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feeling
1975, talking to Michael Sragow, then the film critic for the San Francisco Examiner.
âI think we all have this little theatre on top of our shoulders, where the past and the present and our aspirations and our memories are simply and inexorably mixed. What makes each one of us unique is the potency of the individual mix.
âWe can make our lives only when we know what our lives have been. And drama is about how you make the next moment. Itâs like when youâre watching a sporting event, like a soccer game here; when itâs going on, you donât know whatâs going to happen. But all the rules are laid down.
âI donât make the mistake that high culture mongers do of assuming that because people like cheap art, their feelings are cheap, too. When people say, âOh listen, theyâre playing our song,â they donât mean, âOur song, this little cheap tinkling, syncopated piece of rubbish is what we felt when we met.â What they saying is âThat song reminds us of the tremendous feeling we had when we met.â Some of the songs I use are great anyway but the cheaper songs are still in the direct line of descent from Davidâs Psalms. Theyâre saying, âListen, the world isnât quite like this, the world is better than this, there is love in it,â âThereâs you and me in itâ or âThe sun is shining in it.â
âSo called dumb people, simple people, uneducated people, have as authentic and profound a depth of feeling as the most educated on earth. And anyone who says different is a fascist.â
âTarkovskyâs Translationsâ Sight and Sound 50, no.3, Summer 1981, 152-53, Reprinted in Andrei Tarkovsky Interviews, ed. John Gianvito, University of Mississippi Press, Jackson, Mississippi, 2006, p.71
âEverybody asks me what things mean in my films. This is terrible! An artist doesnât have to answer for his meanings. I donât think so deeply about my workâI donât know what my symbols may represent. What matters to me is that they arouse feelings, any feelings you like, based on whatever your inner response might be. If you look for a meaning, youâll miss everything that happens. Thinking during a film interferes with your experience of it. Take a watch to pieces, it doesnât work. Similarly with a work of art, thereâs no way it can be analyzed without destroying it.â
via sloaneohno
Abstractions
“In Hollywood, more often than not, theyâre making more kind of traditional films, stories that are understood by people. And the entire story is understood. And they become worried if even for one small moment something happens that is not understood by everyone. But whatâs so fantastic is to get down into areas where things are abstract and where things are felt, or understood in an intuitive way that, you canât, you know, put a microphone to somebody at the theatre and say âDid you understand that?â but they come out with a strange, fantastic feeling and they can carry that, and it opens some little door or something thatâs magical and thatâs the power that film has.”