Andrei Tarkovsky Quotes - Page 3

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• Poetry is an awareness of the world, a particular way of relating to reality.

  Andrei Tarkovsky

  Reality, World, Way

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• I know only one thing. when i sleep, i know no fear, no, trouble no bliss. blessing on him who invented sleep. the common coin that purchases all things, the balance that levels shepherd and king, fool and wise man. there is only one bad thing about sound sleep. They say it closely resembles death.

  Andrei Tarkovsky

  Wise, Kings, Sleep

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• It is obvious that art cannot teach anyone anything, since in four thousand years humanity has learnt nothing at all.

  Andrei Tarkovsky

  Art, Years, Humanity

  "Sculpting in Time" by Andrei Tarkovsky, (p. 50), 1986.

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• 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.

  Andrei Tarkovsky

  Beautiful, Art, Truth Is

  "Sculpting in Time" by Andrei Tarkovsky, (p. 113), 1986.

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• We know perfectly well that neither love nor peace of mind can be bought with any currency.

  Andrei Tarkovsky

  Mind, Currency, Wells

  "Sculpting in Time" by Andrei Tarkovsky, (p. 219), 1986.

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• ALL ART, OF COURSE, IS INTELLECTUAL, BUT FOR ME, ALL THE ARTS, AND CINEMA EVEN MORE SO, MUST ABOVE ALL BE EMOTIONAL AND ACT UPON THE HEART.

  Andrei Tarkovsky

  Art, Emotional, Intellectual

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• Art could be said to be a symbol of the universe, being linked with that absolute spiritual truth which is hidden from us in our positivistic, pragmatic activities.

  Andrei Tarkovsky

  Spiritual, Art, Said

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• 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.

  Andrei Tarkovsky

  Mean, Idols, People

  "Sculpting in Time" by Andrei Tarkovsky, (p. 174), 1986.

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• Objectivity can only be the author's and therefore subjective, even if he is editing a newsreel.

  Andrei Tarkovsky

  Editing, Objectivity, Subjective

  "Sculpting in Time" by Andrei Tarkovsky, (p. 150), 1986.

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• Clearly the hardest thing for the working artist is to create his own conception and follow it, unafraid of the strictures it imposes, however rigid these may be... I see it as the clearest evidence of genius when an artist follows his conception, his idea, his principle, so unswervingly that he has this truth of his constantly in his control, never letting go of it even for the sake of his own enjoyment of his work.

  Andrei Tarkovsky

  Letting Go, Artist, Ideas

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• The only condition of fighting for the right to create is faith in your own vocation, readiness to serve, and refusal to compromise.

  Andrei Tarkovsky

  Fighting, Compromise, Refusal

  Biography/Personal Quotes, www.imdb.com.

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• Man has, since the Enlightenment, dealt with things he should have ignored.

  Andrei Tarkovsky

  Men, Should Have, Ignored

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• IN CINEMA IT IS NECESSARY NOT TO EXPLAIN, BUT TO ACT UPON THE VIEWER'S FEELINGS, AND THE EMOTION WHICH IS AWOKEN IS WHAT PROVOKES THOUGHT.

  Andrei Tarkovsky

  Art, Feelings, Cinema

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• "Man is born unto the trouble as the sparks fly upwards." In other words suffering is germane to our existence; indeed, how without it, should we be able to "fly upwards".

  Andrei Tarkovsky

  Men, Suffering, Able

  "Sculpting in Time" by Andrei Tarkovsky, (p. 239), 1986.

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• A man writes because he is tormented, because he doubts. He needs to constantly prove to himself and the others that he’s worth something. And if I know for sure that I’m a genius? Why write then? What the hell for?

  Andrei Tarkovsky

  Writing, Men, Doubt

  "Fictional character: Pisatel". "Stalker", www.imdb.com. May 1979.

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• An artist needs knowledge and the power of observation only so that he can tell from what he is abstaining, and to be sure that his abstention will not appear artificial or false.

