http://www.youtube.com/watch?v=27QqUqUqZpI

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In addition to all else - and perhaps most important - Bergman is a great entertainer; a storyteller who never loses sight of the fact that no matter what ideas he’s chosen to communicate, films are for exciting an audience. His theatricality is inspired. Such imaginative use of old-fashioned Gothic lighting and stylish compositions. The flamboyant surrealism of the dreams and symbols. The opening montage of Persona, the dinner in Hour of the Wolf and, in The Passion of Anna, the chutzpah to stop the engrossing story at intervals and let the actors explain to the audience what they are trying to do with their portrayals, are moments of showmanship at its best.

http://daily.greencine.com/archives/004143.html

Technique

As a director, Bergman favored intuition over intellect, and chose to be unaggressive in dealing with actors. Bergman saw himself as having a great responsibility toward them, viewing them as collaborators often in a psychologically vulnerable position. He stated that a director must be both honest and supportive in order to allow others their best work.

His films usually deal with existential questions of mortality, loneliness, and faith; they also tend to be direct and not overtly stylized. Persona, one of Bergman’s most famous films, is unusual among Bergman’s work in being both existentialist and avant-garde.

While his themes could be cerebral, sexual desire found its way to the foreground of most of his movies, whether the setting was a medieval plague (The Seventh Seal), upper-class family life in early 20th century Uppsala (Fanny and Alexander) or contemporary alienation (The Silence). His female characters were usually more in touch with their sexuality than their men, and were not afraid to proclaim it, with the sometimes breathtaking overtness (i.e. Cries and Whispers) that defined the work of “the conjurer,” as Bergman called himself in a 1960 Time magazine cover story. In an interview with Playboy magazine in 1964, he said: “…the manifestation of sex is very important, and particularly to me, for above all, I don’t want to make merely intellectual films. I want audiences to feel, to sense my films. This to me is much more important than their understanding them.” Film, Bergman said, was his demanding mistress. Some of his major actresses became his actual mistresses as his real life doubled up on his movie-making one.

Love — twisted, thwarted, unexpressed, repulsed — was the leitmotif of many of his movies, beginning, perhaps, with Winter Light, where the pastor’s barren faith is contrasted with his former mistress’ struggle, tinged with spite as it is, to help him find spiritual justification through human love.

Bergman usually wrote his own scripts, thinking about them for months or years before starting the actual process of writing, which he viewed as somewhat tedious. His earlier films are carefully structured, and are either based on his plays or written in collaboration with other authors. Bergman stated that in his later works, when on occasion his actors would want to do things differently from his own intentions, he would let them, noting that the results were often “disastrous” when he did not do so. As his career progressed, Bergman increasingly let his actors improvise their dialogue. In his latest films, he wrote just the ideas informing the scene and allowed his actors to determine exact dialogue.

Interview

http://www.youtube.com/watch?v=Ehu72LK17z8