"I thought it was not my business to make films. It was amusing, it was nice to be with the people, and I was interested in what was going on in the studio. But I was not interested in film acting until Cries and Whispers (1972), when I suddenly got something from it I had not gotten before. And when Bergman saw Liv Ullmann and I work together in that, he saw that we gave something to each other and he started to write Scenes From a Marriage because of it."


"In Bergman's world I represented a sort of intellectual, skeptical, ironic person, rather cold and frustrated. When I went abroad and made films in Italy and other places, I was used in different ways. I was rather often cast as crazy people, maniacs. It was very good for me and it was fun because it is nice to play crazy people if you are not in reality. And I think perhaps that changed how Ingmar saw me. Suddenly I was on the more magical side of his world, playing the people with fantasies, variety, the artists."


"I'm too impatient to wait for things to happen to me. If I should be out of work for two months I would go crazy. So as soon as I'm free I start writing. While it is necessary for me to write, I know that if I go too long without acting on the stage I don't feel well. Acting has a strong sensual quality that I get such a...you say kick in America? It's a fantastic profession in that way. I get crazy the first days of rehearsal, just loving everybody, loving the stage, loving the house. The feeling is not as strong in a film studio—there's something magical about the space in the theatre. You know you will be in it and that real things will happen there."