Ingmar Bergman

Award won Role or nomination

1. 1918 age 0

   Born

2. 1955 age 37

   CreditSmiles of a Summer Nightdirector

   CreditSmiles of a Summer Nightscreenwriter

3. 1957 age 39

   CreditThe Seventh Sealdirector

   CreditThe Seventh Sealscreenwriter

   CreditWild Strawberriesdirector

   CreditWild Strawberriesscreenwriter

4. 1958 age 40

   CreditThe Magiciandirector

   CreditThe Magicianscreenwriter

5. 1960 age 42

   CreditThe Virgin Springdirector

6. 1961 age 43

   CreditThrough a Glass Darklydirector

   CreditThrough a Glass Darklyscreenwriter

7. 1963 age 45

   CreditWinter Lightdirector

   CreditWinter Lightscreenwriter

   CreditThe Silencedirector

   CreditThe Silencescreenwriter

8. 1966 age 48

   CreditPersonadirector

   CreditPersonaproducer

   CreditPersonascreenwriter

9. 1968 age 50

   CreditHour of the Wolfdirector

   CreditHour of the Wolfscreenwriter

10. 1972 age 54

    CreditCries and Whispersdirector

    CreditCries and Whispersscreenwriter

11. 1973 age 55

    CreditScenes from a Marriagedirector

    CreditScenes from a Marriagescreenwriter

12. 1978 age 60

    CreditAutumn Sonatadirector

    CreditAutumn Sonataproducer

    CreditAutumn Sonatascreenwriter

13. 1982 age 64

    CreditFanny and Alexanderdirector

    CreditFanny and Alexanderscreenwriter

14. 2007 age 89

    Died

• SNSven Nykvist10 titles
• GBGunnar Björnstrand9 titles
• AEAllan Ekelund8 titles
• MSMax von Sydow7 titles
• BABibi Andersson6 titles
• GLGunnel Lindblom6 titles
• ITIngrid Thulin6 titles
• EJErland Josephson6 titles
• ENErik Nordgren5 titles
• LULiv Ullmann5 titles

• Spouse

  • KLKäbi Laretei

• Partner

  • HAHarriet Andersson
  • LULiv Ullmann

• Children

  • LBLena Bergman
  • ABAnna Bergman
  • MBMats Bergman
  • LULinn Ullmann

Nothing recorded for: Parents, Siblings, Influenced by, Studied under, Taught.

• 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 Bergman, CC BY-SA 4.0

• 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.

  Ingmar Bergman, CC BY-SA 4.0

• 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.<br> 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 fr

  Ingmar Bergman, CC BY-SA 4.0

• 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.'

  Ingmar Bergman, CC BY-SA 4.0

• In this profession, I always admire people who are going on, who have a sort of idea and, however crazy it is, are putting it through; they are putting people and things together, and they make something. I always admire this. But I can't see his pictures. I sit for perhaps twenty-five or thirty or fifty minutes and then I have to leave, because his pictures make me so nervous. I have the feeling the whole time that he wants to tell me things, but I don't understand what it is, and sometimes I have the feeling that he's bluffing, double-crossing me.

  Ingmar Bergman, CC BY-SA 4.0

• I think he's a very good technician. And he has something in Psycho, 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 behaviour with, or, rather, against women. But this picture is very interesting.

  Ingmar Bergman, CC BY-SA 4.0