Ingmar Bergman: No other art-medium—neither painting nor poetry—can communicate the specific quality of the dream as well as the film can. When the lights go down in the cinema and this white shining point opens up for us, our gaze stops flitting hither and thither, settles and becomes quite steady. We just sit there, letting the images flow out over us. Our will ceases to function. We lose our ability to sort things out and fix them in their proper places. We’re drawn into a course of events—we’re participants in a dream… Sometimes while I’m dreaming I think: “I’ll remember this, I’ll make a film of it”—it’s a sort of occupational disease.

Luis Buñuel: If someone were to tell me I had twenty years left, and ask me how I’d like to spend them, I’d reply: “Give me two hours a day of activity, and I’ll take the other twenty-two in dreams… provided I can remember them.”


"I was quite tired of the entertainment Arne Mattsson made me perform, where I had to run blonde and beautiful through a meadow hand in hand with a young man. Bergman made me so ugly as soon as he clapped eyes on me, so I didn’t need to feel that I was putting on a show. Those difficult, psychological roles suited me better."
Ingrid ThulinJanuary 27, 1926 — January 7, 2004

"I was quite tired of the entertainment Arne Mattsson made me perform, where I had to run blonde and beautiful through a meadow hand in hand with a young man. Bergman made me so ugly as soon as he clapped eyes on me, so I didn’t need to feel that I was putting on a show. Those difficult, psychological roles suited me better."

Ingrid Thulin
January 27, 1926 — January 7, 2004

Bibi AnderssonBorn November 11, 1935
"When I was reading a script, I tried to figure out what side of me [Bergman] was trying to use now, or what had he seen, or what it was that he did not want. You can sometimes be very frustrated if you feel the part does not do you justice. When I read Persona I wasn’t flattered. I didn’t understand why I had to play this sort of insecure, weak personality when I was struggling so hard to be sure of myself and to cover up my insecurities. I realized that he was totally aware of my personality. I was better off just trying to deliver that. It’s a good way to know oneself. Sometimes I think artists instinctively are very good psychiatrists. I also think all parts have to be based on oneself, otherwise they will never come across.”

Bibi Andersson
Born November 11, 1935

"When I was reading a script, I tried to figure out what side of me [Bergman] was trying to use now, or what had he seen, or what it was that he did not want. You can sometimes be very frustrated if you feel the part does not do you justice. When I read Persona I wasn’t flattered. I didn’t understand why I had to play this sort of insecure, weak personality when I was struggling so hard to be sure of myself and to cover up my insecurities. I realized that he was totally aware of my personality. I was better off just trying to deliver that. It’s a good way to know oneself. Sometimes I think artists instinctively are very good psychiatrists. I also think all parts have to be based on oneself, otherwise they will never come across.”

Victor Sjöstrom in Wild Strawberries.

With regard to the extremely moving final shot, which is possibly one of the most beautiful and remarkable moments I’ve ever captured on film in my entire career, it has a bizarre background. And it might be interesting to mention it, since Victor was such a punctual person. He was always ready to start working at 9:00 sharp. He knew his lines, and he had all his props and costumes in order. So he was very meticulous. But he also liked to be home by 5:00, when he would enjoy a glass of whiskey. And that was important too. And the day we shot the final scene, we were, for some reason I can’t recall, we were working overtime. I had to break this to Victor, and he was furious. Truly pissed off. And he said, ‘Let’s do it.’ And we set things up. He stood there and he refused to speak to me. He thought it was mean of me to not let him go home. Then suddenly, when I said ‘action,’ his faced transformed. The surly, unapproachable old man’s expression was transformed and became accessible, beatific and wise.
There was much tension in his life: his excessive self-criticism, his grumpiness, his meticulous nature, the fact that he was so very demanding in his interactions, and hard on himself as well, along with that crushing angst. Yet despite all this, these remarkable images came though. Unforgettable.
— Ingmar Bergman

Victor Sjöstrom in Wild Strawberries.

With regard to the extremely moving final shot, which is possibly one of the most beautiful and remarkable moments I’ve ever captured on film in my entire career, it has a bizarre background. And it might be interesting to mention it, since Victor was such a punctual person. He was always ready to start working at 9:00 sharp. He knew his lines, and he had all his props and costumes in order. So he was very meticulous. But he also liked to be home by 5:00, when he would enjoy a glass of whiskey. And that was important too. And the day we shot the final scene, we were, for some reason I can’t recall, we were working overtime. I had to break this to Victor, and he was furious. Truly pissed off. And he said, ‘Let’s do it.’ And we set things up. He stood there and he refused to speak to me. He thought it was mean of me to not let him go home. Then suddenly, when I said ‘action,’ his faced transformed. The surly, unapproachable old man’s expression was transformed and became accessible, beatific and wise.

There was much tension in his life: his excessive self-criticism, his grumpiness, his meticulous nature, the fact that he was so very demanding in his interactions, and hard on himself as well, along with that crushing angst. Yet despite all this, these remarkable images came though. Unforgettable.

— Ingmar Bergman

Victor SjöströmSeptember 20, 1879 — January 3, 1960
"The fact that I have been able to work with Sjöström, that I have been able to talk to him about his craft, that we could discuss the making of The Phantom Carriage, or the US production The Wind, or Ingeborg Holm, and he could tell me how he worked and thought at the time — being granted the opportunity to talk to such a master of his craft, to listen to him and absorb his words, it made me feel that I was a part of a certain development, a part of a grand tradition.” — Ingmar Bergman

Victor Sjöström
September 20, 1879 — January 3, 1960

"The fact that I have been able to work with Sjöström, that I have been able to talk to him about his craft, that we could discuss the making of The Phantom Carriage, or the US production The Wind, or Ingeborg Holm, and he could tell me how he worked and thought at the time — being granted the opportunity to talk to such a master of his craft, to listen to him and absorb his words, it made me feel that I was a part of a certain development, a part of a grand tradition.” — Ingmar Bergman

On the set of Wild Strawberries

On the set of Wild Strawberries