Alcyone #87. Andrei TARKOVSKY. A colleague talks to the spirit of the brilliant director 03/31/2024

 Alcyone #87. Andrei TARKOVSKY. A colleague talks to the spirit of the brilliant director 03/31/2024

https://www.youtube.com/watch?v=s2KiJ2bGKhQ

This text is a recording of a conversation with the spirit of the famous Soviet film director Andrei Tarkovsky, conducted through a medium. Several people participate in the conversation, including the director Olga Yanaeva, who asks Tarkovsky questions about his life, work and spiritual experience. Tarkovsky talks about his films, such as Andrei Rublev, Solaris, Stalker, Mirror and others, and shares his thoughts on the mission of art, spirituality and his place in the world.

Main topics of conversation:

Creativity and mission: Tarkovsky explains that his main task was to convey to people the "codes of the Creator" through his films, to help them open their souls and meet themselves.

Films and their meaning: He talks in detail about the creation of his films, their philosophical and spiritual meaning, as well as the difficulties he faced in making them under Soviet censorship.

Spiritual World: Tarkovsky describes his experiences in the spiritual world, the level of his spirit (the 24th level, the highest known), as well as his past incarnations, including life on another planet associated with music and light.

Influence and Legacy: He talks about the impact his films have had on audiences and other directors like Lars von Trier, as well as his desire to continue to inspire people through art.

War and Humanity: Tarkovsky expresses his attitude towards war, especially the conflict between Russia and Ukraine, emphasizing the senselessness of war and the importance of preserving humanity.

Advice to young directors: He gives advice to Olga Yanaeva and other directors on how to work with water, light and music in films to convey depth and spirituality.

The conversation ends with Tarkovsky's words about the importance of being honest with yourself, following your inner voice and not giving in to external obstacles. He also expresses gratitude to all the participants of the conversation and the viewers for the opportunity to share their thoughts and experiences.

This text presents a unique insight into the work and spiritual quest of one of the greatest directors in the history of cinema, as well as his reflections on life, art and the human soul.

https://riverside.fm/transcription

The thing is that this conversation is taking place at the initiative of, well, basically, a colleague of Andrei Tarkovsky. I would like to introduce Olga Yanaeva. Hello, Olya. Hello, Vladimir Marinovich. Yes, and at the same time, of course, hello, Marina, our wonderful contact, without whom, without whom today's conversation would have been completely impossible. Hello, Marina. Greetings, Vladimir, and greetings, dear Olga. Well, I would like to say a few words about Olya, so that you understand that today's conversation will be led by a person who is completely in the know, and we may yet understand why this happened. I will ask about this. Olya, the desire to hold this conference. Because Olga Yanaeva, director, screenwriter, playwright, writer, she is a graduate of GITIS, musician, artist, she also received, she also has her own awards, including an Oscar, in an associated organization in Canada with an Oscar for the screenplay. Then there was also a prize in Los Angeles, associated with the Oscar for an independent film, a short film, first place in Turkey, it was a finalist at a festival in Japan. There was another film there, perhaps she will talk about it in more detail. Well, there are a number of other, then, awards and achievements for Olga, but today we have a conference here about Starkovsky, so we will not devote much time to this. And now I ... That is, you just understand that here is a person who is fully, he is not just, then, interested, not just interested, but a complete professional in the field of cinematography with his own achievements. Well, and now I would like to greet the spirit ... Andrei Arsenyevich Tarkovsky and thank him for the opportunity to talk. Hello, dear Andrei Arsenyevich. Yes, good afternoon, I greet all the participants of our conference. Dear Andrei Arsenyevich, please tell me, always the first question, how is it best to address? Well, Andrey Arsenyevich, Andrey, or how else are you on first-name terms? You can be on first-name terms, or Andrey Arsenyevich. I see, that is, it is better to use participation, right? Well, preferably, but, he says, if it is difficult, you can say Andrey. That is, what in the West they called me Andrey, in the Soviet Union Andrey Arseny. So we are compatible. We will combine the West with the Soviet Union and we will try. Good. Before we move on to the most interesting questions that Olga has, professional deep questions, I want to ask our so-called basic questions, so that we already understand the fundamental part of our conversation and move on from there. So, dear Andrey Arseny, so at what level is your spirit now, that part of the spirit or spirit with which we are now communicating. On the scale known to us, yes, of the spiritual world. On the scale known to you, but about 24. Well, friends, I did not know any of this. And now that we have this information, it becomes clearer how to conduct further conversation. Who suddenly by chance does not know either. Level 24 is the highest level of those that we know. There are an infinite number of levels further on,but we can no longer differentiate them higher, and we therefore consider this level to be the highest of the gradation that we have today. So now, it means, there is some... very important basic information. Okay, well then... It immediately became so light. Let's, then, see, Olga has added even more light. By the way, Olga, the sound may not be perfect there, where she is. Sorry for that, but we will try. Surprise, yes. Yes, surprise. For me, well, I don't know, for me it's not so much a surprise, but simply pleasant. Okay, well now let's clarify some more details. Dear