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Ingmar Bergman : 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." # Planning

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Ingmar Bergman quote-I am very much aware of my own double self... The well-known one...

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Stephen R Covey : " Security represents your sense of worth, your identity, your emotional anchorage, your self-esteem, your basic personal strength or lack of it. " # Planning

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Karen Horney : " Is not the tremendous strength in men of the impulse to creative work in every field precisely due to their feeling of playing a relatively small part in the creation of living beings, which constantly impels them to an overcompensation in achievement? " # Planning

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Dalai Lama : " The world has shrunk. Increasingly peoples and nations have grown dependent on one another. No one can any longer act entirely in his own interest. It is therefore imperative that we should accept mutual responsibility for all political, economic, and ecological problems. In view of this, fewer and fewer people would venture to dismiss the Dalai Lama's philosophy as utopian: on the contrary, one would be increasingly justified in asserting that his gospel of nonviolence is the truly realistic one, with most promise for the future. And this applies not only to Tibet but to each and every conflict. The future hopes of oppressed millions are today linked to the unarmed battalions, for they will win the peace: the justice of their demands, moreover, is now so clear and the normal strength of their struggle so indomitable that they can only temporarily be halted by force of arms. In awarding the Peace Prize to H.H. the Dalai Lama we affirm our unstinting support for his work for peace, and for the unarmed masses on the march in many lands for liberty, peace and human dignity. " # Planning

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Alexander Graham Bell : " The nation that secures control of the air will ultimately control the world. " # Planning

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Helen Keller : " God himself is not secure, having given man dominion over his work. " # Planning

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Gordon Sumner : " Security in human systems we're told will always, always last. Emotions are the sail, and blind faith is the mast. Without the breath of real freedom we're getting nowhere fast. " # Planning

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Karen Demirchyan : " I used to work in this building for years and on returning here I intend to do everything possible to secure normal human life for the Armenian people. " # Planning

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Arnold Toynbee : " We must remember that the real problem is not how to produce some improvement in the condition of the working man— for that has to a certain extent been attained already— but how to secure his complete material independence. " # Planning

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Theodore Roosevelt : " In the future days, which we seek to make secure, we look forward to a world founded upon four essential human freedoms. The first is freedom of speech and expression--everywhere in the world. The second is freedom of every person to worship God in his own way--everywhere in the world. The third is freedom from want--which, translated into world terms, means economic understandings which will secure to every nation a healthy peacetime life for its inhabitants--everywhere in the world. The fourth is freedom from fear--which, translated into world terms, means a world-wide reduction of armaments to such a point and in such a thorough fashion that no nation will be in a position to commit an act of physical aggression gainst any neighbor--anywhere in the world. " # Planning

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Joan Didion : " The willingness to accept responsibility for one's own life is the source from which self-respect springs. " # Planning

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Ingmar Bergman: " To the fanatical believer physical and spiritual suffering is beside the point, compared with salvation. That is why, to him, everything happening around him is irrelevant, a mirror-image, a mere will-o'-the-wisp. ... I can really never get shot of them, the fanatics. Whether they appear as religious fanatics or vegetarian fanatics makes no odds. They're catastrophic people. These types whose whole cast of mind as it were looks beyond mere human beings toward some unknown goal. The terrible thing is the great power they often wield over their fellow human beings. Apart from the fact that I believe they suffer like the very devil, I've no sympathy for them." # Fanatics and Fanaticism

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Ingmar Bergman: " I hope I never get so old I get religious." # Age and Aging # Hope # Religion

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Ingmar Bergman: " 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." # Love

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Ingmar Bergman: " Winter Light — suppose we discuss that now?... The film is closely connected with a particular piece of music: Stravinski's A Psalm Symphony. I heard it on the radio one morning during Easter, and it struck me I'd like to make a film about a solitary church on the plains of Uppland. Someone goes into the church, locks himself in, goes up to the altar, and says: 'God, I'm staying here until in one way or another You've proved to me You exist. This is going to be the end either of You or of me!' Originally the film was to have been about the days and nights lived through by this solitary person in the locked church, getting hungrier and hungrier, thirstier and thirstier, more and more expectant, more and more filled with his own experiences, his visions, his dreams, mixing up dream and reality, while he's involved in this strange, shadowy wrestling match with God. We were staying out on Toro, in the Stockholm archipelago. It was the first summer I'd had the sea all around me. I wandered about on the shore and went indoors and wrote, and went out again. The drama turned into something else; into something altogether tangible, something perfectly real, elementary and self-evident. The film is based on something I'd actually experienced. Something a clergyman up in Dalarna told me: the story of the suicide, the fisherman Persson. One day the clergyman had tried to talk to him; the next, Persson had hanged himself. For the clergyman it was a personal catastrophe." # Seasons

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Ingmar Bergman: " Today we say all art is political. But I'd say all art has to do with ethics. Which after all really comes to the same thing. It's a matter of attitudes. ... All this talk about me standing aside, cutting myself off and so forth, has always amazed me... I've stated, firmly and clearly, that though as an artist I'm not politically involved, I obviously am an expression of the society I live in. Anything else would be grotesque. But I don't make propaganda for either one attitude or the other. No. As I told you, I vote for the Social Democrats. Their way of solving social problems comes closest to what I regard as decent. That I also find their actual solutions odd in many ways is another matter..." # Politicians and Politics

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Ingmar Bergman: " 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." # Critics and Criticism

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Ingmar Bergman: " 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." # Cinema # Music # Conscience

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Ingmar Bergman: " Self-portraiture is something one should never get involved in, since it is wrong to lie even though one endeavours to tell the truth." # Portraits

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Ingmar Bergman: " 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." # Music

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Ingmar Bergman: " Say anything you want against The Seventh Seal. My fear of death — this infantile fixation of mine — was, at that moment, overwhelming. I felt myself in contact with death day and night, and my fear was tremendous. When I finished the picture, my fear went away. I have the feeling simply of having painted a canvas in an enormous hurry — with enormous pretension but without any arrogance. I said, 'Here is a painting; take it, please.'" # Food and Eating

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