Best 90 quotes of Andrei Tarkovsky on MyQuotes

A book read by a thousand different people is a thousand different books.

Above all, I feel that the sounds of this world are so beautiful in themselves that if only we could listen to them properly, cinema would have no need for music at all.

A literary work can only be received through symbols, through concepts - for that is what words are; but cinema, like music, allows for utterly direct, emotional, sensuous perception of the work.

ALL ART, OF COURSE, IS INTELLECTUAL, BUT FOR ME, ALL THE ARTS, AND CINEMA EVEN MORE SO, MUST ABOVE ALL BE EMOTIONAL AND ACT UPON THE HEART.

All of us are infected today with an extraordinary egoism. And that is not freedom; freedom means learning to demand only of oneself, not of life and others, and knowing how to give: sacrifice in the name of love.

Although the assembly of the shots is responsible for the structure of the film, it does not, as is generally assumed, create its rhythm; the distinct time running through the shots makes the rhythm of the picture, and the rhythm is determined not by the length of edited pieces, but by the pressure of the time that runs through them. The pieces that 'won't edit', that can't be properly joined, are those which record a radically different kind of time

A man writes because he is tormented, because he doubts. He needs to constantly prove to himself and the others that he’s worth something. And if I know for sure that I’m a genius? Why write then? What the hell for?

An artist cannot be partially sincere any more than art can be an approximation of beauty.

AN ARTISTIC DISCOVERY OCCURS EACH TIME AS A NEW AND UNIQUE IMAGE OF THE WORLD, A HIEROGLYPHIC OF ABSOLUTE TRUTH. IT APPEARS AS A REVELATION, AS A MOMENTARY, PASSIONATE WISH TO GRASP INTUITIVELY AND AT A STROKE ALL THE LAWS OF THIS WORLD-ITS BEAUTY AND UGLINESS, ITS COMPASSION AND CRUELTY, ITS INFINITY AND ITS LIMITATIONS.

An artist needs knowledge and the power of observation only so that he can tell from what he is abstaining, and to be sure that his abstention will not appear artificial or false.

Art could be said to be a symbol of the universe, being linked with that absolute spiritual truth which is hidden from us in our positivistic, pragmatic activities.

Art is born and takes hold wherever there is a timeless and insatiable longing for the spiritual...

Art is realistic when it strives to express an ethical ideal. Realism is striving for truth, and truth is always beautiful. Here the aesthetic coincides with the ethical.

Artistic creation, after all, is not subject to absolute laws, valid from age to age; since it is related to the more general aim of mastery of the world, it has an infinite number of facets, the vincula that connect man with his vital activity; and even if the path towards knowledge is unending, no step that takes man nearer to a full understanding of the meaning of his existence can be too small to count.

...art must must carry man's craving for the ideal, must be an expression of his reaching out towards it; that art must give man hope and faith. And the more hopeless the world in the artist's version, the more clearly perhaps must we see the ideal that stands in opposition - otherwise life becomes impossible! Art symbolises the meaning of our existence.

Art would be useless if the world were perfect.

Becoming an artist does not merely mean learning something, acquiring professional techniques and methods. Indeed, as someone has said, in order to write well you have to forget the grammar.

Being silent for a while is good. Words can't really express a person's emotions.

Clearly the hardest thing for the working artist is to create his own conception and follow it, unafraid of the strictures it imposes, however rigid these may be... I see it as the clearest evidence of genius when an artist follows his conception, his idea, his principle, so unswervingly that he has this truth of his constantly in his control, never letting go of it even for the sake of his own enjoyment of his work.

For me the most interesting characters are outwardly static, but inwardly charged by an overriding passion.

History is not Time; nor is evolution. They are both consequences. Time is a state: the flame in which there lives the salamander of the human soul.

I am convinced that any attempt to restore harmony in the world can only rest on the renewal of personal responsibility.

I am only interested in the views of two people: one is called Bresson and one called Bergman.

If there are some who talk the same language as myself, then why should I neglect their interests for the sake of some other group of people who are alien and remote? They have their own 'gods and idols' and we have nothing in common. ... If you try to please audiences, uncritically accepting their tastes, it can only mean that you have no respect for them: that you simply want to collect their money.

If the regular length of a shot is increased, one becomes bored, but if you keep on making it longer, it piques your interest, and if you make it even longer, a new quality emerges, a special intensity of attention.

If you try to please audiences, uncritically accepting their tastes, it can only mean that you have no respect for them: that you simply want to collect their money.

I have a horror of tags and labels. I don't understand, for instance, how people can talk about Bergman's "symbolism". Far from being symbolic, be seems to me, through and almost biological naturalism, to arrive at the spiritual truth about human life that is important to him.

I know only one thing. when i sleep, i know no fear, no, trouble no bliss. blessing on him who invented sleep. the common coin that purchases all things, the balance that levels shepherd and king, fool and wise man. there is only one bad thing about sound sleep. They say it closely resembles death.

IN ALL MY FILMS, IT SEEMED IMPORTANT TO ME TO REMIND THE AUDIENCE TO THE FACT THAT THEY ARE NOT ALONE, LOST IN AN EMPTY UNIVERSE, BUT THAT THEY ARE CONNECTED BY INNUMERABLE THREADS WITH THEIR PAST AND PRESENT, THAT THROUGH CERTAIN MYSTICAL WAYS, EVERY HUMAN BEING REALIZES THE RAPPORT WITH THE WORLD AND THE LIFE OF HUMANITY.

