Bergman is one of my all-time heroes, along with Nelson Mandela, Bob Dylan, John Lennon, J.M. Coetzee, Anselm Kiefer, Bernardo Bertolucci, and not many others. I have spent the past two days reading countless obituaries, and writing my own tribute to him. Here it is.

1. ALL-TIME GREATEST FILMMAKER

People say Bergman’s films were bleak. What they should really be saying is that all other films are sentimental.

One might go further: Bergman was an artist; all other filmmakers are boulevardiers.

Let’s not pull our punches here: in writing we have Shakespeare, in music we have Beethoven, in painting we have Picasso, and in film we have Bergman. Unlike any other filmmaker, he belongs in the pantheon of humankind’s greatest artists.

I count myself lucky: Bergman made his films in my lifetime. I could live my life waiting for the next Bergman film, like I spent my teens and twenties waiting for the next Beatles album. I am happy to have been alive when these two giant entities were doing their work, experiencing the same good fortune of those lucky Londoners who went to see Shakespeare when he was doing his work, those Germans who heard Beethoven and Mozart at the time they were creating their music, and those Parisians who went to Picasso’s shows while he was painting away in their hometown.

I have Woody Allen on my side: "There's no question in my mind that Bergman is the greatest of all filmmakers. No one else even comes close. His accomplishment is that immense. He is the only movie director to ever probe the human psyche on such a profound level. He's the first director to dramatize metaphysical issues. His body of work compares to Proust's cycle of novels or even the plays of Shakespeare."

Our greatest artists are known for the breadth and volume of their work, for their incredible work ethic. This is true of Shakespeare, Beethoven, Picasso, and Bergman: they churned them out like regular sausage-makers. Bergman made at least three to four times as many movies as a typical director of today, over fifty in all (only the really old film guys got to be this prolific: Ford made 144 movies, Mizoguchi 90, Kurosawa wrote 69, Ozu made 54, Howard Hawks 47).

Our greatest artists are also known for the transforming nature of their achievements. Picasso, for example, upended the way we look at things, banging forth from realism to cubism to abstraction. This Bergman did, too, incorporating all of film made before him in his work, and leaving his mark on all others who followed.

2. A PECULIAR PERSONAL VISION

Bergman’s achievement was something extraordinary and rather peculiar, in that his art was totally personal. He carried the highly metaphysical and the deeply psychological into moviedom, but it was all about the personal self – his own personal self. No other filmmaker brought such commitment to his own personal vision to his art. That’s all he did – commit his own dreams, fears, hurts, and loves to his films. There is no other filmmaker who gets more personal, who was such a public dispenser of private angst. His films are one long, lasting, and painful confession, sometimes veiled, sometimes open, always brutally honest. Nobody delved deeper into the contradictions of his own human heart. Not for him the world out there – it was all about himself. Him and God. Him and death. Him and women. Him and his horror of himself. His personal vision was exclusively inward into his own ego, which made his the single and singular vision that penetrated the human psyche deeper than any other filmmaker. His was the art of personal intensity and obsession. He was the poet of personal extremes.