“In various contexts I'd made it into a sort of private game to have a diabolic figure hanging around. His evil was one of the springs in my watch-works. And that's all there is to the devil-figure in my early films… Unmotivated cruelty is something which never ceases to fascinate me; and I'd very much like to know the reason for it.”
Torsten Manns interview <!-- p. 40 -->
Bergman on Bergman (1970)
Context: Now let's get this Devil business straight, once and for all. To begin at the beginning: the notion of God, one might say, has changed aspect over the years, until it has either become so vague that it has faded away altogether or else has turned into something entirely different. For me, hell has always been a most suggestive sort of place; but I've never regarded it as being located anywhere else than on earth. Hell is created by human beings — on earth!
What I believed in those days — and believed in for a long time — was the existence of a virulent evil, in no way dependent upon environmental or hereditary factors. Call it original sin or whatever you like — anyway an active evil, of which human beings, as opposed to animals, have a monopoly. Our very nature, qua human beings, is that inside us we always carry around destructive tendencies, conscious or unconscious, aimed both at ourselves and at the outside world.
As a materialization of this virulent, indestructible, and — to us — inexplicable and incomprehensble evil, I manufactured a personage possessing the diabolical traits of a mediaeval morality figure. In various contexts I'd made it into a sort of private game to have a diabolic figure hanging around. His evil was one of the springs in my watch-works. And that's all there is to the devil-figure in my early films... Unmotivated cruelty is something which never ceases to fascinate me; and I'd very much like to know the reason for it. Its source is obscure and I'd very much like to get at it.
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Ingmar Bergman 75
Swedish filmmaker 1918–2007Related quotes
O, The Oprah Magazine (November 2003) http://www.oprah.com/omagazine/200311/omag_200311_toni_b.jhtml
Context: The idea of a wanton woman is something I have inserted into almost all of my books. An outlaw figure who is disallowed in the community because of her imagination or activity or status — that kind of anarchic figure has always fascinated me. And the benefits they bring with them, in spite of the fact that they are either dismissed or upbraided — something about their presence is constructive in the long run.
Oscar Acceptance Speech, 1989 Academy Awards, Best Actress in a Leading Role, The Accused.
A Heap o' Livin' (1916)
Source: A Friend's Greeting, stanza 1, p. 33.
Source: PTI Me and my family know the truth: Sania http://articles.economictimes.indiatimes.com/2010-04-03/news/27587127_1_siddiquis-pakistani-cricketer-shoaib-malik-sania-mirza, The Economic Times, 3 April 2010
Oscar Acceptance Speech, 1992 Academy Awards, Best Actress in a Leading Role, The Silence of the Lambs.
And then two or three years ago, someone showed me a site, and half of it that said I wrote it, I didn't write. Recently, I saw one, and I didn't write any of it. What's disturbing is that with a few of these jokes, I wish I had thought of them. A giant amount of them, I'm embarrassed that people think I thought of them, because some are really bad.
[The Tenacity of the Cockroach: Conversations with Entertainment's Most Enduring Outsiders, Thompson, Steven, 2002, Three Rivers Press, 0609809911, September 9, 2012, http://www.avclub.com/articles/steven-wright,13796/]
Interviews