Andrey Arseniyevich, please tell me then, from what level did you come? The spirit came into Tarkovsky's life? The 21st. So, it came from the 21st, which means it came to the 24th. In the plan for that life, was there an exit to the highest of the levels known to us? Yes. Well, it would have been possible to limit ourselves to 23 on your scale, but the Spirit reached 24. So then we can consider that the tasks of incarnation were fully completed or even exceeded? Completed. Completed. Well, here is a lucky chance. Yes, he says that if they had been exceeded, I would have lived for some more time and would have made some more pictures. I just did not have time to do this. So they were not exceeded as a task, but completed? Yes. I understand. Well, okay, and what was there so that we understand what was completed, what was the main goal of the incarnation of the task? The main goal of the incarnation was to convey the codes of the Creator to the souls of people, who at that moment were closed from acceptance. Through creativity, I conveyed to people their own soul light. They met face to face with their essence, with their soul. And by this they were enriched and revealed themselves from their hearts. This is the main mission that I will successfully complete. Well, I have absolutely nothing to add or comment on, except that now we understand better, everything that all of Tarkovsky's films conveyed would be deciphered. And in this one I heard now, there is no doubt that this is exactly how it was. Now it is completely clear. Okay, well, I would like to find out one more thing. So, what was the incarnation before Tarkovsky's life, from which the exit to the 21st level occurred? It was not an earthly life, it was a life. a humanoid, but it was on another planet, and this is also connected with creativity, but more with music. Such music, somehow around the world, because on that planet it is unknown, not on our lips. However, this planet exists, humanoids live there, they... They are tall, orange. Orange in the sense that they have red hair and such skin... Well, like tanned or something, like brightly tanned, yes, like a slightly bald orange. Here, they are entering the Lyra system now, at this moment. And... This was the last incarnation, and they have many shades of light, not like us, but much more. And their music is connected with light, that is, light music, as he says, and I was the composer. Oh, that's how. It's so interesting, it was an exit to the 21st level, and then from the 21st already the incarnation of the body of the personality,which we know under the name of Andrei Tarkovsky. Okay. Well, and one more question. Were there any incarnations known to us on Earth? Any historical figures before all this? There were. Well, for example, probably not so many in reality he had incarnations on Earth. But here is one, which is very famous and only will understand what all this is connected with, this is the incarnation of the famous artist Breiger. I see. Yes. I see. That was not. Thank you. Were there any others, besides this one, that we know about? Probably, of those that you know, this would probably be the most famous. There were other incarnations, they are also connected with creativity, but they, perhaps, have not reached our time, because they were... somewhere court incarnations, well, I mean, court composers, artists, who did not leave such a bright mark. Everything is clear, well, in general it is clear. And I will also ask this one of our questions. And how many incarnations were there in subtle or dense material bodies in our manifested cycle, in our Mannwanter? 1.3 is 322. 322. And here is the beginning of this manifested cycle. So, well, now everything has become completely clear to me. And my last question, before I give the floor to Olga. Dear Andrey Ivshinetsky, please tell me, how would you describe the space where you are now? We are interested, this is essentially paradise from our point of view, the highest layers, and paradise at that. What is around there, what is happening? Well, how do you imagine paradise, that's how you imagine it. That's what happens there. That is, as if, what the Spirit itself wants in terms of everything, anything, then it arises around it there, right? You understand that at these levels the Spirit does not want, it has no material desires, so to speak. These material desires are inherent in lower levels, with your understanding. And here the state is important, the state of the Spirit. And this state of total happiness, love, joy, something like that, he is now transmitting it, this belonging to the Creator, unity, incredible potential of creation, everything is there. Got it. Well, I got it in general terms, thank you. I just opened it here, and of course, we didn’t know, I opened it and I want to clarify with regard to the artist, because here they are a little different. Who is here just... Once again, can I give you the artist’s name? Do you understand, Olga, who we are talking about? Yes, Peter Bruegger Sr. Ah, Peter Bruegger Sr. Yes. That’s it, you understood, Peter Bruegger Sr., because it is immediately revealed here. And now it has become clearer to us. That’s it, I thank you with all my heart for these answers to the basic questions and I am pleased to hand over the floor to Olga Yanaeva. I ask the director Olga Yanaeva. Borogoy Andrey Arsenyevich, I am grateful to you that you are here. And of course, it is difficult for me to ask questions. I would like to just listen to you and listen. Well, I wanted to say that when you were still a teenager, when you were young, you learned to draw and you studied music. You yourself wrote in your diaries. that you wanted to become musicians, in your earthly diaries you wrote. And, you see, your past life, now it is clear,that it was reflected very strongly, but you had big tasks ahead of you. Big tasks. I just had to live for some time, go to the mountains and, under these high vibrations, understand that you are a director. With this we returned to Moscow and entered Afgit in 1954 in Mikhail Roman's workshop. This is the moment