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There was a time when I thought that film, unlike other art forms (being the most democratic of them all) had a total effect, identical of every audi… - Andrei Tarkovsky
" "There was a time when I thought that film, unlike other art forms (being the most democratic of them all) had a total effect, identical of every audience. That it was first and foremost a series of recorded images; that the images are photographic and unequivocal. That being so, because it appears unambiguous, it is going to be perceived in one and the same way by everyone who sees it. (Up to a certain point, obviously)
But I was wrong. One has to work out a principle which allows for film to affect people individually. The 'total' image must become something private. (comparable with the images of literature, painting, poetry, music.)
The basic principle- as it were, the mainspring- is, I think, that as little as possible has actually to be shown, and form that little the audience has to build up an idea of the rest, of the whole. In my view that has to be the basis for constructing the cinematographic image. And if one looks at it from the point of view of symbols, then the symbol in cinema is a symbol of nature, of reality. Off course, it isn't a question of details, but of what is hidden.
English
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About Andrei Tarkovsky
Andrei Arsenyevich Tarkovsky (Russian: Андрей Арсеньевич Тарковский) (4 April 1932 – 29 December 1986) was a Soviet and Russian filmmaker, writer, film editor, film theorist and opera director.
Biography information from Wikiquote
Also Known As
Birth Name:
Andrei Arsenyevich Tarkovsky
Native Name:
Андрей Арсеньевич Тарковский
Alternative Names:
Andrej Tarkovskij
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Andrei Tarkovski
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Andrej Tarkovszkij
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And. Arsenʹevich Tarkovskiĭ
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Andrey Arsenyevich Tarkovsky
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Andreĭ Arsenʹevich Tarkovskĭi
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Andrei Tarkovskij
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Andreĭ Arsenévich Tarkovskiĭ
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Andrey Tarkovsky
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Andreĭ Arsen'evich Tarkovskiĭ
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Andrej Tarkowskij
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Andreiĭ Arsen'evich Tarkovskiĭ
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Andrei Arsen'evich Tarkovskii
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Additional quotes by Andrei Tarkovsky
The allotted function of art is not, as is often assumed, to put across ideas, to propagate thoughts, to serve as example. The aim of art is to prepare a person for death, to plough and harrow his soul, rendering it capable of turning to good. Touched by a masterpiece, a person begins to hear in himself that same call of truth which prompted the artist to his creative act. When a link is established between the work and its beholder, the latter experiences a sublime, purging trauma. Within that aura which unites masterpieces and audience, the best sides of our souls are made known, and we long for them to be freed. In those moments we recognize and discover ourselves, the unfathomable depths of our own potential, and the furthest reaches of our emotions.
What is the essence of the director's work? We could define it as sculpting in time. Just as a sculptor takes a lump of marble, and, inwardly conscious of the features of his finished piece, removes everything that is not a part of it — so the film-maker, from a 'lump of time' made up of an enormous, solid cluster of living facts, cuts off and discards whatever he does not need, leaving only what is to be an element of the finished film, what will prove to be integral to the cinematic image.
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It is obvious that art cannot teach anyone anything, since in four thousand years humanity has learnt nothing at all. We should long ago have become angels had we been capable of paying attention to the experience of art, and allowing ourselves to be changed in accordance with the ideals it expresses. Art only has the capacity, through shock and catharsis, to make the human soul receptive to good. It’s ridiculous to imagine that people can be taught to be good…Art can only give food – a jolt – the occasion – for psychical experience.
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