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Extra resources for Andrei Tarkovsky: Elements of Cinema
Ccuvre and the movie that used to be closest ro being 'rhe optimum incarnation of [his unique] idea', the place 'conception (zamysel) closel y matched rhe resulr'. 6 a significant component i n irs unparalleled prestige was once Tarkovsk>''S expanding solitude, especia l ly following the defection of Vadim Iusov plot of Stalker was once a important parr of :1 c onsci ous approach ro concentration realization virtually absolutely on rhe photograph itself and steer clear of 'enrerraining or surprisi ng the specraror'. 7 In public boards of from his common crew. The 'ascetic' l F· I w�rcr global, now not as parr of a grand imaginary venture, yet in irs 'pseudo-mundane' m ate ri a lity the cruel aesthetic texture of Stalker guarantees that rhis is not any romantic go back to resort ocence; yet how, then, may still one comprehend Ta rkovsky's concluding sra tem e nt ahour the movie, that during the fin a l research it's also approximately 't he incontrovertible fact that, with no religion in fairy-rales and miracles a individual is incapable of l iv i ng. and, additionally, of being known as human'? doctors this now not indicate th:ll, simply as rhe Stalker's project could rurn out ro be a wild-goose chase, Tarkovsky is utilizing fi lm ro result in a kingdom of religion with out himself believing.? . Tarkovsky's aesthetic p ri ncip le used to be to seck the utmost impact wirh rhc m in im um of skill: 'The picture has to be fair a nd decide i mal ly basic. this is often nor a target in itself, yet is a neccssnry con d it i on for conveyi n g to scnsoriu111 I 1 fifty three Unless one is as delicate to color concord as a painter, one The homl within the flame (Mirror). does nor detect colors in daily l i fe. for instance, for me cinematic fact exists within the rones of black and whi te. but in Rublev we needed to relate existence and fact at the one hand with artwork and portray at the different. This connection among thL: ultimate color series and the black-and-white movie was once for us his how to convey the interdependence of Rublcv's paintings and and lifestyles. In different phrases: at the one hand lifestyle, rational ed realistically provided, and at the different- :1 conventionaliz nrion creative precis of his lifestyles, its subsequent level, irs logical continu [An 2. forty-one. Tarkovsky again to the matter in such a lot derail in an interview recorded in the course of his arrangements for Solaris: color on display is, commonly, obnoxious or even provocative. Why? in the end not anyone notices color in lifestyles. 1 . . . ] after which we shoot what we see on l:Oiour movie: every little thing turns into vibrant! And we will be able to not understand this picture as truth with out the color. color exists far and wide during this snapshot; it in every single place the spectator the non secular essence of what's being depicted. ' '> Tarkovsky's minimalism had vital functional motivations. for example, the choice to shoot Andrei Rubliiv in black and white used to be dictated in parr through the decrease answer of color inventory, specifically while the 35mm body is enlarged to 70111111 for widescreen projection. '4 using widescrccn projection grew to become seasoned blematic after the circulation to color in Safaris. After taking pictures its first color sequences Tarkovsky reportedly acknowledged: 'you can sec it truly is faux!