Andreĭ Arsenʹevich Tarkovskiĭ

Time Within Time, both diary and notebook, covers the years from 1970 until Tarkovsky s death. Intimate, intense and deeply personal, it answers many of the questions which his admirers would like to ask. There are reflections on Dostoevsky, Tolstoy, Hesse, Mann; quotations from Seneca, the Desert Fathers, Henry Thoreau, Nabokov; plans for films and screenplays; lists and letters. He writes of his family, in particular of his poet father, Arseniy Tarkovsky, whose poems are part of his films; of his delight in his wooden house in the countryside, of his joy in his wife and his little son. Haunting dreams are recorded in detail. He speaks of the state of society, the future of art; there are harsh often funny remarks about the bureaucrats in charge of the Soviet cultural scene in general and cinema in particular (he gives the text of his letter supporting Paradzhanov when the latter was arrested). He notes significant world events and purely personal dramas along with fascinating background details of the making of his films. Also included in this volume are the plans and notes for his stage version of Hamlet; a detailed proposal for a two-part film of Dostoevsky s The Idiot; and a glimpse of the more public Tarkovsky answering questions put to him by interviewers and an interested audience.

The Diaries 1970-1986

Time Within Time

Career-spanning interviews with the director of Andrei Roublev, Solaris, and The Mirror

Interviews

Andrei Tarkovsky

Hailed by Ingmar Bergman as "the most important director of our time," Andrey Tarkovsky here reveals the original inspirations for his extraordinary films

Reflections on the Cinema

Sculpting in Time

Mühürlenmiş zaman

Since his death in 1986, Andrei Tarkovsky has become increasingly recognized as one of the great masters of world cinema. In his films, Solaris, Mirror, Stalker and The Sacrifice, Tarkovsky defined a new way of looking at the world. His non-realistic, highly-charged images are a continuing source of inspiration - not only for a new generation of film-makers, but also for poets, musicians and painters. This volume collects his great works for the first time in one volume, as well as three of his unproduced screenplays. This material provides a unique glimpse into the way Tarkovsky's vision evolved from the printed text to its final form on celluloid. The book also contains an extended essay by film critic and historian Ian Christie, who places Tarkovsky's work in the context of Soviet film-making practice.

Andreĭ Arsenʹevich Tarkovskiĭ

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