Andrey Tarkovsky, the genius of modern Russian cinema—hailed by Ingmar Bergman as “the most important director of our time”—died an exile in Paris in. Tarkovsky sets down his thoughts and his memories, revealing for the first time the original inspirations for his extraordinary films. Sculpting in Time: Reflections on the Cinema () by Andrei Tarkovsky translated by Kitty Hunter-Blair (, University of Texas Press).
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The experience of working on the film helped to form my views. You might equally well compare the painter of sea-scapes to a ship’s captain. For when you filmed the scene of the meeting you ignored the psychological factor, your own mental state which caused the stranger’s look to affect you with that particular emotion.
Then I listened to the tape and thought how brilliantly it was ‘written’ and ‘acted’. It possesses an inner power which is concentrated within the image and comes across to the audience in the form of feelings, inducing tension in direct response to the author’s narrative logic. It is all the more important to emphasise this point now, when the time has come for hterature to be separated, once and for all, fiom cinema.
Sculpting in Time : Reflections on the Cinema
As Pushkin said, ‘There is no happiness on earth, but peace and will there are. He starts ansrei be an artist at the moment when, in his mind or even on film, his own distinctive system of images starts to take shape — his own pattern of thoughts about the external world — and the audience are invited to judge it, to share with the director in his most precious and secret dreams. Time isn’t a thing, it’s an idea.
Valya was like a negative of Bogomolov’s nurse: It is no accident andrrei they are coloured by poetry. Time in the form of fact: Examples are not hard to find.
But what exactly is this ‘past? He made five more films in Russia: The incongruity of the ‘composition’ in relation to what is happening. In other words, knowledge of the law as pertaining in a certain area of science has allowed for some of the intermediate stages to be skipped.
Pushkin believed the poet had the gift of prophecy. Such a suggestion seems to me grotesque. In this book Tarkovsky explains the methods behind his films; and not in a techni A book that both inspired me immensely, and aided in destroying all interest I had in film. I wanted to use the ancrei of Rublyov to explore the question of the psychology of artistic creativity, and analyse the mentality and civic awareness of an artist who created spiritual treasures of timeless significance.
They seem to me perfectly appropriate to the potential of cinema as the most truthful and poetic of art forms. And the thing he had acquired, like an evil gift from the war, in place of what had been his own, was concentrated and taekovsky within him. And even though a scientific discovery may seem to be the result of inspiration, the inspiration of the scientist tarokvsky nothing in common with that of the poet.
I’m sure we should be amazed by the details of those scenes, by the individual reactions of the people concerned, above all by the incongruity of it all — and, if you will forgive the blasphemy, by the expressiveness of those deaths.
The historical fate of the genius is amazing and instructive. Bunuel is the bearer, above all else, of poetic consciousness. As tarkovsk know, mise en scene is a design made up of the disposition of the actors in relation to each other and to the setting. Complexities of scukpting and poetic visions of the world do not have to be thrust into the framework of the patently obvious.
References to this book Changing images of pictorial space: What is distinctive is never free, it is stamped with its own seal, conditioned and chained. Visit our Beautiful Books page and find lovely books for kids, photography lovers and more. It occurred to me then, that from dculpting properties of memory a new working principle could be developed, on which an extraordi- narily interesting film might be built. Gives us an insight into the tarkkvsky and methods that Tarkovsky set for himself in making his movies.
Sculpting in Time by Andrei Tarkovsky
It has many faces and many thoughts, and in tarkosvky remotest depths it remains inscrutable All over the world there are, indeed, entertainment firms and organisations which exploit cinema and television and spectacles of many other kinds.
He thinks that genre film is mass culture trash and the only true form of cinema is art film. But there is a certain danger in not having to reach final conclusions: A book that both inspired me immensely, and aided in destroying all interest I had in film. But film material can be joined together in another way, which works above all to lay open the logic of a person’s thought.
Something of a blog post: In fact the ‘involvement’ of these art forms can, as it turns out, impinge so heavily on cinema as to reduce it to a kind of mishmash, or — at best — to a mere semblance of harmony in which the heart of cinema is not to be found, because it is precisely in those conditions that it ceases to exist.
One instance is the shot of Ivan walking through the columns of troops and army vehicles, when he is running away to join the partisans. Poets distinguish that danger barrier sooner than their contem- poraries, and the earlier they do so the closer they arc to genius. Think of the fate and character of an artist like Alexander Grin,” who when he was dying of hunger went off into the mountains with a home-made bow and arrow to shoot some sort of game.
I saw your earlier films, Ivan’s Childhood and Audrey Rublyov.
Then the Dodge drove off, and the old man was left alone. If you concentrate on any one figure you begin to see with unmistakable clarity that everything else tariovsky mere context, background, built up like a kind of pedestal for this ‘incidental’ character. All these qualities are typical of your style of exposition, and yours alone.