Lantern : An Autobiography as translated by Joan Tate (1988). [also sometimes referred to as The Magical Lantern]”
“Laterna Magica (1987); The Magic Lantern : An Autobiography as translated by Joan Tate (1988).”
Awarded doctor honoris causa from the Paris-Sorbonne University (1986).
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Awarded César Award for Fanny and Alexander (1984).
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Awarded Guldbagge Award for Best Director for Fanny and Alexander (1983).
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“The New York Times (22 January 1978)”
Awarded Goethe Prize of the City of Frankfurt (1976).
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On 30 January 1976, while rehearsing August Strindberg's The Dance of Death at the Royal Dramatic Theatre in Stockholm, he was arrested by two plainclothes police officers and charged with income tax evasion
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“Il regista svedese Ingmar Bergman, che è ormai vicino alla sessantina, non si preoccupa della sua età. «È come scalare una montagna» dice. «Ti arrampichi da una cengia all'altra: più sali, più ti senti stanco e senza fiato, ma la visuale si fa sempre più ampia.» (citato da C. M. in Selezione dal Reader's Digest, febbraio 1976)”
After having been notified by the Swedish Central Bank and subsequently reported the income
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Bergman received the Irving G
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“On Alfred Hitchcock in an interview with John Simon (1971)”
“On Jean-Luc Godard in an interview with John Simon (1971)”
Awarded Irving G. Thalberg Memorial Award (1970).
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“a very, very wise arrangement”
Awarded Erasmus Prize (1965).
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Awarded Guldbagge Award for Best Director for The Silence (1964).
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Said: "The manifestation of sex is very important, and particularly to me, for above all, I don't want to make merely intellectual films
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“Four Screenplays of Ingmar Bergman (1960)”
“Introduction" of Four Screenplays (1960).”
Bergman was featured in the cover of Time, the first foreign-language filmmaker to do so since Leni Riefenstahl in 1936
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Won Golden Bear (1958).
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Awarded Cannes Best Director Award for Brink of Life (1958).
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Won the Best Director award for Brink of Life at the Cannes Film Festival, and won the Golden Bear for Wild Strawberries at the Berlin International Film Festival
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“Ingmar's self portrait" (1957) as quoted in "Who is he really?”
“Il posto delle fragole (1957)”
“Il settimo sigillo (1957)”
“Sorrisi di una notte d'estate (1955)”
As well as Sawdust and Tinsel (Gycklarnas afton) and Summer with Monika (Sommaren med Monika), both released in 1953
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Was given the opportunity to direct one of his own scripts, Caspar's Death
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With his work rewriting scripts, but his first major accomplishment was in 1944 when he wrote the screenplay for Torment (a
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Studied at Stockholm University (1937).
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Aged 16, he was sent to Germany to spend the summer holidays with family friends
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Born 1918-07-14.
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screenplays, thinking about them for months or years before starting the actual process of writing, which he viewed as somewhat tedious. His earlier films are carefully constructed and are either based on his plays or written in collaboration with other authors. Bergman stated that in his later works, when on occasion his actors would want to do things differently from his own intention, he would let them, noting that the results were often
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