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Notes to the Introduction 1. Filmed Interview with Andrei Tarkovsky By Notes Notes to the Introduction 1. Filmed interview with Andrei Tarkovsky by Donatella Baglio, 1983. 2. See Tarkovsky' s early autobiographical submission to the State School for Film (VGIK) in Moscow. 3. Maya Turovskaya, Tarkovsky: Cinema as Poetry (London, 1989) pp. 17f. 4. 'In the course of 22 years' work in the Soviet Union I have made five films; in other words, one film every four and a half years. If one calculates the time needed to make a film as, on average, one year plus a certain amount of time for the screenplay, I have been unemployed for 16 of the 22 years. Goskino sells my films successfully abroad, whilst I often do not know how I am to support my family. Since you have been in office, you have not once used your official authority to give me the go-ahead for a production. It was only possible to com­ mence shooting the film The Mirror after I had written to the executive committee of the 24th Party Congress of the Communist Party of the Soviet Union, and the film Stalker after I had written a letter to the 26th Party Congress. I cannot continually pester our highest party bodies or wait every time for the next party congress, in order to be able to work in a manner befitting my qualifications' (German press brochure to The Sacrifice; translated by P.G.). 5. 'Help me! Enable me to escape from this unprecedented harrying. Permit me to stage Hamlet and Pushkin's Boris Godunov here in the West, with the thought that I shall return in three years' time and make a film about the life and significance of Dostoevsky' (ibid.). 6. On 10 July 1984 a press conference was held in the Palazzo Zebbaloni, Milan, at which Tarkovsky declared his intention of remaining in the West. According to a bulletin issued by the German Press Agency (DPA), the film maker had applied to the US embassy in Rome for political asylum in the USA. This was reported by the Roman Catho­ lic lay organisation Movimento Popolare in Milan (see report in Siiddeutsche Zeitung, Munich, 10 July 1984). 7. Michal Leszczylowski, 'A Year with Andrei', Sight and Sound, Autumn 1987, p. 283. 8. Andrej Tarkovskij, Hoffmanniana, Szenario fiir einen nicht realisierten Film (Munich, 1987). 9. Leszczylowski, 'A Year with Andrei', p. 284. 10. AP /Reuter report, January 1987. 11. William Fisher, 'Gorbachev' s Cinema', Sight and Sound, Autumn 1987, p. 242. 12. Andrey Tarkovsky, Sculpting in Time: Reflections on the Cinema (Lon­ don, 1986) chapter heading, pp. 36f. 13. Ibid., p. 40. 14. Ibid., p. 43. 138 Notes 139 15. The Blake Society, StJames's Church, Piccadilly, London. A video recording of this talk exists, an excerpt from which is also included in a filmed portrait of Tarkovsky's last years made by Ebbo Demant for the German Siidwestfunk broadcasting network in 1987. 16. Tarkovsky, Sculpting in Time, p. 62. 17. Ibid., p. 57. 18. Turovskaya, Tarkovsky, p. 82. 19. Tarkovsky's Sapechatlyonnoye Vremya appeared in Germany under the title Die versiegelte Zeit (1984) and in the UK under the title Sculpting in Time (1986). 20. In The Sacrifice, for example, a white horse led by Little Man originally appeared towards the end of Alexander's dream. The scene was omit­ ted in the final version of the film. See Leszczylowski, 'A Year with Andrei', p. 283. 21. Tarkovsky, Sculpting in Time, pp. 66 and 72. 22. Ibid., p. 68. 23. Andrej Tarkowskij, Die versiegelte Zeit (Berlin and Frankfurt, 1984) p. 120. The passage is not contained in the English translation. 24. Tarkovsky, Sculpting in Time, p. 200. 25. Ibid., p. 192. 26. Ibid., pp. 212f. 27. 'There is always water in my films. I like water, especially brooks. The sea is too vast. I don't fear it; it is just monotonous. In nature I like smaller things. Microcosm, not macrocosm; limited surfaces. I love the Japanese attitude to nature. They concentrate on a confined space reflecting the infinite. Water is a mysterious element due to its ... structure. And it is very cinegenic; it transmits movement, depth, changes. Nothing is more beautiful than water'. (Andrei Tarkovsky, from English press brochure to The Sacrifice, 1986). 28. Maja Turowskaja and Felicitas Allardt-Nostitz, Andrej Tarkowskij: Film als Poesie, Poesie als Film (Bonn, 1981) p. 97. 29. Tarkovsky, Sculpting in Time, p. 168. 30. T. Rothschild, 'Glaube, Demut, Hoffnung (Hoffnung?)', Medium (Frank­ furt-am-Main), Jan.-Mar. 1987, pp. 59ff. 31. For example, in Stalker the movement of the glasses across the table might be a case of telekinesis, or caused simply by the vibration of a passing train. 32. Tarkowskij, Die versiegelte Zeit (3rd edn, 1988) p. 270. 33. Turowskaja and Allardt-Nostitz, Andrej Tarkowskij, pp. 10lf. See also Charles E. Passage, The Russian Hoffmannists, Slavistic Printings and Reprintings, vol. 35 (The Hague, 1963). 