83- The Silence - Director:Ingmar Bergman - Cast: Ingrid Thulin, Gunnel Lindblom, Birger Malmsten, Håkan Jahnberg and Jörgen Lindström.

"My original idea was to make a film that should obey musical laws, instead of dramaturgical ones. A film acting by association—rhythmically, with themes and counter-themes. As I was putting it together, I thought much more in musical terms than I'd done before. All that's left of Bartók is the very beginning. It follows Bartók's music rather closely—the dull continuous note, then the sudden explosion."

-Ingmar Bergman-

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"Ester loves her sister; she finds her beautiful and feels a tremendous responsibility for her, but she would be the first to be horrified if it were pointed out that her feelings were incestuous. Her mistake lies in the fact that she wants to control her sister—as her father had controlled her by his love. Love must be open. Otherwise Love is the beginning of Death. That is what I am trying to say."

-Ingmar Bergman-

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"For me the important thing is that Ester sends a secret message to the boy. That's the important thing: the message he spells out to himself. To me Ester in all her misery represents a distillation of something indestructibly human, which the boy inherits from her."

-Ingmar Bergman-

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"What shall I say about The Silence? I think it is about the complete breakdown of illusions....It's very difficult to tell you....It's about my private life....It's an extremely personal picture....It is a sort of personal purgation: a rendering of hell on earth—my hell. The picture is so....It is so strange to me that I do not know what it means."

-Ingmar Bergman-

------------ Bergman R.I.P---------------

Woody Allen on the BBC http://news.bbc.co.uk/player/nol/newsid_6920000/newsid_6924500/6924524.stm?bw=nb&mp=rm&news=1&ms3=4&nol_storyid=6924524

Woody on Bergman New York Times- TIME http://www.time.com/time/arts/article/0,8599,1648917,00.html

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"I would not have made any of my films or written scripts such as Taxi Driver had it not been for Ingmar Bergman.
His death, at the age of 89, may not have been a surprise. He was an old man. But what he has left is a legacy greater than any other director. He made film-making a serious and introspective enterprise. No one had been able to pull that off until he showed up. I really wasn't that interested in being a film-maker, except in the way that Bergman redefined what you could be as a film-maker

-Paul Schrader-

http://arts.independent.co.uk/film/news/article2819580.ece

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"*By the end of the 50s, Bergman took the Cinema on unknow paths.To places that,up to that point, were exclusive and reserved to Literature;That thing,that comes from the deep of the human soul,always between man and woman,and with a Black and White that transformed ghosts into his characters and his characters into ghosts"

-Bernardo Bertolucci-(* translated by me)

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"*One of the most brilliant and controversial directors in history.We lost a great man and a great director.Like Bunuel,Rossellini, and Bresson he surpass that 'Genius-line'."

-Manuel De Oliveira-(*) Portuguese filmmaker

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"Great life he had. Congratulations...(to)a great man...on this world and Cinema of small men."

-Arnaldo Jabor-(*) Brazilian Filmmaker

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World film-makers pay tribute to the master, Ingmar Bergman

and on RogerEbert.com

http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20070730/PEOPLE/70731001

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Ang Lee interview-Northwest Asia Weekly

"NWAW: Two years ago, you recorded an introduction for The Criterion Collection DVD of Ingmar Bergman’s The Virgin Spring,” a film that had a tremendous impact on you as a student in Taiwan. Does Bergman continue to be an influence? Is there a trace of him in 'Lust, Caution'?

Lee: During preproduction, I was told there would be a delay in the art direction, so I got a chance to go to his island to see the man himself. This was a spiritual pilgrimage, to give me the strength to finish this movie. 'Lust, Caution' is more film noir than Bergman. It doesn’t ask where God is. It’s a much more Buddhist, existential deconstruct.

In the time we had together, he mostly asked how I worked with actors. And I said to him, sometimes I hate myself because I tear them apart to see myself. I tear them (he pantomimes ripping something in half), kill them to expose what’s underneath—that’s how I feel about my relationship with actors.

Bergman said, “You have to love your actors.” He was a very warm, lovely person. Because of The Virgin Spring, it felt like 30-some years ago the man took my innocence. And then years later, he gave me a very motherly hug. It’s a strange, miraculous, magic power. I never think the way I make movies has any relation to his; he’s like God to me. I will take inspiration. I won’t dare to imitate. But a hug is a hug, filmmaker to filmmaker."