when you felt that you were a director in the mountains, do you remember? Tell me, please, how did you hear this answer inside yourself, do you remember? Yes, thank you for the question. But I cannot say that I directly felt that I was a director. I felt a desire to enter the State Institute of Cinematography, but I understood that I had been doing the wrong thing up to that moment. Definitely not the right thing. And this year spent in the mountains, this connection with the creator through nature, through the incredible state of weightlessness that often visited me. I entered into meditations, but I did not understand that this was meditation. But it was such a state of incredible calm and dissolution in space. And I felt like I was being pushed, to you here. And I simply gave myself over to the will, I thought, to chance, as I understand it, to divine providence, to do what I had to do. And I am grateful to my mother for this impulse. I have been grateful to my mother all my life for this, for what she did for me in this life. She was the very first person in my life. Thank you for such an answer. Now I thank you with all my heart. Now, Olya, you continue. For now, I ask Marin to tilt the camera a little, so that you are in the center. Or get closer. There. Or get closer. Like this, please. Olya, I ask. Dear Andrei Irsenevich, your parents, they are extraordinary people. Arseniy Aleksandrovich Tarkovsky, betraying with EP. This is the future, the subtlest, the deepest. And Maria Ivanovna Vishnyakova, she was your mother. The name Maria was sacred to you, when you talked about it many times. Such wonderful parents. And, of course, I understood that you loved it very much. And we will definitely talk about it later, because everything will be connected with them in the questions. And I have a question like this. You made the film Ivanov's Childhood, it was counted as your diploma film. Of course, it amazed. In 1962, it received the Golden Lion award at the Venice Film Festival. It has many more awards. And for me personally, this film, for me, is the discovery of a new language, a film language. And it should be called "Meta-film". But "Meta-film" is your term. It is your term, which later began to be repeated. I still quote it successfully. Here. And, of course, you told me then how you did not immediately feel that you had shot something so special. And then, of course, it came. We made this film in one breath. And so ... I wonder, when did you feel this Tarkovsky code in yourself? You know, probably, if I answer you correctly, how I felt it as a person, then, probably, even receiving the award for this film, I did not feel it yet. This came much later, probably already during the filming of Andrei Rublev. Yes, I understand. But then I will immediately move on to Andrei Rublev, because this is a masterpiece... It becomes more and more significant in the current decade, more and more complex, more and more interesting. I wanted to ask you. Of course, we can not say that Andrei Rublev received awards and wrote out the Kiev Film Festival. He still has awards. Best films, Helsinki first place, Italy Grand Prix, and Belgo two times first place. The first title is "Passion for Andrei". "Passion for Andrei". I want to immediately move on to Anatoly Slonitsyn. He is your talisman, your comrade. He is such a significant person for you. He is special. He was and remains in your films. And until the very end, he believed in recovery and wanted to act in nostalgia. I brother Alexei Slonitsyn wrote a book "Story on the elder brother" there about your friendship creativity. very much. And so I have a question. You came out of the envelopment in 1906, Anatoly Solomitsyn in 1982. Were you acquainted in a past life? In general, who are you to each other, because you were so close? Were we acquainted in a past life? Let's say we had intersections, but not from a past life, but just a few lives ago, when we were once at the court. By the way, Italian. Some kind of Italian, here he is now showing. The Italian court is famous and here he is a composer and Nikolay Anatoly, he was something like a jester. Interesting. Well, I will put Kopri, because there are so many talents there. Yes, and so they were friends, and that is where this connection remained. Now I communicate with him periodically, well, how, there were contacts, that is, they have information, from each other, and he knows that now by ... That is, colleagues that we have, he is on the 18th level. Even then I wanted to ask about this issue. Nikolay Grinko, he is also like Anatoly Solonidov, he appeared in all your films. And Andrey Lyublek, and Sobyaris, and Zerkalo, and Stalker. And from this wonderful person, such fabulous fluids come from us through the screen. Tell me, were you also connected, like... with him in past lives. Somehow we should be connected to each other, it seems to me. And with him, yes, we had a contract with him, even before the incarnation, that we would go through life together, and he would be next to me, yes. It's surprisingly simple, because he refused to act in Ivanov's Childhood, he wanted to go fishing with Anivin, and the film Ivanov's Childhood was filmed on a lake... Near Kanev. That's how it all happened. Your contract just began. Yes, you can't run away from contact. You can't run away from contact. That's it. Well, I wanted to tell you a little about Andrei Rublyuv, because it is, of course, an impossible masterpiece, and we still can't come to terms with it, and you have to believe in it. That's what we love very much, and it is very important to us, important. When I rewatch it, some time passes, This is precisely the algorithm of genius. Brilliant. Yes, and I want to ask. Here is the first title, it was "Passion for Andrei". It so happened that it went through your heart. You see, like... It received international recognition, and it was such an amazing film. And despite this, they decided to destroy it.They made a 30-minute copy from a huge amount of material and sentenced it to be destroyed in the full version. Saratnik, editor Lyudmila Fegina, she