"It is not whether you really cry. It's whether the audience thinks you are crying"
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Acting, Bergman reminds us, is a contact sport: the point isn not your private emotion, its the emotional fact you create in someone else. The line is blunt because it punctures a romantic myth about performance, that authenticity is measured by how much the actor suffers. Bergman flips the moral math. Real tears are irrelevant if they dont read; fake tears can be artistically honest if they land. In her world, sincerity is a technical outcome, not a personal confession.
The intent is practical, even a little ruthless. She is defending craft against the cult of "feeling it for real" that grew around mid-century method acting. Bergman came up through a tradition that prized precision: how you angle your face to the light, how breath catches, how stillness can do what sobbing cannot. The audience isnt judging your inner life; theyre decoding signals, and the camera is a lie detector for the wrong things. A true emotional state can look flat on screen; a controlled performance can look devastating.
The subtext is about power. The audience is the final editor of your interiority, and their belief is the currency you are paid in. That can sound cynical, but its also democratic: performance exists in the space between actor and viewer, not inside the actor alone. Bergmans genius was making that transaction feel intimate. She is naming the quiet bargain: you dont owe the audience your pain; you owe them the experience of it.
The intent is practical, even a little ruthless. She is defending craft against the cult of "feeling it for real" that grew around mid-century method acting. Bergman came up through a tradition that prized precision: how you angle your face to the light, how breath catches, how stillness can do what sobbing cannot. The audience isnt judging your inner life; theyre decoding signals, and the camera is a lie detector for the wrong things. A true emotional state can look flat on screen; a controlled performance can look devastating.
The subtext is about power. The audience is the final editor of your interiority, and their belief is the currency you are paid in. That can sound cynical, but its also democratic: performance exists in the space between actor and viewer, not inside the actor alone. Bergmans genius was making that transaction feel intimate. She is naming the quiet bargain: you dont owe the audience your pain; you owe them the experience of it.
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