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1、A-PDFMERGERDEMOSCULPTINGINTIMEAndreyTarkovskywasborninZavrozhieontheVolgain1932.In1960hegraduatedfromtheSovietStateFilmSchoolwithhisfirstfilmTheSteamrollerandtheViolin.HemadefivemorefilmsinRussia:Ivan'sChildhood,1962,AndreyRublyov,1966,Solaris,1972,Mirror,1978andStalker,1979.In1983hemadeNostalgi
2、ainItalyandhislastfilm,TheSacrifice,wasmadeinSwedenin1986.HediedinParison29December1986.ContentsEditor'sNote6Introduction7ChapterI:Thebeginning15ChapterII:Art—ayearningfortheideal36ChapterIII:Imprintedtime57ChapterIV:Cinema'sdestinedrole82ChapterV:Thefilmimage104Time,rhythmandediting113Scenarioa
3、ndshootingscript125Thefilm'sgraphicrealisation135Thefilmactor139Musicandnoises155ChapterVI:Theauthorinsearchofanaudience164ChapterVII:Theartist'sresponsibility176ChapterVIII:AfterNostalgia202ChapterIX:TheSacrifice217Conclusion231Notes243Editor'sNoteIntroductionThisneweditionofSculptinginTimecont
4、ainsanadditionalchapteronTarkovsky'slastfilmTheSacrifice.Hewrotethis,andSomefifteenyearsago,asIwasjottingdownnotesforthefirstdraftofmaderevisionstothetextofthebook,shortlybeforehisdeath.thisbook,1foundmyselfwonderingwhethertherereallywasanypointinwritingitatall.Whynotjustgoonmakingonefilmafteran
5、other,findingpracticalsolutionstothosetheoreticalproblemswhicharisewheneveroneisworkingonafilm?Myprofessionalbiographyhasbeennonetoohappy;theintervalsbetweenfilmswerelongandpainfulenoughtoleavemefreetoconsider—forwantofanythingbettertodo—exactlywhatmyownaimswere;whatarethefactorsthatdistinguishc
6、inemafromtheotherarts;whatIsawasitsuniquepotential;andhowmyownexperiencecomparedwiththeexperienceandachievementsofmycolleagues.Readingandrereadingbooksonthehistoryofcinema,Icametotheconclusionthatthesedidnotsatisfyme,butmademewanttoargueandputforwardmyownviewoftheproblemsandtheobjectivesoffilm-m
7、aking.IrealisedthatIgenerallycametorecognisemyownworkingprinciplesthroughquestioningestablishedtheory,throughtheurgetoexpressmyownunderstandingofthefundamentallawsofthisartform.Myfrequentencounterswithvastlydifferingaudience