was able to save it. She hid the boxes. And viewers could only see the full version in 1988. Well, that's how it was, right? Right? Yes. Yes, there was a very strong obstacle, because they wanted to destroy this first version. However, at that time you had a certain coldness, and you managed to save these recordings and even take them home. She kept them at home. Yes, great. It's thanks to Lyudmila. In general, something like that. It seems to me, not without Sabia's love through your comrades. Such masterpieces. He says that I am grateful for the number of friends, comrades, assistants who were in my life, like guardian angels. Without them, I would not have reached those heights, perhaps. Sometimes it seemed to me that you were holding everyone in your arms, on the creamy playground. I just somehow feel it all, I can’t even explain it. Yes, I was quite harmful from their position on the set. But I understand this harmfulness, it is very important. We will talk about it a little bit now, if you allow me. A little bit later. A little bit. I wanted to say that the film, when I watched this “Birth of Holiness” by Andrei Rublev, by the master Boriska. It was incredible. We dissected what every great creator of something new goes through. Here is this force that suddenly reveals you, carries you, gives such courage, some crazy. And you can’t do anything about it. You already have to. You have to grow up to this idea. And the force flattens, the force presses, the force demands. You don’t feel yourself, and this is where some cruelty or harshness towards the performers comes from. But it’s all for the sake of the idea. I understand all this very well. Then, when this force leaves, the cold sets in, hellish cold. And you have to live somehow anew, find yourself. I want to curl up in a child's pose, because that's how you described yourself. You described all the greats, what Blok and Vrubel went through, it doesn't matter. That's it, this is a huge bow to you for that. Whenever I see the short story "The Bell", I always thank you. And I also wanted to say that the "Bell" itself, when you created it, it feels like it was being made in reality. But how was it in reality? Where is this "Bell" now? Koka was real, really. They were sick of it, we paid very close attention to the subtlety, so that it was... We called in craftsmen for its ringing, so that it was real, appropriate. Where it is now, it should have remained there. Everyone recognized it. And it should have been located somewhere there, that is, it should have been used. However, he says, I don't know where it is now, I can assume that it could have been confiscated as a prop by now. But we did everything for real. And it's not just the Zasluga mania, but the Zluga of the whole team. Yes, it's true. Such power, firm, such power comes from him. A great film. It was not allowed to be released for 5 years. And literally almost until the solaris of this antiquity was accomplished. That's it.Of course, it was very, very bad. It was probably very painful for you. It was incomprehensible, it was tragic and incomprehensible. And the main thing is that it did not correspond to the position of the Soviet government's policy. And I was given monstrous excuses, you probably know about this. I fought as best I could, I have fought all my life. That's how much strength it takes to present a mountain, and then another mountain behind it. Simply incredible strength. You had incredible strength. Incredible. I didn't feel that way. I felt that I was suffering. I felt that I could not create with full force. I felt that they were hindering me and trying to cover me. Like with some kind of cap. Not to let me develop. And the constant quarrels, the conflicts that occurred, although they were in polemics, it was kind of normal for creating a plot. However, I constantly felt unwell, I did not feel positive. That is, I create like Yesenin, he needed to be upset to create. That's how I feel. Although I wanted it differently. But probably such a tonality of your talent is minor. Probably. I found an amazing message. Literally, yesterday or the day before yesterday, while watching the film A.R. Rublev, a senior school girl wrote, bowing to the man who made this film. "I will have to reconsider the future itself." Well, it's nice, right? Yes, very nice. Because the film is really profound. I don't know how it is now, then not everyone could watch it. Yes, yes, it's true. I wanted to move on to "Solaris". We are going through the film. So a little will probably be right. So, this film was created in two parts based on the simultaneous novel by Stanislav Lem. Awards Cannes Film Festival 1972. "Fox. International Sweet Film Critics" and "Press". "Golden Palm Wind". These are very high, very beautiful awards. But for some reason I always underestimate that little room in your films. I would like to give them all the prizes in the world. Lem wanted to show in his novel that technical man is wonderful and that contact with other civilizations is impossible. The script was rejected many times, Lem didn’t like it, you didn’t like it, or the commission didn’t like it, but after the struggle, a completely different story came out. After your struggle, of course. About conscience, about love for the land, for home, for father, for nature. And Lem, after the film, when it was already released, swore that you had made not a science fiction film, but a psychological set of Dostoevsky. And in your diary “Mortyrologist,” Dostoevsky’s name is mentioned 76 times. I read the diaries, reread them very carefully. Since the early 60s, you thought about Dostoevsky, about the organization of an idiot, and... then all your work, we’ll talk about it later, it will all be imbued with these wonderful thoughts, feelings. You said that progress must be moral, that conscience is the main stage of human spirituality. And this is what your Solaris, your inner Dostoevsky, was about. Well, we understand correctly, right? Yes, we do. This is how I implemented it. Perhaps... someone still does not fully understand the idea. I am grateful to