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.
When I was brought up in Sweden, there was a great opportunity for young people to learn how to act in our municipal theaters with their small companies. You would be under contract for eight months and have the summer free to take other opportunities.
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!
My parents were brought up in families which believed theatre people weren't to be trusted. But they were nice people.
There are many documentary filmmakers who have a tough time because they don't really get what they need to do what they want. There are so many people with good visions that should be encouraged and helped. And they will deliver, I'm sure.
What is important, I think, is to reach as many people as you can and do it as well as you can. Reach them and inspire them or amuse them, or maybe in some odd moments help them to discover something they hadn't thought of before.
Bergman was courageous in choosing people to do things that they themselves might not expect to play.
It often disturbs me, when I see a film set in a historical time, that the people are too modern.
New York is a fascinating city. I think it's a very inspiring city, but it's overpowering when you get older. It tires me now. But it's wonderful for young people - very inspiring and full of surprises and full of ideas.
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.
Only very rarely are foreigners or first-generation immigrants allowed to be nice people in American films. Those with an accent are bad guys