Ingmar Bergmanová citáty
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Ernst Ingmar Bergman bol švédsky filmový režisér.

Vyslúžil si uznanie za prenikavé analýzy ľudských citov a stal sa vzorom pre niekoľko generácií tvorcov na celom svete. Vo svojich dielach sa sústreďuje na vnútorné rozpory a krehkosť duše. Debutoval filmom Kris , ale prvým z tematicky a štýlovo inovátorských filmov, ktoré sú pre neho charakteristické, prišiel až v roku 1949. Po nich nasledoval rad filmov, ktoré dokladali Bergmanove umelecké vyzrievanie, napr. Leto s Monikou . Bergman neprestal skúmať nové naratívne postupy a tematické oblasti, o čom svedčí stredoveká moralita Prameň panny , film Diablovo oko i znepokojujúce snímky Ako v zrkadle a Mlčanie . V USA zaznamenal najväčší úspech s filmom Šepoty a výkriky .

Všeobecné uznanie ako jeden z najväčších filmových režisérov svojej doby získal vo Švédsku ako aj v zahraničí filmom Fanny a Alexander, 1981, ktorý nakrútil po návrate z dobrovoľného exilu v Nemecku. Jeho filmy boli veľa ráz nominované na Oscara, ktorého mu udelili za Prameň panny, Ako v zrkadle a Fanny a Alexander. Najvyššie ocenenia za svoje filmy získal Bergman aj na festivaloch v Berlíne a Cannes.

Ingmar Bergman napísal v 80. a 90. rokoch minulého storočia viacero zväzkov svojich pamätí, resp. pamätí bergmanovskej rodiny , z ktorých niektoré preložil M. Žitný do slovenčiny.

O esejistický výklad Bergmanovej filmárskej osobnosti a niektorých jeho kľúčových filmov sa pokúsil Július Vanovič v knihe Za kulisy života . Wikipedia  

✵ 14. júl 1918 – 30. júl 2007
Ingmar Bergmanová fotka
Ingmar Bergmanová: 85   citátov 15   Páči sa

Ingmar Bergmanová najznámejšie citáty

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Ingmar Bergmanová: Citáty v angličtine

“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.”

As quoted in "Ingmar Bergman, Master Filmmaker, Dies at 89" by Mervyn Rothstein in The New York Times (31 July 2007) http://www.nytimes.com/2007/07/31/movies/31bergman.html?hp.

“I don't watch my own films very often. I become so jittery and ready to cry… and miserable. I think it's awful.”

BBC article http://news.bbc.co.uk/2/hi/entertainment/3616037.stm (10 April 2004).

“I liked Truffaut a lot, I've felt a lot of admiration for his way to address the audience, and his storytelling…. La nuit américaine is adorable, and another film I like to see is L'enfant sauvage, with its fine humanism.”

On the works of filmmaker Francois Truffaut
Variant translation: I liked Truffaut enormously, I admired him. His way of relating with an audience, of telling a story, is both fascinating and tremendously appealing. It's not my style of storytelling, but it works wonderfully well in relation to the film medium.
Jan Aghed interview (2002)

“Self-portraiture is something one should never get involved in, since it is wrong to lie even though one endeavours to tell the truth.”

"Ingmar's self portrait" (1957) as quoted in "Who is he really?" http://www.ingmarbergman.se/universe.asp?guid=4F72F9D3-43BB-405D-B42B-3D091B8FAF3A

“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.”

Jonas Sima interview <!-- pages 173-174 -->
Bergman on Bergman (1970)

“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.”

As quoted in "Ingmar Bergman Confides in Students" http://www.nytimes.com/1981/05/08/movies/ingmar-bergman-confides-in-students.html New York Times, May 7, 1981.

“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.'
Interview with Charles Thomas Samuels (1971).

“I come from a world of conservative Christian thought. I've absorbed Christianity with my mother's milk. So it must be obvious that certain… archetypes, aren't they called?”

stick in one's mind, and that certain lines, certain courses of events, certain ways of behaving, become adequate symbols for what goes on in the Christian system of ideas. … I keep myself supplied with my own angels and demons...
Torsten Manns interview.
Bergman on Bergman (1970)

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