  Andrei Tarkovsky

  Artist, Needs, Abstaining

  "Time Within Time: The Diaries 1970-1986". Book by Andrei Tarkovsky, 1989.

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• Although the assembly of the shots is responsible for the structure of the film, it does not, as is generally assumed, create its rhythm; the distinct time running through the shots makes the rhythm of the picture, and the rhythm is determined not by the length of edited pieces, but by the pressure of the time that runs through them. The pieces that 'won't edit', that can't be properly joined, are those which record a radically different kind of time

  Andrei Tarkovsky

  Running, Doe, Different

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• An artist cannot be partially sincere any more than art can be an approximation of beauty.

  Andrei Tarkovsky

  Art, Artist, Sincere

  "Sculpting in Time" by Andrei Tarkovsky, (p. 47), 1986.

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• The Stalker seems to be weak, but essentially it is he who is invincible because of his faith and his will to serve others.

  Andrei Tarkovsky

  Weak, Invincible, Seems

  "Sculpting in Time" by Andrei Tarkovsky, (p. 181), 1986.

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• When I speak of the aspiration towards the beautiful, of the ideal as the ultimate aim of art, which grows from a yearning for that ideal, I am not for a moment suggesting that art should shun the 'dirt' of the world. On the contrary! the artistic image is always a metonym, where one thing is substituted for another, the smaller for the greater. To tell of what is living, the artist uses something dead; to speak of the infinite, he shows the finite. Substitution... the infinite cannot be made into matter, but it is possible to create an illusion of the infinite: the image.

  Andrei Tarkovsky

  Beautiful, Art, Use

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• AN ARTISTIC DISCOVERY OCCURS EACH TIME AS A NEW AND UNIQUE IMAGE OF THE WORLD, A HIEROGLYPHIC OF ABSOLUTE TRUTH. IT APPEARS AS A REVELATION, AS A MOMENTARY, PASSIONATE WISH TO GRASP INTUITIVELY AND AT A STROKE ALL THE LAWS OF THIS WORLD-ITS BEAUTY AND UGLINESS, ITS COMPASSION AND CRUELTY, ITS INFINITY AND ITS LIMITATIONS.

  Andrei Tarkovsky

  Art, Unique, Compassion

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• THE ARTISTIC IMAGE IS ALWAYS A METONYM, WHERE ONE THING IS SUBSTITUTED FOR ANOTHER, THE SMALLER FOR THE GREATER. TO TELL OF WHAT IS LIVING, THE ARTIST USES SOMETHING DEAD; TO SPEAK OF THE INFINITE, HE SHOWS THE FINITE.

  Andrei Tarkovsky

  Art, Use, Speak

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• IN THE CINEMA A DIRECTOR EXPRESSES HIS INDIVIDUALITY FIRST AND FOREMOST THROUGH HIS SENSE OF TIME, THROUGH RHYTHM. RHYTHM GIVES COLOUR TO A WORK BY DISTINGUISHABLE STYLISTIC CHARACTERISTICS. RHYTHM MUST ARISE NATURALLY IN A FILM, A FUNCTION OF THE DIRECTOR'S INNATE SENSE OF LIFE AND COMMENSURATE WITH HIS QUEST FOR TIME.

  Andrei Tarkovsky

  Art, Giving, Individuality

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• MANY MANAGE TO SEPARATE THEIR LIFE FROM THEIR FILMS. THEY LIVE ONE WAY AND EXPRESS OTHER IDEAS IN THEIR WORKS. THEY ARE ABLE TO SPLIT THEIR CONSCIENCE. I CAN'T. TO ME CINEMA IS NOT JUST MY JOB: IT'S MY LIFE, AND EACH FILM IS AN ACT OF MY LIFE.

  Andrei Tarkovsky

  Art, Jobs, Ideas

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• No 'mise en scène' has the right to be repeated, just as no two personalities are ever the same. As soon as a 'mise en scène' turns into a sign, a cliché, a concept however original it may be, then the whole thing - characters, situation, psychology - become schematic and false.

  Andrei Tarkovsky

  Character, Two, Personality

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