34. 'Ein Feind der Symbolik', interview with Andrei Tarkovsky by Irena Brezna, Tip (Berlin), no. 3, 1984. 35. Cf. Yon Barna, Eisenstein (London, 1973) pp. 62f., and Tarkovsky, Sculpting in Time, p. 168. 36. Ibid., pp. 119 and 183. 37. The 'montage of attractions' theory was published in 1923 in Mayakovsky's LEF magazine. 140 Notes 38. The average length of the sequences in The Mirror is approximately 23 seconds; in Stalker it is 1 minute 6 seconds. 39. Leszczylowski, 'A Year with Andrei', p. 284. (Leszczylowski was edi­ tor of The Sacrifice.) 40. Tarkovsky, Sculpting in Time, pp. 159 and 162. 41. Andrei Tarkovsky, English prPss brochure to The Sacrifice (Swedish Film Institute, Stockholm, 1986): 'To me, black and white is more expressive and realistic, because it does not distract the spectator but enables him to concentrate on the essence of the film. I think colour made the cinematographic art more false and less true.' See also Tarkovsky, Sculpting in Time, pp. 138f. Notes to Chapter 1: The Steamroller and the Violin 1. Andrei (Mikhalkov-) Konchalovsky, today a well-known director in his own right, also collaborated with Tarkovsky on the screenplay of Andrei Rublyov. In The Steamroller and the Violin Tarkovsky established other long-term working relationships as well. The cameraman, Vadim Yusov, and the composer, Vyacheslav Ovchinnikov, were to collabo­ rate on all Tarkovsky's early films. 2. According to Tarkovsky there are only 35 spoken sentences in this film. See Maya Turovskaya, Tarkovsky: Cinema as Poetry (London, 1989) p. 28. 3. Ibid., p. 23. 4. Tarkovsky pointedly underlines the situation by making the object of their desires the cinema, where the prewar Russian film Chapayev is being shown. Made in 1934 by Georgi and Sergei Vasiliev, the film is one of the most successful works in the history of Soviet cinema. It is based on the novel of the same name by Dmitri Furmanov, published in 1923. The film, an example of Soviet Realism, describes the fate of the Red Army commander Chapayev in the years after the Revolu­ tion. 5. Studio discussion minutes. See Turovskaya, Tarkovsky, p. 28. 6. Ibid., p. 17. 7. The Steamroller and the Violin was produced in the department for children's and youth films of the Mosfilm studios. 8. In quite a different respect, the film does provide a clue to the recep­ tion of many of Tarkovsky's later works. Although the Soviet press received The Steamroller and the Violin favourably, it was criticised within the department for children's and youth films of Mosfilm for inadequacies in the characterisation of some of the roles. Tarkovsky changed to a new collective within the studios shortly afterwards. The incident reveals two aspects of his working style: his uncompromising stance towards outside influence on his ideas; and the problem of communication with his actors. 9. See notes from the English press brochure to The Sacrifice (1986); and Andrey Tarkovsky, Sculpting in Time (London, 1986) pp. 138f. Notes 141 10. A peripheral theme, perhaps, but one that significantly recurs in other films by Tarkovsky. It is briefly mentioned here in the conversation between Sergei and Sasha over lunch. 11 Here, for example, Tarkovsky's experiences at the local music school he attended for seven years; or the absence of any trace of Sasha's father in the film. Notes to Chapter 2: Ivan's Childhood 1. Vladimir Bogomolov, Ivan, first published 1958. 2. Instructions issued by the director-general of Mosfilm on 10 Decem­ ber 1960; see Maya Turovskaya, Tarkovsky: Cinema as Poetry (London, 1989) p. 29. Turovskaya gives a detailed account of the production of this film. 3. Andrey Tarkovsky, Sculpting in Time (London, 1986) p. 33. 4. Ibid., p. 18. 5. Turovskaya, Tarkovsky, p. 31. 6. Tarkovsky, Sculpting in Time, p. 16. 7. Turovskaya, Tarkovsky, p. 32. 8. Maja Turowskaja and Felicitas Allardt-Nostitz, Andrej Tarkowskij: Film als Poesie- Poesie als Film (Bonn, 1981) p. 13. (The English translation omits this reference.) 9. Filmed interview with Andrei Tarkovsky by Donatella Baglivo, 1985. Unlike Ivan's father, Tarkovsky's father, Arseniy, did return from the war. After his home-coming, however, he lived in separation from his wife and children. 10. Tarkovsky, Sculpting in Time, p. 38. 11. Hans Stempel, in Filmkritik (Frankfurt-am-Main) Nov. 1963, pp. 529ff. 12. At the same time there is a certain irony to the situation, since the Durer quotations are also a reference to Tarkovsky's own preoccupa­ tion with the Apocalypse and the humanism of the Renaissance. 13. Tarkovsky himself was not happy with certain of the locations and sets; and he attributes the failure of some of the scenes to capture the imagination of the observer to the lack of pregnancy of these settings for actors and audience alike.
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