I think actually what keeps the intensity manageable - it's a little counterintuitive - is that it's changing all the time. Every week is different for me.
Lowell Bergman: 'Tortious interference?' That sounds like a disease caught by a radio.
I'm an incurable romantic, and Casablanca's one of the most romantic pictures I've ever seen - the combination of Bogart and Bergman is just magical.
Lowell Bergman: I fought for you and I still fight for you! Jeffrey Wigand: You fought for me? You manipulated me! Into where I am now - staring at the Brown & Williamson building, it's all dark except for the tenth floor. That's the legal department...
One will probably have to manage alone as best one can. (Karin Bergman)
I remember those days with Bergman with great nostalgia. We were aware that the films were going to be quite important, and the work felt meaningful.
Mr. Bergman had a great imagination and saw the possibilities within every one of his actors, and he gave us great challenges. It was very inspiring.
Sharon Tiller: You won. Lowell Bergman: Yeah? What did I win?
Sometimes I get a little tired of it. But you know, what a privilege, to get tired of working with Ingmar Bergman.
Being a director, whether you're in rehearsal or you're in auditions or you're in a creative meeting, is so much to me about being present in the moment. There's a sense of time stopping.
I think Ingmar Bergman, Francoise Truffaut - all these people created images in my mind, beautiful pictures, I loved what was known at that time as the foreign film.
I listen to music, I read scripts, and I know pretty intuitively if I can unlock it in a way. It's actually very liberating when you understand that not everything is for you.
Peter Hall was just organizing the Royal Shakespeare Company. It was going to be an ensemble, it was going to be in repertory, it was going to have a home in London as well as in the Midlands, and all of those things were happening at that time.
As far as Irish writers being great, I think the fact that there have been two languages in Ireland for a very long time; there has obviously been a shared energy between those two languages.
Ingmar Bergman had a great sense of humor, and he had a very special, characteristic laugh that you always recognized - if he went to watch a theater show, 'Ah! He is here tonight.'
I was in college in the sixties when movies really got good. I'm a fan of Bergman and Hitchcock and Polanski and Antonioni. Those are my gods.
We all know that we have to get off of fossil fuels. And we know that the world is going in that direction. And we have to do it fast.
From that time through the time I was a New Dramatist, when I was something like twenty-two, I saw absolutely everything in New York. Absolutely everything.
Lowell Bergman: You'd better take a *good* look, because I'm getting two things: pissed off and curious.
Sometimes I work on film sets. I've done this for 40 years. I always wanted to photograph on the set of an Ingmar Bergman film. Unfortunately, I never had the opportunity.
Venice is beautiful, but like a Bergman movie is beautiful; you can admire it, but you don't really want to live in it.
