I write scripts to serve as skeletons awaiting the flesh and sinew of images.

Everything is worth precisely as much as a belch, the difference being that a belch is more satisfying.

I write scripts to serve as skeletons awaiting the flesh and sinew of images.

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.

Aging is not uncomplicated. Creativity is an extraordinary help against destructive demons.

For me, the human face is the most important subject of the cinema.

From an early age onward, it was said that 'Ingmar has no sense of humor.'

I always work with 18 friends.

I am autobiographical in the way a dream transforms experience and emotions all the time.

I am extremely suspicious of dreams, apparitions and visions, both in literature and in films and plays. Perhaps it's because mental excesses of this sort smack too much of being 'arranged.'

I am forever living in my childhood.

I am normally afraid of birds and have never dreamt of any bird in my life.

I am very shy with people I don't know.

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

I dream about doing a film about once a week.

I had a bad conscience until I discovered that having a bad conscience about something so gravely serious as leaving your children is an affectation, a way of achieving a little suffering that can't for a moment be equal to the suffering you've caused.

I hate to travel. I don't go anywhere.

I have a feeling of complete balance. The sea, the house, the loneliness, the light. Everything is clearer. Much more precise. I have the feeling that I am living on a limit, and I'm crossing that limit sometimes.

I have always appreciated the honest brutality of the international film world. One need never doubt one's worth in the market. Mine was zero.

I have such difficulty calming down - my stomach, my head, reality, everything. That is the reason I live in Faro.

I haven't put an ounce of effort into my families. I never have.

I make all my decisions on intuition.

I think that for some time now I have been living with an anxiety which has had no tangible cause. It has been like having a toothache, without the conscientious dentist having been able to find anything wrong with the tooth or with the person as a whole.

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 usually say I left puberty at 58.

I was bloody ill-tempered when I was young.

I was booed at the premiere of 'Miss Julie,' a remarkably stimulating experience.

I'm very, very lazy. I love to sit in a chair and look out the window and do nothing.

If I don't create, I don't exist.

If I let myself go, nothing will get done.

In 'The Serpent's Egg,' I created a Berlin which no one recognized, not even I.

Life wasn't about freeing up human souls. It was about creating obedient slaves in the hierarchical construction of the society - with God at the top, then the king and then the father.

Mother was actually a great doer and organizer. All the special occasions were directed by mother.

My education was very tough.

My pictures are always part of my thinking, and my emotions, tensions, dreams, desires.

Not a day has gone by in my life when I haven't thought about death.

Now I want to make it plain that 'The Virgin Spring' must be regarded as an aberration. It's touristic, a lousy imitation of Kurosawa.

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.

Sometimes, I probably do mourn the fact that I no longer make films.

The anger and the creativity are so closely intertwined with me, and there's plenty of anger left.

The demons are innumerable, appear at the most inconvenient times, and create panic and terror. But I have learnt that if I can master the negative forces and harness them to my chariot, then they can work to my advantage.

The doors between the old man today and the child are still open, wide open. I can stroll through my grandmother's house and know exactly where the pictures are, the furniture was, how it looked, the voice, the smells. I can move from my bed at night today to my childhood in less than a second.

The individualists stare into each other's eyes and yet deny each other's existence. 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.

The only thing I consider appalling would be to suddenly become a vegetable and a burden on other people. A soul slowly dying out, trapped in a body in which the insides gradually sabotage me - that, I think, would be terrifying.

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.

There are so many books I want to read. Difficult books. That's what I intend to do and what I'm longing for.

We always regret that we did not ask our parents more, really get to know them while they were alive.

We didn't know that Mother had gone through a passionate love affair or that Father suffered from severe depression. Mother was preparing to break out of her marriage, Father threatening to take his own life.