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On Tarkovsky

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Ingmar Bergman on Andrei Tarkovsky

My discovery of Tarkovsky's first film was like a miracle.

Suddenly, I found myself standing at the door of a room the keys of which had, until then, never
been given to me. It was a room I had always wanted to enter and where he was moving freely
and fully at ease.

I felt encouraged and stimulated: someone was expressing what I had always wanted to say
without knowing how.

Tarkovsky is for me the greatest, the one who invented a new language, true to the nature of film,
as it captures life as a reflection, life as a dream.
Ingmar Bergman solves a problem...

Suddenly I have the solution: a tracking shot. A tracking shot round the actors, past the extras,
tracking. Tarkovsky is always tracking round in every scene, the camera flying in all directions. I
actually think it an objectionable technique, but it solved my problem, time passes... (Laterna
Magica, page 173)
Ingmar Bergman on cinema...

When film is not a document, it is dream. That is why Tarkovsky is the greatest of them all. He
moves with such naturalness in the room of dreams. He doesn't explain. What should he explain
anyhow? He is a spectator, capable of staging his visions in the most unwieldy but, in a way, the
most willing of media. All my life I have hammered on the doors of the rooms in which he moves
so naturally. Only a few times have I managed to creep inside. Most of my conscious efforts have
ended in embarrassing failure - THE SERPENT'S EGG, THE TOUCH, FACE TO FACE and so

Fellini, Kurosawa and Bunuel move in the same fields as Tarkovsky. Antonioni was on his way,
but expired, suffocated by his own tediousness. Melies was always there without having to think
about it. He was a magician by profession.

Film as dream, film as music. (Laterna Magica, page 73)