you, Olga,that you understood it thoroughly. Lem is a wonderful writer. However, we differed greatly, and his harsh criticism hurt me, because we looked at the future, at science fiction, as he understood it, and as I understood it, in completely different ways. Science fiction consisted only in the fact that man can create through the revelation of his soul. And it does not matter whether this is a relationship with other planets, with nature or with himself. Without revealing himself, man is just material, uncut material. Just as Michelaggiel had to be cut off in order to create. So I tried to reveal and cut off the excess in Solaris. It is amazing, it turns out to be a completely different film, a different story. You said in the strap that in this film "Solaris" we are not watching the Earth from space. No, we are not watching from Earth, but space. We are watching with the Earth's space. And Lema is the opposite, right? Well, yes, but I meant that the divine part looks at a person, at the human part. I just expressed it this way, in these words, as I understood it in Soviet times, and as it could be expressed. Sometimes, it seems to me, I directly feel that you want to say, "God, say time," "God, say wind." Well, right now I feel it very much. Of course, at that time it did not allow it. Well, the film was not accepted, there were 100 edits, a huge list of comments, it was impossible to fulfill all of this, they said that I was not going to do this. And then some miracle happened, and the film was released. And what really happened there? My struggle, I wrote letters and ... received a certain degree of protection for it to happen. And it happened. And even those ill-wishers who had been hindering me all my life, tripping me up, I knew, in principle, who they were and why. However, I fought to the last and was not going to blame anyone, either then or now. If it had to be this way and this is my path of development, then I have to go through it with dignity. I had such thoughts. Yes, you often repeated that a film director is the most strong-willed. art of being a film director, the most brutal, because you have to endure everything. Fight censorship. This is a multi-level understanding, and you, Olga, know and understand very deeply what I am talking about, and this is very nice. Thank you very much. I wanted to tell you that Vars von Trier adores you. He made Holly under your influence, completely, completely under your influence, and he calls you the most powerful artist of all time in cinema. And in his melocholy, he shows a painting by Bruegel the Elder, "Hunters in the Snow", and specially made a quote from your "Solaris". And of course, now we know that this is not just like that, everything is not just like that, that Bruegel, the previous artist, and now we know more. Yes, I am glad that memory continues in this way, and my business also continues, and this is very nice. I believe that cinematography is revealed not only from a business point of view, for the sake of earning money, that there is also a spiritual side. I also want to say a few words about your favorite film.I love her too, but I also have such favorite paintings. My favorite artist is Brubel. I have been completely captivated since childhood. This painting, what is special about hunters in the snow, as it seemed to me. There are many levels in it, and God is present everywhere. That is, God is not somewhere out there, but here. He is as if with people, and he is in the soul of every person, and the birds are there, he is in the soul of the birds. That is, it is all as if a picture of this whole universe. Well, did I understand correctly? Right. God knows, and is inside us. Right. Yes, yes, thank you. Now we want to move on to the mirror, to a special film too, extraordinary. Why extraordinary? I will now try to speak from myself, here, of course, all my personal. This is 1974. The award is recognition in 1980 the film "Mirror" was awarded the arrival of David Dett-Antella for the best foreign film shown in Italy. The first title was "White-white day". A wonderful title, a beautiful title. But then the mirror, how did it happen that Philipp Vinkovski-Monkey looks so much like you. What a wonderful white one. He was getting ready for the shoot and said the word that this was some kind of proposal "Mirror". And you suddenly heard, since, of course, you were in the flow, the clues were coming from everywhere. And then "Ah, this film should be called "Mirror"!" It's a brilliant title. That's how it was, right? A brilliant title. It was the working title "White White Day". I really thought about what to call it, because they were missing something. And yes, as you rightly noted, fairy tales were coming from everywhere. And the mirror has such a double meaning for me. It reflected me, it reflected my consciousness, my life, actually, my understanding. And this is a truly unique title. Indeed, the film turned out to be so auteurish, so autog... photographic, yes, that probably no one even doubted that this film. There were 20 variants of mirror installation, we see 21 variants. And right now I want, in God's words, I want to express great love to the mirror. Why? You ate our souls. You gave them back to us, legitimized them once and for all. This was in the tomakhra Soviet times, when... It means that we weren't even supposed to speak like that, everything that concerned the spiritual was forbidden and went beyond the limits. And you took your soul, I have such an impression, you gave it back like that, and showed it to us, and for me the mirror is an exit to human immortality. That's why I love this film so much. Yes, thank you, Olga. And I want to add even more, that... This is my confession before... Yes, it was my word that you are Dani Fimovna. I would like to say. I will explain why I also somehow really wanted to explain why. Because I was preparing for a lot of things, of course, for a lot, for your wonderful parents. I just really felt your mother. And I felt your father's divinity very much. Confessionally in the film, you see, like we are also children, for