A director is like any other artist: a painter, a poet, a musician. And since it is required from him to contribute his own self, it is strange to see directors that take their work as a special position, given to them by destiny, and simply exploit their profession. That is, they live in one way, but make movies about something else. And I’d like to tell directors, especially young ones, that they should be morally responsible for what they do while making their films. Do you understand? It is the most important of all. Secondly, they should be prepared for the thought that cinema is a very difficult and serious art. It requires sacrificing of yourself. You should belong to it, it shouldn’t belong to you. Cinema uses your life, not vice versa. Therefore, I think that this is the most important: You should sacrifice yourself to the art.
I’ve noticed, from my experience, if the external, emotional construction of images in a film are based on the filmmaker’s own memory, on the kinship of one’s personal experience with the fabric of the film, then the film will have the power to affect those who see it.
Masterpieces are born of the artist’s struggle to express his ethical ideals. Indeed, his concepts and his sensibilities are informed by those ideals. If he loves life, has an overwhelming need to know it, change it, try to make it better—in short, if he aims to cooperate in enhancing the value of life, then there is no danger in the fact that the picture of reality will have passed through a filter of his subjective concepts, through his states of mind. For his work will always be a spiritual endeavor which aspires to make man more perfect: an image of the world that captivates us by its harmony of feeling and thought, its nobility and restraint.
What is art? (…) Like a declaration of love: the consciousness of our dependence on each other. A confession. An unconscious act that none the less reflects the true meaning of life—love and sacrifice.
Andrei Tarkovsky’s touch on cinema is ever-present as filmmakers from Lars von Trier to Nuri Bilge Ceylan confess his great impact on the way they see filmmaking. During the end of his life, he battled cancer and completed his seventh and final film, The Sacrifice. Fortunately, to add to the completion of the film, filmmaker Michal Leszczylowski took 50 hours of The Sacrifice’s behind the scenes footage and excerpts from interviews, Tarkovsky’s timeless book Sculpting in Time, and more in order to create the 100+ minute documentary Directed by Andrei Tarkovsky.
Directed by Andrei Tarkovsky offers the world a glimpse to Andrei Tarkovsky’s filmmaking style. It intimately follows the filmmaker as he carefully directs another tour-de-force of cinematic storytelling. An emotional journey into the vision, personality, and style of the monumental film director, Leszczylowski’s documentary is an essential work for filmmakers and especially for admirers of Andrei Tarkovsky.
But what is influence? It is, for example, the artist’s selection of the environment in which he wants to work, the people, of collaborators with whom he wants to work, and with whom he will feel comfortable with…And then, if you ask me, if you ask me what influence I have received from names like, for example, Bresson, Antonioni, Bergman, Kurosawa, Mizoguchi…I must say none. I have no desire to imitate them. Because it would be impossible to do so, And more, if my goal was the imitation of great directors, I would be distancing myself from the true goal of cinema, since the main goal of any kind of art is to find a personal means of expression, a language with which to express what’s inside of you. Therefore, the influence that these directors, that I adore, have on me, lies in the fact that I find myself in the pleasant company of movie people, people I am comfortable with.