"I was an introverted child. My family lived in a small town in the north of Sweden, and I was very lonely. I had an artistic bent, toward painting and music, and then I drifted into acting when I was still an adolescent. I played everything—music hall singers, comedy ingenues, a few of the classics on the stage. I did one thriller for an American television producer with Robert Mitchum—I think it was finally released in theatres. I can't remember most of them today. My real career began when I went to work for Ingmar."


"It's fun to work with him [Bergman]. We get very involved emotionally for three months; then it's over and we say goodbye."


"I'd always had a feeling that a person who looks like that must be extremely gifted. And I was right."


"Ingrid Thulin is a magnificent instrument. What was crucial [for her role in Wild Strawberries] was that she should be a person of firm, strong character, and who knew how to express it—Ingrid emanates something substantial; and I suppose that was what I wanted. Not [just] anyone would have done to play against so overwhelming a personality as Victor [Sjöström]."



"We don't have a company of actors. No. It has just happened that he [Bergman] has used the same actors quite often....he uses us over and over again, and it must be very tiring for the audience sometimes. For us, as actors, it is quite amusing because you can follow him and ourselves developing in time. It's very special for us, working with him."



"We don't have a company of actors. No. It has just happened that he [Bergman] has used the same actors quite often....he uses us over and over again, and it must be very tiring for the audience sometimes. For us, as actors, it is quite amusing because you can follow him and ourselves developing in time. It's very special for us, working with him."



"[Bergman's] repertoire of actresses is unique to movies. Ingrid Thulin, Harriet Andersson, Liv Ullmann are an austere and solid group, without cajolery or coquettishness, rather like the women who pioneered in the American West. Their perceptions, conversations, and gestures indicate an intelligence with which Hollywood has always been impatient. For introspection, without snappy wit or glibness, leans heavily on our concepts of 'entertainment' and also of femininity. It's an anti-box-office intellect, and these are anti-box-office women. They care nothing for St. Laurent clothes or wood-paneled dishwashers but take themselves and the quality of their lives seriously."



"Truly one of the great movie actresses of our time. As a jealous colleague expressed it once: 'she is married to the camera'."



"Ingrid Thulin's marriage to Harry Schein, head of the Swedish Film Institute, may account for her early wish to move into international films. But her films for Ingmar Bergman were crucial in showing the harrowing trauma that waits on a beautiful woman. That expressive face has doleful eyes unable to forget pain and a wide mouth that can convey passionate suffering and fraught pleasure. It is a tragic face, the unforgettable image of the anxiety that surrounds Bergman's world."



"She was a wonderful actress and a close friend. I mourn her tremendously. She was extremely skilful, but so incredibly beautiful that people were tricked by her looks. They didn't always see her other sides. For instance, she had an incredible sense of humour."



"The fact of the matter is that no other woman actor—not even Liv Ullmann, Bibi Andersson, or Eva Dahlbeck—could express as much of Swedish director Ingmar Bergman's complex, often tortured view of womanhood as Thulin, who could match his intricacies step by step....She was an actor of great beauty and considerable sexuality who could still suggest an intellectual subtlety usually at odds with attractive star personas."