every child the universe is dad and mom together. God is not destroyed. But on earth it is different. It so happened that your parents developed. And you singled them out in this film.You created this divine construction. Restored the integrity. So the image there is a young elderly mother. It was amazing. But then my father, when he looked, said to our mother, look how he dealt with us. You, imagine, mortirologists, if they knew how I dealt with myself, then I do not believe that you punished yourself like that. You know, what they punished, this is any director, engaged in creativity, all this is likely, I talked about this during my life, you probably heard about it too, all from childhood. And so I tried to reflect on this childhood and correct what hurt in me. And thus, yes, I got money, and even my mother appeared in the frame. It is true, we know that it is all divine. Mothers and father, it is all divine. Of course. I have another question. So, your father writes you his poetic line. "I am the first guest on your birthday." And here is a question for me. It seems to me that you did everything in your work as an internal dialogue with your father, as if for your father. It feels that way, maybe it’s true. Yes, I always waited for my father to leave, I was very little. He was three years old, I think. Three years old, right? Yeah, and she says, I always waited to meet my father. It was always a holiday for me, it was an event. And this internal frustration remained. And before the film “Mirror” it was very strong. This internal struggle exhausted me. And only after this film, when I was able to confess, and in public, since I couldn’t go to church, no one understood me, it was a very powerful way out. And I subconsciously did this big thing, and for this I am grateful to myself and grateful to the audience that they accepted this film. I was really afraid of how they would accept it. Deep down, I didn’t know. And they really accepted it. They accepted it. My teachers accepted it. Many of them. True, they asked me. Olya, do you understand this more? Teachers asked. Maybe you see something more there, tell me. Well, the film is still, no matter how many times you watch it, so much is new and more complex is revealed. This too, it's just... It's infinity, it's a portal to infinity. Yes, he says, the more you watch it, the more you see yourself in this film. That is, initially this is my experience, but then each person begins to see their own, their traumas, their fustration, their way out of the situation. And this is a psychedelic film that provides a solution at the level of a visit to a psychiatrist. You can not go to him, but watch the film. This will help you solve many problems from childhood. And you can get enough, it is impossible to drown. Thank you very much for your answers. The image of home is very important to me. In all your films, the sacred house, your sacred house. It is without doors, aged walls, it does not protect, it itself is defenseless. There are no things there, there is no comfort, there is memory. Yes. From the heart. and rooms, portals for different people, and at different times. And what does this image of home contain for you? For me, the image of home is like a door of transition, like a portal. For me, unity already exists,being in that incarnation of Andrei Terkovsky, I knew, but it cannot be that I did not fully understand about the connection of past incarnations with the present. And for me it was only time... The clothes that are on top of us. And I had an understanding that we are one from the past, from the future, from the present. And I wanted to convey this. And so, as best I could, so it was conveyed. All the elements in your films have consciousness. Water has consciousness. Wind has consciousness. Fire has consciousness. Here is my question. This is the polyphony of sound. The waters in your films, the water has a voice, it is alive. And the word polyphony itself should be translated as fluidity. This is a hypnotic state. Waves, wind, fabrics, swaying. This water, it is dominant, it is your signature water, Tarkovsky's signature water. What does it mean to you? It means to me, for me it is the touch of God. The touch of God. Yes, this is also the correct interpretation. For me, it is the fluidity of the soul, the immortality of the soul. The sound of water sets you up to open yourself up inside. To the sound of water, you look inside yourself, you begin to tune in to yourself, and you begin to understand yourself. You begin to open yourself up through the characters. It is amazing. I lived in Moldova, and the sea lasted three hours. I lived only by the sea. I did not get out of the water for three months. For what? I ran and threw myself, and lived in zero gravity. And then, sitting on dry land at school, I crossed out the days to be in zero gravity again. When I saw these beautiful shots in your mirror, I found myself at home. That is, I was there, in the water, connecting with myself. Divinity was connecting with me. I was simply amazed. Does anyone else really know this? I was still a girl then. Water is very, very important to me. I really love that part of your films. And according to Dranyi Ved, fire appeared from icy water. this is the property of ice water it burns and your fire it is also sacred in your films your house is always on fire something else is wonderful but just this house it is also this fire exactly fire after all if universal fire if universal fire what for you your fire for me fire it is This is that... This is a state of transition. He wants to add that why is water important for you. Somewhere in you, as you probably know, water verses prevail, and you have had incarnations among water structures. That is, if you know, there is a planet where whales... you are from there, you had an incarnation there. Therefore, for you this state of weightlessness is very important. And supporting its input, you will find inner peace, harmony and inner strength that will help your you, your creativity. Because in creativity you are fire. Now about the chilling fire you