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Original Title:	Запечатленное время
ISBN:	0292776241 (ISBN13: 9780292776241)
Edition Language:	English

Sculpting in Time

Andrei Tarkovsky

Paperback | Pages: 254 pages

Rating: 4.51 | 3493 Users | 230 Reviews

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Title	:	Sculpting in Time
Author	:	Andrei Tarkovsky
Book Format	:	Paperback
Book Edition	:	Anniversary Edition
Pages	:	Pages: 254 pages
Published	:	April 1st 1989 by University of Texas Press (first published 1984)
Categories	:	Culture. Film. Nonfiction. Art. Philosophy. Cultural. Russia. Biography. Media Tie In

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An alternate cover edition can be found here. Andrey Tarkovsky, the genius of modern Russian cinema--hailed by Ingmar Bergman as "the most important director of our time"--died an exile in Paris in December 1986. In Sculpting in Time, he has left his artistic testament, a remarkable revelation of both his life and work. Since Ivan's Childhood won the Golden Lion at the Venice Film Festival in 1962, the visionary quality and totally original and haunting imagery of Tarkovsky's films have captivated serious movie audiences all over the world, who see in his work a continuation of the great literary traditions of nineteenth-century Russia. Many critics have tried to interpret his intensely personal vision, but he himself always remained inaccessible. In Sculpting in Time, Tarkovsky sets down his thoughts and his memories, revealing for the first time the original inspirations for his extraordinary films--Ivan's Childhood, Andrey Rublyov, Solaris, The Mirror, Stalker, Nostalgia, and The Sacrifice. He discusses their history and his methods of work, he explores the many problems of visual creativity, and he sets forth the deeply autobiographical content of part of his oeuvre--most fascinatingly in The Mirror and Nostalgia. The closing chapter on The Sacrifice, dictated in the last weeks of Tarkovsky's life, makes the book essential reading for those who already know or who are just discovering his magnificent work.

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Ratings: 4.51 From 3493 Users | 230 Reviews

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The greatest director and very bad methodologist. He is the only one, there is no one like him and every one who tried to follow his method suffered different kinds of failure. I personally acquainted with people whose whole life collapsed under Tarkovsky's colossus. The scale of his talent and its main feature: ability to erect his own personal life experiences to the scale of something universal, attracts a lot of young filmmakers and they all end up destroying their own talent, just because

I like movies. That being said, I'm not obsessed with movies. My field is literature, because writing is my happy medium of conveying thoughts and feelings. However, I bought this book for a friend of mine who is obsessed with both literature and movies, and who can appreciate it fully. I loved the book - Tarkovsky is a surprisingly good writer - and I took from it a lot with regards to movie making, the relatio ships between the director and the actors, the audience and transmitting enough

"I see it as my duty to stimulate reflection on what is essentially human and eternal in each individual soul, and which all too often a person will pass by, even though his fate lies in his hands. He is too busy chasing after phantoms and bowing down to idols. In the end everything can be reduced to the one simple element which is all a person can count upon in his existence: the capacity to love. That element can grow within the soul to become the supreme factor which determines the meaning of

"Tarkovsky for me is 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."These are the words of Ingmar Bergman, another very influential director. I count myself lucky to have watched these fellas' films, not only because they're pretty good but also they've got depth. With this masterpiece of Tarkovsky, I had the chance to access to the very mind of this genius.Sculpting In Time is fairly plain, just like his

A book that both inspired me immensely, and aided in destroying all interest I had in film. Every film student should read this, even if they don't enjoy his work. I think his ideas are far greater than his films. His way of explaining is a bit off-beat, and reminded me of Russian painter Wassily Kandinsky quite a lot (see Concerning the Spiritual in Art - Highly recommended to anyone who enjoyed this, by the way). In this book Tarkovsky explains the methods behind his films; and not in a

The closest I can come to describing the way Tarkovsky writes is "lucid depth". His prose is simultaneously clear and packed with philosophical richness. It's challenging in the best possible way.

"We all know the tradicional genre of ancient Japanese poetry, the haikku. [Sergei] Eisensteinquoted some examples:'Coldly shining moon;near the ancient monasterya wolf is howling''Silent in the fielda butterfly was flyingthen it fell asleep'Eisenstein saw in these three line verses the model for how the combination of three separate elements creates something different in kind from any of them. Since this principle was already there in haikku, however, it is clearly not exclusive to cinema.What