A Quote by Ingmar Bergman

There are moments when I can wander through my childhood's landscape, through rooms long ago, remember how they were furnished, where the pictures hung on the walls, the way the light fell. It's like a film - little scraps of a film, which I set running and which I can reconstruct to the last detail - except their smell.
'The Karate Teen' was great, where John Cena kicked me through four walls, or five walls. It was amazing how the film unit put that together. They literally strapped me to a chair and dragged me through five different set walls.
Well, I think it's important to have some kind of a narrative engine that pushes the audience through the landscape. But I love films like 'Apocalypse Now,' which is a very mood driven film. It's a magnetic force that's pulling them through.
I'm surprised by how much I remember [on childhood on film]. I think it's just because I had these interesting moments. Of course, you never know when they're interesting moments, but there was a lot of stuff that I remember and have attached significance to later. I remember enough. I remember highlights.
There's all kinds of those moments in your life where either through a weird set of circumstances, or a song you hear, or a smell you smell, or one person says something totally out of the context without the meaning that you assigned to it, but you snap back to the way you were when you were 14 or 15. We all deal with that.
I like the smell of film. I just like knowing there's film going through the camera.
"Bruce" was an Eddie Murphy film, so there was a whole different vibe, working on that film, as opposed to working on a [Adam] Sandler film, which I'd done a few of. First of all, there were tons of kids running around. I'm surprised I ever had a kid after doing that film.
I do love doing stunts; I was in a film called 'The Quiet Ones,' which was quite a spooky film, and I had to be hung upside down, which was good.
When I got on set, and these huge, big lights come on, it brings on a smell - it's almost like the smell of a light burning a little bit - and I said, 'This reminds me of my childhood,' because I grew up onstage.
In the '80s, I can't say that Amy and I were aware of an independent film community. We could only get a certain amount of money for our pictures, which made them low budget movies, but they were distributed through studios.
The pleasure a man gets from a landscape would [not] last long if he were convinced a priori that the forms and colors he sees are just forms and colors, that all structures in which they play a role are purely subjective and have no relation whatsoever to any meaningful order or totality, that they simply and necessarily express nothing....No walk through the landscape is necessary any longer; and thus the very concept of landscape as experienced by a pedestrian becomes meaningless and arbitrary. Landscape deteriorates altogether into landscaping.
Riskin went into directing and made a film with Cary Grant which applied to the letter all the ideas which had made his comedies famous. It had everything except that little something - and the film was a failure.
Pictures! Pictures! Pictures! Often, before I learned, did I wonder whence came the multitudes of pictures that thronged my dreams; for they were pictures the like of which I had never seen in real wake-a-day life. They tormented my childhood, making of my dreams a procession of nightmares and a little later convincing me that I was different from my kind, a creature unnatural and accursed.
I'm like most people. We just concentrate on the present. I live right where the film is going through the film projector and it hits the light.
People are beginning to realize that it's important that we see animals in a natural state - but through film, through video, through documentaries, at wildlife preserves, and through other humanely protected ways, which don't involve... performing for us.
I really discovered [Dr.Strange] through hearing about this film and first meeting Scott [Derrickson] and getting into it and just opening up and saying, "Okay, this is, like all comics, very much of its era," and my first question was, 'How do you make this film? Why do you make this film now?' and the answers were so enticing that I was like, "I'm in."
A film like Genevieve to my contemporaries is not a film made years ago, but last week or last year. They see me as I was then, not as I am now.
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