are talking about yourself, not about me. And can I add a few words about water in the context very quickly. The thing is that for me, Tarkovsky's work is associated with this long-flowing water. Because we'll probably talk a few words about the film "Stalker" later, but I watched... the film "Stalker" when it came out, in a very small cinema in Dnepropetrovsk, where it miraculously came out,because everyone from Dnepropetrovsk went to watch it in the city of Zaporozhye, since Dnepropetrovsk in Ninja Dnepr was a closed city, there was a defense plant there, and such things were not allowed there. It was a film that was far from the first category there, it was shown in seedy cinemas, and they also went to Zaporozhye, but I was lucky, after all, they released it for a couple of sessions in a cinema called "October". A revolutionary name, it is no longer in this cinema. And that's why I am talking about this now, I was sitting there and I remember that in "Stalker" this hall was so full, this small hall was completely full, everyone was sitting and watching how the water flows in the film "Stalker". For a very long time there, this stream, that means the heroes, all this is there in the zone, and here the water flows, and I am in such a hall, nothing happens. For those times, and even now, it was amazing, just water flows. Minutes go by. I remember it clearly, I associated it with this film, and everyone sees something of their own in this stream of flowing water. That's what an interesting, personal memory I have. I think that many people also have something similar. Thank you. Yes, let's continue. May I ask a question? Yes. In one of the shots in your house, in the mirror, we see the image of... a young Akhmatova with the painting "Madellani", as it could have been if he had painted it. And I have a question for you. Here you write in your diary that Akhmatova talks about me after death. They love me, they remember me, they remember their love on Earth. These were your esperitism sessions, and your dreams were not ordinary with us, they were things with us. in sacrifice. And you write that you played cards with Shubshyn, as if in reality. And... You asked Pasternak how many films I would make? And he answered you, four more. And you asked, so few? And he answered, but good ones. Please tell me more about this. Because in those Soviet times you communicated so... easily and directly. Well, I never had a closed, as you would say now, channel, yes, that is, I had access to communicate with the dead. The transition, this transition, I could always easily cross this line. I did this in my sleep often, very often. All my dreams were not just dreams. And sometimes I could enter some state, I called it the state of creation, when I entered... Well, this happened to me in the mountains, in the mountains this happened for the first time. I could sit like this and look somewhere at one point. And at that time... Whole lives happened to me in that moment. I could communicate with Kostyrnak, and with Akhmatova, and with someone else. Yes, I just rarely talked about it. But I took a lot from there, because some ideas, they are all taken from these my... I thought then fantasies, but, of course, these were not fantasies. And I could not believe that people, if incarnation, have life, although, on the one hand, I believed, on the other hand, it is not proven. And this confusion is also disharmony, it also did not give me peace of mind a little. Here. Yes, it is interesting, he says. And he wants to comment.He says, Vladimir, he watched the film. He says, yes, it's a pity that my films were released the way you described it. That's what I was worried about, that it was second category, that it wouldn't be shown on the big screen, that few viewers would watch it. And now you confirm these words, and now, returning to that life, I... feel pain for how the events related to my brainchildren happened. Andrei Arsenyevich, I just want to quickly comment and say that I also lived at that time. And in my opinion, the fate of your films is the best that could have happened then. Still, yes, they weren't destroyed, your comrades-in-arms preserved them, and they were still released. And the fact that they weren't shown very often in Soviet times only added to their popularity, forbidden fruit is sweet, and people, you see, full halls were eager to see them. Maybe, even if these films had been widely released, since films about some ideological things would have, so to speak, taken a position next to them, it would have been worse. Because they would have been, primitively speaking, tainted with this ideological haze. But then all this, what was sort of hidden... It was immediately clear to all the intelligentsia, to all thinking people, that this is what they needed to watch. People, I'm telling you, came from Nepropetrovsk to the neighboring city, then it was an hour and a half to drive, from Zaporozhye, to another region, another region, to watch your films. Well, even the night light itself got through. Therefore, I think that this is still the best possible, and I think that it's good that everything happened this way, and in fact there were prizes, and so, well, I'm grateful. and to the higher and collective consciousness, that all the same your films still found their viewer, despite all these puns. I still want to say a few words. In Chisinau, some very nice person made a week of Tarkovsky films. And so we ran with friends, watched in all the cinemas. And there were many cinemas there for two months. Such luxury, and only those of your viewers who were yours stayed in the cinema, the rest left. Well, that's understandable. So you don't leave on the contrary, everything is very good. Yes, thank you. It's nice that this happened. Guardian angels protect me, and my children too. Thank you. Now we'll talk about Stalker later, since humanity is life before Stalker and after Stalker. It's a phenomenon. Yes, it was serious work, although I didn't think so then. Well, I can say that for us it's an award, just an award. And here, too, there is an award, the official