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Overview for Liv Ullmann
Liv Ullmann

Liv Ullmann



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Face to Face ... Ingmar Bergman's gut-wrenching drama stars LIV Ullmann (CRIES AND WHISPERS) as a... more info $20.95was $29.95 Buy Now

The Serpent's... Out-of-work trapeze artist Abel Rosenberg (David Carradine) finds the only way... more info $11.45was $19.98 Buy Now

The Rose... In modern-day Germany, an aging Jewish man is on trial for his seemingly... more info $23.95was $26.95 Buy Now

Zandy's Bride ... Respectable spinster, American stock wants life in the West," the ad proclaimed.... more info $15.96was $19.99 Buy Now

The... LIV Ullmann and Academy Award-winner Peter Finch star as a queen and cardinal... more info $14.95was $17.99 Buy Now

Ingrid... Whether headlining films in Sweden, Italy, or Hollywood, Ingrid Bergman always... more info $29.95was $39.95 Buy Now

Also Known As: Died:
Born: December 16, 1938 Cause of Death:
Birth Place: Tokyo, JP Profession: Cast ...


Took a year off from acting to tour Europe as goodwill ambassador for the United Nations Children's Fund (1980-81)

Received the Dag Hammarskjold award (1986)

Presented the Order of St. Olav (also known as the Peer Gynt Award) by the King of Norway

Ullmann served as president of the jury at the 2001 Cannes Film Festival (stepping in for a previously announced Jodie Foster who withdrew over scheduling conflicts).

"I prefer acting on stage. If you're surrounded by good people and have a wonderful set and good lighting and a director who really has a vision, then I prefer the stage. But, so often this is not so and you are carrying the load of, maybe, some actors who are going in another direction, a director who didn't do his homework and a set that you can't act on. And I'm getting more and more impatient with that! First of all, I work very badly in these surroundings. I'm not challenged by them and I feel I can't waste my time anymore. With film, even though you're not in control because they can cut you out and they can use ghastly light and so on, at least you know the moment the camera is on you. Then you can give whatever you have and you can give it to that camera--which is your audience--and in a way, you are more in charge. And if it's a bad thing, you don't have to repeat the performance every day as you have to on stage." --Liv Ullmann, from interview with John Weitz

About her feature debut in Bergman's "Persona": "Luckily, the part he gave me was a silent person. I was Norwegian, I couldn't even have tried to speak Swedish, I was probably too scared to talk at all. But I did recognize him somehow, and I knew that I was him. That was my great understanding at 25. I didn't really understand my part, because I was playing someone 40 years old. But I knew I was Ingmar, and my instinct explained it for me." --Liv Ullmann quoted in THE NEW YORK TIMES, January 3, 1999

On her relationship with Bergman: "We were walking on this stony beach and he said, 'I have to tell you, this night I had a dream we were painfully connected.' You know, I more or less fell in love with that. I mean, Ingmar Bergman is painfully connected to me?"

"Well, I regretted it and went back to Norway, and he came to Norway and got me back to Sweden. And then I became pregnant, and I left him again. Then he asked me to come back; he had written a film for a pregnant woman. So I went back, and that was 'Hour of the Wolf'. We never married. I moved to Faro, where I lived for five years. It was there we did 'Shame', and then 'The Passion of Anna', but that was toward the end. And then it was over, that part, and I took my child and went back to Norway." -- Ullmann to THE NEW YORK TIMES, January 3, 1999

She is currently honorary chair of the Women's Commission for Refugee Women and Children. "We work only for women and children because so many of the laws are written by men and for men. We have visited refugee camps, written books, articles, speeches--and really changed laws." Atlantic Monthly Press has just put out "Letter to My Grandchild", edited by Ullmann, in which more than 30 prominent world figures contribute letters to real or imagined grandchildren expressing their hope for the future. --From TIME OUT NEW YORK, January 7-14, 1999

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