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|Ingmar Bergman on Andrei Tarkovsky
My discovery of Tarkovsky's first film was like a
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
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 on.
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)