"The aim of art is to prepare a person for death."
Tarkovsky in hospital during filming of Mirror
"It seems to me that mankind has stopped believing in itself. That is, not "mankind" - such a thing does not exist- but each person for himself. When I think of today's man, I see him as a singer in a choir opening and closing his mouth in rhythm with the singing, but producing no tone. After all, the others are all singing! He just pretends to sing along, since he is convinced that the voices of the others suffice. He behaves this way because he no longer believes in the importance of his own personal actions- a man without faith, totally without hope of influencing through his own behavior the society in which he lives." - Andrei Tarkovsky (Cine Founddation International)
Hiroshi Teshigahara Aleksandr Dovzhenko
Carl Theodor Dreyer Otar Iosseliani
Carl Theodor Dreyer
Ingmar Bergman Otar Iosseliani Boris Barnet
Ingmar Bergman Lev Arnshtam
France Sweden Spain Sweden USA Japan Japan Sweden France Japan Russia Italy Poland Soviet Union France Denmark Soviet Union
Sweden Italy Italy Italy USA Japan Soviet Union Russian Sweden Spain France Denmark Sweden Soviet Union Soviet Union Soviet Union Sweden
"Has man any hope of survival in the face of all the patent signs of impending apocalyptic silence? Perhaps an answer to that question is to be found in the legend of the parched tree, deprived of the water of life, on which I based this film. . . the Monk, step by step and bucket by bucket, carried water up the hill to water the dry tree, believing implicitly that his act was necessary. . . he lived to see the Miracle: one morning the tree burst into life, its branches covered with young leaves. And that miracle is surely no more than the truth." Andrei Tarkovsky writing about 'The Sacrifice' in his book, 'Sculpting In Time' 1986.'
In the beginning there was the word.
Why is that, Papa? - "Little Man"
"with hope and confidence" "to my young son, Andrejusja"
Aria "Erbarme ditch" from Bach's St. Matthew Passion
Um meiner want Zahren
Herz und Auge weint vor dir
In the end then perhaps this is the ambivalent gift that Tarkovsky is offering us as well as his own son: an injunction to live and love our own life as no other for only in this life and this moment is eternity realized and only by embracing our own fate can we become who we are.