IN CINEMA IT IS NECESSARY NOT TO EXPLAIN, BUT TO ACT UPON THE VIEWER'S FEELINGS, AND THE EMOTION WHICH IS AWOKEN IS WHAT PROVOKES THOUGHT.

IN THE CINEMA A DIRECTOR EXPRESSES HIS INDIVIDUALITY FIRST AND FOREMOST THROUGH HIS SENSE OF TIME, THROUGH RHYTHM. RHYTHM GIVES COLOUR TO A WORK BY DISTINGUISHABLE STYLISTIC CHARACTERISTICS. RHYTHM MUST ARISE NATURALLY IN A FILM, A FUNCTION OF THE DIRECTOR'S INNATE SENSE OF LIFE AND COMMENSURATE WITH HIS QUEST FOR TIME.

I think a person needs to learn from childhood to find himself alone. It means to not be bored when you’re by yourself, because a person who finds himself bored when alone –as it seems to me– is in danger.

I think in fact that unless there is an organic link between the subjective impressions of the author and his objective representation of reality, he will not achieve even superficial credibility, let alone authenticity and inner truth.

It is a mistake to talk about the artist looking for his subject. In fact, the subject grows within him like a fruit and begins to demand expression. It is like childbirth. The poet has nothing to be proud of. He is not master of the situation, but a servant. Creative work is his only possible form of existence, and his every work is like a deed he has no power to annul. For him to be aware that the sequence of such deeds is due and ripe, that it lies in the very nature of things, he has to have faith in the idea; for only faith interlocks the system of images for which read system of life.

It is obvious that art cannot teach anyone anything, since in four thousand years humanity has learnt nothing at all. We should long ago have become angels had we been capable of paying attention to the experience of art, and allowing ourselves to be changed in accordance with the ideals it expresses. Art only has the capacity, through shock and catharsis, to make the human soul receptive to good. It’s ridiculous to imagine that people can be taught to be good…Art can only give food – a jolt – the occasion – for psychical experience.

It is perfectly possible to be a professional director or a professional writer and not to be an artist: merely a sort of executor of other people's ideas.

I'VE NOTICED, FROM MY EXPERIENCE, IF THE EXTERNAL, EMOTIONAL CONSTRUCTION OF IMAGES IN A FILM ARE BASED ON THE FILMMAKER'S OWN MEMORY, ON THE KINSHIP OF ONE'S PERSONAL EXPERIENCE WITH THE FABRIC OF THE FILM, THEN THE FILM WILL HAVE THE POWER TO AFFECT THOSE WHO SEE IT.

Juxtaposing a person with an environment that is boundless, collating him with a countless number of people passing by close to him and far away, relating a person to the whole world, that is the meaning of cinema.

Knowledge is truthful only if it’s based in morality.

Man has, since the Enlightenment, dealt with things he should have ignored.

MANY MANAGE TO SEPARATE THEIR LIFE FROM THEIR FILMS. THEY LIVE ONE WAY AND EXPRESS OTHER IDEAS IN THEIR WORKS. THEY ARE ABLE TO SPLIT THEIR CONSCIENCE. I CAN'T. TO ME CINEMA IS NOT JUST MY JOB: IT'S MY LIFE, AND EACH FILM IS AN ACT OF MY LIFE.

Modern mass culture, aimed at the "consumer", the civilisation of prosthetics, is crippling people's souls, setting up barriers between man and the crucial questions of his existence, his consciousness of himself as a spiritual being.

MORE CONSISTENTLY THAN EVER I WAS TRYING TO MAKE PEOPLE BELIEVE THAT CINEMA AS AN INSTRUMENT OF ART HAS ITS OWN POSSIBILITIES WHICH ARE EQUAL TO THOSE OF PROSE. I WANTED TO DEMONSTRATE HOW CINEMA IS ABLE TO OBSERVE LIFE, WITHOUT INTERFERING, CRUDELY OR OBVIOUSLY, WITH ITS CONTINUITY. FOR THAT IS WHERE I SEE THE POETIC ESSENCE OF CINEMA.

My encounter with another world and another culture and the beginnings of an attachment to them had set up an irritation, barely perceptible but incurable-rather like unrequited love, like a symptom of the hopelessness of trying to grasp what is boundless, or unite what cannot be joined; a reminder of how finite, how curtailed, our experience on earth must be

My function is to make whoever sees my films aware of his need to love and to give his love, and aware the beauty is summoning him.

My purpose is to make films that will help people to live, even if they sometimes cause unhappiness.

Never trouble anyone else with what you can do yourself

Never try to convey your idea to the audience - it is a thankless and senseless task. Show them life, and they'll find within themselves the means to assess and appreciate it.

No 'mise en scène' has the right to be repeated, just as no two personalities are ever the same. As soon as a 'mise en scène' turns into a sign, a cliché, a concept however original it may be, then the whole thing - characters, situation, psychology - become schematic and false.

Objectivity can only be the author's and therefore subjective, even if he is editing a newsreel.