Art affirms all that is best in man — hope, faith, love, beauty, prayer…What he dreams of and what he hopes for…What is art?…Like a declaration of lo… - Andrei Tarkovsky

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Art affirms all that is best in man — hope, faith, love, beauty, prayer…What he dreams of and what he hopes for…What is art?…Like a declaration of love: the consciousness of our dependence on each other. A confession. An unconscious act that none the less reflects the true meaning of life — love and sacrifice.

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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.

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Also Known As

Birth Name: Andrei Arsenyevich Tarkovsky
Native Name: Андрей Арсеньевич Тарковский
Alternative Names: Andrej Tarkovskij Andrei Tarkovski Andrej Tarkovszkij And. Arsenʹevich Tarkovskiĭ Andrey Arsenyevich Tarkovsky Andreĭ Arsenʹevich Tarkovskĭi Andrei Tarkovskij Andreĭ Arsenévich Tarkovskiĭ Andrey Tarkovsky Andreĭ Arsen'evich Tarkovskiĭ Andrej Tarkowskij Andreiĭ Arsen'evich Tarkovskiĭ Andrei Arsen'evich Tarkovskii
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Additional quotes by Andrei Tarkovsky

Let everything that's been planned come true. Let them believe. And let them have a laugh at their passions. Because what they call passion actually is not some emotional energy, but just the friction between their souls and the outside world. And most important, let them believe in themselves. Let them be helpless like children, because weakness is a great thing, and strength is nothing. When a man is just born, he is weak and flexible. When he dies, he is hard and insensitive. When a tree is growing, it's tender and pliant. But when it's dry and hard, it dies. Hardness and strength are death's companions. Pliancy and weakness are expressions of the freshness of being. Because what has hardened will never win.

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[About Mirror] I had the greatest difficulty in explaining to people that there is no hidden, coded meaning in the film, nothing beyond the desire to tell the truth. Often my assurances provoked incredulity and even disappointment. Some people evidently wanted more: they needed arcane symbols, secret meanings. They were not accustomed to the poetics of the cinema image. And I was disappointed in my turn. Such was the reaction of the opposition party in the audience; as for my own colleagues, they launched a bitter attack on me, accusing me of immodesty, of wanting to make a film about myself.

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