k-tarkovsky - Tumblr blog

[k-tarkovsky]

If time and memory merge into each other and without time there would be no memory, what then is immortality? Questions I ask Tarkovsky in my dreams.

Tarkovsky answer is :

“We are our immortality.”

[k-tarkovsky]

Tarkovsky, Monday, 22 April, 1974:

“We are guilty of not thinking of [Parajanov] daily…”

(Time Within Time; tr. Kitty Hunter-Blair)

[k-tarkovsky]

A work of true art

Deleuze with Twin Peaks music

[k-tarkovsky]

Mai Ziadeh (1886-1941), Lebanese-Palestinian poet, in Song to the Moon, tr. by Rose Demaris

Ph:Portrait of Mai Ziadeh by Khalil Gibran

[k-tarkovsky]

Happy Tarkovsky Day! Wishing you all an elating metaphorical levitation today, like the way Tarkovsky's characters are when they're being touched by love 🖤

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Suddenly, everyone's talking about Tarkovsky (yes, it's his birthday tomorrow, I'm aware. But this has been going on for weeks now).

Got reminded of this excerpt,,,

[k-tarkovsky]

“In one form or another all my films have made the point that people are not alone and abandoned in an empty universe, but are linked by countless threads with the past and the future; that as each person lives his life he forges a bond with the whole world.”

(Tarkovsky; tr. KHB)

[k-tarkovsky]

Happy international women's day ❤️

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I have a reputation as a pessimist. It's true that funny people annoy me and I can't stand them. Only impeccable souls have the right to cheerfulness - either children or old people.

Andrei Tarkovsky. Interview with Herve Guibert. Rome, 1983

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"The final sequence of Antonioni's "La Notte" (1961) is perhaps the only episode in the whole history of cinema in which a love scene became a necessity and took on the semblance of a spiritual act.

It's a unique sequence in which physical closeness has great significance. The characters have exhausted their feelings for each other but are still very close to each other.

As a friend of mine said once, more than five years with my husband is like incest. These characters have no exit from their closeness. We see them desperately trying to save each other, as if they were dying."

(Andrei Tarkovsky- Tony Mitchell, 1982)

[k-tarkovsky]

Tarkovsky and I had many plans. He wanted to make Hamlet into a movie with me. One day he came running excitedly: “Oleg, let’s teach Hamlet in English - we have money.” - “I’m crazy, how can you learn Hamlet in English?” In “Nostalgia” I played in Italian, but “Hamlet”... He said: “No, just learn the monologue “To be or not to be?” I can only guess how he wanted to film...

I had to play for him in “Sacrifice”. But he was already a defector, and I was not allowed to film.

Work and meetings with Andrey seemed to me like a random gift of fate; they were accompanied by fear, lack of faith in one’s own strength, and were insane happiness. I never tried to understand these mixed feelings, much less understand them. I just absorbed, like a sponge, everything that came from Andrei, from his environment, from his father. It was a short - huge - life with its own color, light, smell, poetry and look...

We weren't close friends. Andrey always remained a mysterious, not completely understandable person for me. A strange, unexpected director. Our relationship was not easy to build... Like Vysotsky, he was one of the leaders of our generation. The only director to whom I, as an actor, wanted to entrust myself completely, without thinking, without any doubts.

He could only work with those with whom he had a natural, some kind of biological connection.

Tarkovsky was a truly Russian artist, the embodiment of conscientiousness, maximalism, inner freedom, and spiritual strength.

Andrei was, perhaps, the only director I knew of whom it was absolutely pointless to ask anything, to demand specific instructions. Contact happened only when I “dragged my soul,” straining not only acting, but also human efforts... It was impossible to lie to Andrey, because in such people the conscience of a generation is embodied.

This closed, tough man could be funny, and touching, and tender, and dead tired.

From the memoirs of Oleg Yankovsky

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Andrei Tarkovsky, Nostalghia (1983)

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“What I am trying to do in it is tear apart the way we look at the present day, and turn to the past, during which mankind made so many mistakes that today we are obliged to live in a kind of fog.”

(Andrei Tarkovsky on Stalker in Time Within Time; tr. Kitty Hunter-Blair)

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“I shall start making Stalker on 26 January.”

(Andrei Tarkovsky, October, 1976)

[k-tarkovsky]

You slept, and the lilac on the table reached out / to touch your eyelids with the blue of the universe.

Mirror by Tarkovsky

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Hardly any time has passed. Screenplay for A White, White Day. Andrei Tarkovsky and Aleksandr Misharin. Translated by William Powell.

[k-tarkovsky]

The only question—

Andrey Tarkovsky

TIME WITHIN TIME

THE DIARIES, 1970-1986