The studio rented a house for my wife in Los Angeles under a phony name to keep reporters away. Whenever I wanted to visit her and my children, I would have to sneak in the back door after dark.
Bergman has a very special eye for people. His background taught him to listen and to feel.
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.
I owe Mr. Bergman so much.
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 many years.
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.
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.'
Bergman was courageous in choosing people to do things that they themselves might not expect to play.
Mr. Bergman was a man of great working discipline. He forced everyone to concentrate when it was important. No disturbing noise during rehearsal. A code of silence.
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.
I actually know the moment I became known. It was at the Cannes Film Festival, when they showed 'The Virgin Spring.' I walked into that theater as one person, and I walked out as another.
There are casting directors with lots of imagination, but also some with not as much imagination.
I don't believe in devils. Indifference and misunderstandings can create evil situations. Most of the time, people who appear to be evil are really victims of evil deeds.
In a theater, the part is mine and I can control it as I want to. In the movies, I don't have direct contact, and I am fighting technical machinery.
I think the film you hear about the most is 'The Exorcist.' When people come up to me and say, 'Oh, you scared me!' I was the good guy in that film!
Nobody told me there was any idea for a sequel to 'The Exorcist.' But my agent called me to tell me they were going to do it, and there was a part for me. I said, 'But I died in the first film.' 'Well,' he told me, 'this is from the early days of Father Merrin's life.' I told him I just didn't want to do it again.
To me, part of the fascinating profession of acting is to participate in all these strange situations, to try to understand all these interesting characters, fictitious or real, their human nature... It's extraordinarily fascinating.
Film acting, if you don't play the lead, you come, and you do your scenes in a few days, and you act with a couple of colleagues. All the rest of the actors you never see, and you don't even meet many of them. And you don't know what will happen with what you've done. Maybe it will be in the film, maybe it will not.
I could never learn to be totally fluent in any other language.
My father was a professor of folklore, and my mother was a teacher until she was married. I had a good relationship with them, and the only argument we had was when I went to university and wanted to go into the theater instead of studying to be a lawyer.
