If people ask me, 'For you, what is your most important film?' I have a feeling that they all sort of want me to answer with one of the Bergman films. But I cannot choose.
I spent almost 3 months with Bergman, four hours every afternoon. We sat and went through the whole script. To be honest, most of the time we talked about life and other different things. It was really a wonderful time.
I was six years old when I saw my first Godard movie, eight when I first experienced Bergman. I wanted to be a director when I was fourteen.
I think we live in an era without a predictable career path. Everybody's doing more, doing more at the same time, doing more faster. As such, individual projects can have wildly different developmental trajectories.
Mike Wallace: Who are these people? Lowell Bergman: Ordinary people under extraordinary pressure, Mike. What the hell do you expect? Grace and consistency?
Lowell Bergman: I'm Lowell Bergmann, I'm from 60 Minutes. You know, you take the 60 Minutes out of that sentence, nobody returns your phone call.
Don Hewitt: I heard Wigand's deposition got sealed. Lowell Bergman: Yeah, they argued he was gonna reveal the secret formula of Kools to the world.
Since Socrates and Plato first speculated on the nature of the human mind, serious thinkers through the ages - from Aristotle to Descartes, from Aeschylus to Strindberg and Ingmar Bergman - have thought it wise to understand oneself and one's behavio...
You'll see a lot more blood in 'Saw' movies or something like that than you will in either of the 'Last House' movies. I kind of think it owes more to 'The Virgin Spring' which is the original source material, the Bergman movie.
I think improvisation is a technique and a tool. I think that even the best of them fail most of the time, and in the end, the audience is not interested in how you got there but in what you're saying. The more clearly and concisely and artistically ...
A movie that I've seen probably the most is 'Fanny & Alexander,' the Ingmar Bergman movie. I even dragged my friends to the super long version that had an intermission. I don't know how much they liked me that day.
Lowell Bergman: I am trying to protect you, man. Jeffrey Wigand: Well I hope you improve your batting average.
Lowell Bergman: We've got a guy who wants to talk, but he's constrained. What if he were compelled? Mike Wallace: Oh, torture. Great ratings.
Don Hewitt: Are you suggesting that she and Eric are influenced by money? Lowell Bergman: No, no of course they're not influenced by money. They work for free. And you are a volunteer executive producer.
Lowell Bergman: This news division has been *villified* by the New York Times! In print, on television, for *caving* to corporate interests! Don Hewitt: New York Times ran a blow by blow of what we talked about behind closed doors! You fucked us! Low...
No doubt, the most important thing in my career was my time with Mr. Bergman, with whom I worked in so many films and also in so many stage productions, so it was a continuous working relationship and also a friendship, of course, that lasted for so ...
[last lines] Lowell Bergman: What do I tell the my source for the next tough story, huh? 'Hang in with us, you'll be ok maybe'? No. What got broken here doesn't go back together.
Jeffrey Wigand: How did a radical journalist from Ramparts Magazine end up at CBS? Lowell Bergman: I still do the tough stories. 60 Minutes reaches a lot of people.
Richard Scruggs: I'd be lying to you if I did not tell you how important it was in a court of public opinion. Lowell Bergman: And I'd be lying if I did not tell, I'm about out of moves, Dick.
Mike Wallace: Did I get you up? Lowell Bergman: No, I usually sit around my hotel room dressed like this at 5:30 in the morning, sleepy look on my face.
I like so many different directors: Scorsese, Coppola, Cassavetes, Jarmusch, Gus van Sant, Woody Allen and the greats like Fellini, Bergman, Tarkovsky and among current filmmakers von Trier, Ang Lee, Wong Kar-wai.
