Андрей Арсеньевич Тарковский цитаты

Источник: http://www.pressmon.com/cgi-bin/press_view.cgi?id=1447538

Сказано при обсуждении фильма "Зеркало"

Журнал Esquire

Журнал Esquire

Журнал Esquire

Журнал Esquire

Сказано перед показом фильма "Иваново детство".

Журнал Esquire

образ
Источник: Запечатленное время

интуиция
Источник: Запечатленное время

Журнал Esquire
Вариант: Мне трудно представить себе внутренний мир женщины, но мне кажется, что он должен быть связан с миром мужчины. Одинокая женщина — это ненормально.

Из дневников

Дневники 1970-1986.

Дневники 1970-1986. Мартиролог II, 1976.

О Тарковском

Источник: http://www.radioblago.ru/vremyakultury/intervyu-s-andreem-tarkovskim

«Беседы со Станиславом Лемом» (гл. «Кинематографические разочарования», 1981)
О Тарковском

Источник: Sculpting in Time (1986), p. 217

Источник: Sculpting in Time

Источник: Sculpting in Time (1986), p. 149
Контексте: I have a horror of tags and labels. I don't understand, for instance, how people can talk about Bergman's "symbolism". Far from being symbolic, be seems to me, through and almost biological naturalism, to arrive at the spiritual truth about human life that is important to him.

Источник: Sculpting in Time (1986), p. 152
Контексте: Never try to convey your idea to the audience — it is a thankless and senseless task. Show them life, and they'll find within themselves the means to assess and appreciate it.

Источник: Sculpting in Time (1986), p. 177

Источник: Sculpting in Time (1986), p. 42

After the Goskino representative explains that he is trying to give the point of view of the audience.
Sculpting in Time (1989)

Источник: Sculpting in Time

Sculpting in Time (1986)

Источник: Sculpting in Time (1986), p. 63-4
Контексте: 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.

Источник: Sculpting in Time (1986), p. 38
Контексте: Art is born and takes hold wherever there is a timeless and insatiable longing for the spiritual, for the ideal: that longing which draws people to art. Modern art has taken the wrong turn in abandoning the search for the meaning of existence in order to affirm the value of the individual for his own sake. What purports to be art begins to looks like an eccentric occupation for suspect characters who maintain that any personalised action is of intrinsic value simply as a display of self-will. But in an artistic creation the personality does not assert itself it serves another, higher and communal idea. The artist is always the servant, and is perpetually trying to pay for the gift that has been given to him as if by a miracle. Modern man, however, does not want to make any sacrifice, even though true affirmation of the self can only be expressed in sacrifice. We are gradually forgetting about this, and at the same time, inevitably, losing all sense of human calling.

Источник: Sculpting in Time (1986), p. 113
Контексте: Art is realistic when it strives to express an ethical ideal. Realism is striving for truth, and truth is always beautiful. Here the aesthetic coincides with the ethical.

Источник: Sculpting in Time (1986), p. 133
Контексте: [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.

Источник: Sculpting in Time (1986), p. 174
Контексте: If there are some who talk the same language as myself, then why should I neglect their interests for the sake of some other group of people who are alien and remote? They have their own 'gods and idols' and we have nothing in common.... If you try to please audiences, uncritically accepting their tastes, it can only mean that you have no respect for them: that you simply want to collect their money.

Источник: Sculpting in Time (1986), p. 192
Контексте: Art must must carry man's craving for the ideal, must be an expression of his reaching out towards it; that art must give man hope and faith. And the more hopeless the world in the artist's version, the more clearly perhaps must we see the ideal that stands in opposition — otherwise life becomes impossible! Art symbolises the meaning of our existence.

Источник: Sculpting in Time (1986), p. 241
Контексте: Perhaps the meaning of all human activity lies in the artistic consciousness, in the pointless and selfless creative act? Perhaps our capacity to create is evidence that we ourselves were created in the image and likeness of God?

Источник: Sculpting in Time (1986), p. 234
Контексте: Freedom is inseparable from conscience. And even if it is true that all the ideas developed by the social conciousness are the product of evolution, conscience at least has nothing to do with the historic process. Conscience, both as a sense and as a concept, is a priori immanent in man, and shakes the very foundations of the society that has emerged from our ill-conceived civilisation.

Источник: Sculpting in Time (1986), p. 192
Контексте: Art must must carry man's craving for the ideal, must be an expression of his reaching out towards it; that art must give man hope and faith. And the more hopeless the world in the artist's version, the more clearly perhaps must we see the ideal that stands in opposition — otherwise life becomes impossible! Art symbolises the meaning of our existence.

Источник: Sculpting in Time (1986), p. 38
Контексте: Art is born and takes hold wherever there is a timeless and insatiable longing for the spiritual, for the ideal: that longing which draws people to art. Modern art has taken the wrong turn in abandoning the search for the meaning of existence in order to affirm the value of the individual for his own sake. What purports to be art begins to looks like an eccentric occupation for suspect characters who maintain that any personalised action is of intrinsic value simply as a display of self-will. But in an artistic creation the personality does not assert itself it serves another, higher and communal idea. The artist is always the servant, and is perpetually trying to pay for the gift that has been given to him as if by a miracle. Modern man, however, does not want to make any sacrifice, even though true affirmation of the self can only be expressed in sacrifice. We are gradually forgetting about this, and at the same time, inevitably, losing all sense of human calling.

Источник: Sculpting in Time (1986), p. 152

On being told that his film Stalker should be faster and more dynamic by officials at Goskino.
Sculpting in Time (1989)

Источник: Journal 1970-1986

Letter to the central committee of the CPSU (Communist Party of Soviet Union) https://varjag2007su.livejournal.com/2591915.html?utm_source=fbsharing&utm_medium=social (20 October 1970).

Источник: Sculpting in Time (1986), p. 50

Источник: Sculpting in Time (1986), p. 124

Источник: Sculpting in Time (1986), p. 66