Gianvito, John (2006). Andrei Tarkovsky: Interviews. University Press of Mississippi. ISBN 978-1-57806-220-1. The Polish filmmaker Andrzej Żuławski remarked that: "If anybody influenced anybody, it’s me being influenced by Tarkovsky, not the reverse", and called Tarkovsky's film Andrei Rublev a "masterpiece". [72] It is curious that Jameson contrasts Tarkovsky’s alleged mysticism to the cinema of Aleksandr Sokurov, whose verbose films, often with voiceover narration by the director, lend themselves far more readily to ideological reduction. The Japanese filmmaker Akira Kurosawa remarked on Tarkovsky's films as saying: "His unusual sensitivity is both overwhelming and astounding. It almost reaches a pathological intensity. Probably there is no equal among film directors alive now." Kurosawa also commented: "I love all of Tarkovsky's films. I love his personality and all his works. Every cut from his films is a marvelous image in itself. But the finished image is nothing more than the imperfect accomplishment of his idea. His ideas are only realized in part. And he had to make do with it." [62]

Foundas, Scott (4 November 2014). "Nuri Bilge Ceylan on 'Winter Sleep' and Learning to Love Boring Movies". Variety . Retrieved 24 April 2022. In these vignettes from his personal world...we are left spellbound by a quiet and captivating insight into the world of a man who rendered dreams reality" Tarkovsky was, according to fellow student Shavkat Abdusalmov, fascinated by Japanese films. He was amazed by how every character on the screen is exceptional and how everyday events such as a Samurai cutting bread with his sword are elevated to something special and put into the limelight. [29] Tarkovsky has also expressed interest in the art of Haiku and its ability to create "images in such a way that they mean nothing beyond themselves". [30]The Japanese anime filmmaker Mamoru Oshii, known for his works such as Ghost in the Shell, was influenced by Tarkovsky. [75] Streamlining Plot: This involves focusing on essential plot points that drive the story forward. Subplots that don't contribute to the central narrative or theme are often minimized or eliminated. Turovskaya, Maya (1989). Tarkovsky: Cinema as Poetry. London: Faber and Faber. ISBN 978-0-571-14709-0. Archived from the original on 12 June 2009 . Retrieved 30 December 2014. Marker seems to share the suspicion that, whatever the medium in which he worked, Tarkovsky remained attached to the cinematic image, a medium where he was, so to speak, in his element – the element of time. In his 35 mm films Tarkovsky was able to orchestrate each shot with an almost obsessive attention to detail, which lent the image an unmistakably minted quality and rendered the screen space a sensate membrane of material forces, eliciting from the viewer not only intellectual participation but also physical presence. In this sense Tarkovsky belongs not only to the genealogy of poetic cinema but also to the experimental cinema typified by Stan Brakhage. For both artists cinema is authentic not because of what it represents, but because of what it enables in the viewer as a project. As poet Robert Kelly has written apropos of Brakhage, such a film ‘silences story so that we can happen’. 17

Tarkovsky: Films, Stills, Polaroids & Writings. London: Thames and Hudson, 2019. ISBN 978-0500022597. Andrey Tarkovsky, Bright, Bright Day, ed. Stephen Gill, trans. Kitty Hunter-Blair, London 2007; Instant Light: Tarkovsky Polaroids, eds.Giovanni Chiaramonte and Andrey A. Tarkovsky, foreword by Tonino Guerra, London 2004. Hansen argues that, by withholding representation and rendering the spectator’s body as the compositional centre, recent video art redefines the image, which ‘now demarcates the very process through which the body […] gives form or in-forms information’. 39

Discover this collection of Polaroids taken by the Russian filmmaker–each one is accompanied by a quote that invites you to step into his world…

Indeed, Bill Viola himself has identified time as the ‘essence’ of video art, which can show ‘gradual permutation in the continuous, inexorable progression toward or away from’ an event. 34 Tarkovsky perceived that the art of cinema has only been truly mastered by very few filmmakers, stating in a 1970 interview with Naum Abramov that "they can be counted on the fingers of one hand". [32] In 1972, Tarkovsky told film historian Leonid Kozlov his ten favorite films. The list includes: Diary of a Country Priest and Mouchette by Robert Bresson; Winter Light, Wild Strawberries, and Persona by Ingmar Bergman; Nazarín by Luis Buñuel; City Lights by Charlie Chaplin; Ugetsu by Kenji Mizoguchi; Seven Samurai by Akira Kurosawa, and Woman in the Dunes by Hiroshi Teshigahara. Among his favorite directors were Buñuel, Mizoguchi, Bergman, Bresson, Kurosawa, Michelangelo Antonioni, Jean Vigo, and Carl Theodor Dreyer. [33] The early Khrushchev era offered good opportunities for young film directors. Before 1953, annual film production was low and most films were directed by veteran directors. After 1953, more films were produced, many of them by young directors. The Khrushchev Thaw relaxed Soviet social restrictions a bit and permitted a limited influx of European and North American literature, films and music. This allowed Tarkovsky to see films of the Italian neorealists, French New Wave, and of directors such as Kurosawa, Buñuel, Bergman, Bresson, Wajda (whose film Ashes and Diamonds influenced Tarkovsky) and Mizoguchi.

Petric, Vlada (December 1989). "Tarkovsky's Dream Imagery". Film Quarterly. 43 (2): 28–34. doi: 10.1525/fq.1989.43.2.04a00040. In essence, economy in storytelling is about making every word, scene, and character count. It's a skill that involves careful planning, editing, and a deep understanding of what is essential to the story's core message and emotional impact. Peter Rollberg (2009). Historical Dictionary of Russian and Soviet Cinema. US: Rowman & Littlefield. pp.685–690. ISBN 978-0-8108-6072-8. Under the influence of Glasnost and Perestroika, Tarkovsky was finally recognized in the Soviet Union in the Autumn of 1986, shortly before his death, by a retrospective of his films in Moscow. After his death, an entire issue of the film magazine Iskusstvo Kino was devoted to Tarkovsky. In their obituaries, the film committee of the Council of Ministers of the Soviet Union and the Union of Soviet Film Makers expressed their sorrow that Tarkovsky had to spend the last years of his life in exile. [53] de Brantes, Charles (20 June 1986). "La foi est la seule chose qui puisse sauver l'homme". La France Catholique (in French). Archived from the original on 4 August 2008 . Retrieved 14 January 2008.We can express our feelings regarding the world around us either by poetic or by descriptive means,”

Dominique Paini, ‘Should We Put an End to Projection?,’ trans. Rosalind Kraus, October, number 110, Fall 2004, p.47. Andrei Tarkovsky was born in the village of Zavrazhye in the Yuryevetsky District of the Ivanovo Industrial Oblast (modern-day Kadyysky District of the Kostroma Oblast, Russia) to the poet and translator Arseny Aleksandrovich Tarkovsky, a native of Yelysavethrad (now Kropyvnytskyi, Ukraine), and Maria Ivanova Vishnyakova, a graduate of the Maxim Gorky Literature Institute who later worked as a proofreader; she was born in Moscow in the Dubasov family estate. Tarkovsky became a film director during the mid and late 1950s, a period referred to as the Khrushchev Thaw, during which Soviet society opened to foreign films, literature and music, among other things. This allowed Tarkovsky to see films of European, American and Japanese directors, an experience that influenced his own film making. His teacher and mentor at the film school, Mikhail Romm, allowed his students considerable freedom and emphasized the independence of the film director.

Private memories

Campo profughi a Latina, la scheda ritrovata di Tarkovskij. Documenti, foto e testimonianze". La Repubblica (in Italian). 8 December 2015.