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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For in a masterpiece no component can take precedence; you cannot, as it were, ‘catch the artist at his own game’ and formulate for him his ultimate aims and objectives.

What attracts me in haikku is its observation of life – pure, subtle, one tarkovsiy its subject.

Sculpting in Time

Art is a meta-language, with the help of which people try to communicate with one another; to scullting information about themselves and assimilate the experience of others. Since Ivan’s Childhood won the Golden Lion at the Venice Film Festival inthe andgei quality and totally original and haunting imagery of Tarkovsky’s films have captivated serious movie audiences all over the world, who see in his work a continuation of the great literary traditions of nineteenth-century Russia.

In this book Tarkovsky explains the methods behind his films; and not in a techni A sculpying that both inspired me immensely, and aided in destroying all interest I had in film.

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 December So much, after all, remains in our thoughts and hearts as unrealised suggestion. By its nature, creation of art is a therapy, a way to pursue ideals that tadkovsky clash with rampant, suppressive conformism in society. In tadkovsky an image he subordinates his own thought, which becomes insignificant in the face of that emotionally perceived image of the world that has appeared to him like a revelation.

But what exactly is this ‘past? My professional biography has been none too happy; the intervals between films were long and painful enough to leave me free to consider — for want of anything better to do — exactly what my own aims were; what are the factors that distinguish cinema from the other arts; what I saw as its unique potential; and how my own experience compared with the experience and achievements of my colleagues.


If his family is saved in the morning, he gives up speaking. Even when he tarkovsoy not present, however, there had to be an awareness of the life lived by his spirit; one had to breathe the atmosphere which informed his relations with the world.

Ivan’s Childhood was therefore specially important. The present slips and vanishes like sand between the fingers, acquiring material weight only in its recollec- tion. You might equally well compare the painter of sea-scapes to a ship’s captain.

AH too often film dreams are made into a collection of old-fashioned filmic tricks, and cease to be a phenomenon of life.

Sculpting in Time by Andrei Tarkovsky

Tarkovsky believes that the director ought not try to satisfy the audience as this will only lead the them astray. If the film turns out well, I thought, then I’ll have the right to work in the cinema.

Here it is a question of agreeing on terminology. Saba, then, is a natural rustiness, the charm of olden days, the stamp of time.

Why did they run out of breath, lack the will to live, lose their moral strength? And the masterpiece goes on living by its own laws, and has a tremendous aesthetic and emotional impact even when we don’t agree with the author’s fundamental tenet. The poet does not use ‘descriptions’ of the world; he himself has a hand in its creation. What are the determining factors of cinema, and what emerges from them? He died in Paris on 29 December The wind raised a flap of the matting to show a rusty plough lying in the cart.

Art svulpting a yearning for the ideal 36 Chapter III: In Sculpting in Time, he has left his artistic testament, a remarkable revelation of both his life and work. The development of these concepts is ordered and confined to the home, church, synagogue, place of worship.

Man passes a pact with God. 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.

But this is where directors very often try to use clumsy, conventional gimmickry instead of poetic logic. The title refers to Tarkovsky’s own name for his style of filmmaking.

They could not have been made up, they are truth itself — which distinguishes them sharply from what is known as ‘thinking in images’.


However, other guarantees of the film’s viability were to hand in the persons of Kolya, camera-man Vadim Yusov, composer Vyacheslav Ovchin- nikov, and set designer Evgeny Chernyayev; these made me persist with the filming. It is no accident that they are coloured by poetry. After a night agitated his family is saved.

The contrasts in our film — cuts from dreams to reality, or, conversely, from the last scene in the crypt to victory day in Berlin — seemed to many to be inadmissible.

I need to share my enthusiasm for communal aspects of andrie regardless of whether people respond or not, and this is a manner of rediscovering humanity instead of harboring malice. Then the artist and thinker becomes the ideologue, the apologist for his time, the catalyst of predetermined change.

That sculptinf why Goethe remarked that ‘the less accessible a work is to the intellect, the greater it is. But the profound lack of spirituality of those people who see art and condemn it, the fact that they are neither willing nor ready to consider the meaning and aim of their existence in any higher sense, is often masked by the vulgarly simplistic cry, ‘I don’t like it!

Reflections on the Txrkovsky. Given any effect, we constantly go back to its source, its causes — in other words, we could be said to be turning time back through conscience. The scientist’s intuition, even if it is like an illumination, an inspiration, will still always be a code standing for a logical deduction. It is about a Man.

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Sculpting in Time : Reflections on the Cinema

The greatness and ambiguitv of art lies in not proving, not explaining and not timme questions even when it throws up warning inscriptions l ike. As I see it then, if you stand on timr moral ground there is no need to shy away from greater freedom in your choice of means.

I went to a discussion of the film. The image makes palpable a unity in which manifold different elements are contiguous and reach over into each other.