jury award. So, in Cannes, a special prize in Luchino-Visconte in 1980. Direct David Natela. But... For us, it's a huge award. No awards can compare to what we get from Stalker. Each new generation gets its own award. You write in your diaries, martyrology, the world is badly arranged. Hence the tragedy of life, misfortune, the eternal search for harmony. His very creation of Stalker is a separate series, a thriller, it would seem. Stalker has already turned out to be not a screen adaptation of Picnic or even Pomatimov.the work I called at the beginning of the machine desire. Machine desire. We filmed three times, three years. During this, everything changed, and the members of the film crews, and the artists, the cameramen, the script was rewritten dozens of times. You felt that it was all still ahead. And here is the option, Kaidanovsky played in "The Beauty of the Cynic" and the main character was named Allan. This film "Kodak", this famous story, was given by a collected director. It turned out to be defective, some chemical was purchased from me. If I understand correctly, someone put money in our hands, and as a result 6 meters of film were rejected. At that time, perhaps, and other directors too, who were given this film. There is something like that. We are glad that this is exactly what happened in the first version of the film "Solaris". Stalker. So in general, it seems, as far as I know, here in general almost the entire first version of Stalker was lost. And we simply had to reshoot almost everything. I have a question about this later. Everything is fine. A separate, absolutely separate question about this. Well, there are many versions, and we don’t know what actually happened. What happened? Everything turned out to be bad. Is that true? Well, it’s not that it wasn’t all bad. In fact, if we take the technical issue, some part of it was bad, 540 meters or something like that. I don’t know what 540 meters is. Well, in general, some part. But in principle, the commission let it through. That is, I didn’t like it, there was no light or shadows. There were no differences, that is, I didn’t perceive it, that is, what was filmed was not what I wanted. And this... And they wanted to set me against our cameraman, that he filmed it incorrectly. But I knew perfectly well that it was done on purpose. But I couldn’t prove it. And your second option, which was there, didn’t suit you either. There was a replacement... Yes, of the cameraman, the artist. And only the third version, which became the great stalker, was born. Yes, and everything turned out as it should be, of course. I was very worried. Most of all I was worried about the money. Well, from the point of view of the material world, because if it had been impossible to reshoot, then I would probably have just... Well, I would not have filmed anymore. In the Soviet Union, most likely. And, probably, this is what my ill-wishers were getting at. But since I fought to the last, and I had enough courage and patience to go through all the purgatories, then what happened happened. And I am glad that the audience liked it. Yes, they gave money for 2 episodes of the film. There were subsidies, film, time, a miracle, too. Yes, I know. I want to say that we are moving a little into our favorite sphere. Here is the image of Talker, he broke through, he needed to grow. He did not immediately appear, he had to grow. You had to grow it from your nerve cells, from your blood, from yourself. And so you created an image, and the mouse's father appeared. A wonderful idiot appeared. It seems that Dostoevsky did it all himself. This is how your real, long-standing desire was realized. But here's a moment of attention. Only true desire comes true in the zone. Only primordial desire comes true in the zone.That's why such a unique, broken, ugly, holy, such an amazing image of a stalker appeared. Yes, only true desires, the truth, which come from the heart. And also, if you remember, the heroes talk and tell the stalker that... What is happiness? After all, happiness... A person cannot invent more than he lives. He does not have enough imagination. For a person, happiness is what he encounters. And this is very strong... So, in the film, the drama of the stalker himself was shown, when he felt that his life is useless. That he is leading in vain and then further, when they reach this zone, his desire. Yes, this is a very film, which for me was very philosophical. I thank Boris for the creativity, Boris Strugatsky, he means, for helping me make... the plot and cut up ideas. From these ideas I already adjusted them, I reasoned and created from my heart. And so it turned out so interesting. Well, of course, with the programs, of course, that taking into account the correlation, but nevertheless. I want now... I just want to very quickly add, excuse me, I'm interrupting you, we just had a conference on the channel with the Strugatsky brothers, and there we also mentioned both the roadside picnic and the stalker, so those who want to, please find it easily. And you can watch this conversation with the most famous writers where we also talked about the film stalker. Excuse me, go on. No, Boris Strugatsky, he's a mile. He was completely delighted with you. Despite the fact that a lot was redone and called at night, and he said that a genius, a genius, a real genius, what to do? He's a genius about you. Yes, he often called me a genius, it confused me, because I didn't think so, and the video in it, it's heterogeneity, brothers. You know, he also said such a wonderful phrase, I really like it. We definitely summoned some cosmic forces to ourselves with the stalker and now we have no power over what we started. Yes, because the plot was created on its own. It was written independently of us. Writers know this. Narodimir also felt this. And you, Olga, when you create, you also feel it. The work lives beyond the will of the author, when the flows of creation begin. Family stalkers, who have invested in themselves so much and everything that they could pull out of the universe like a magnet, they also live, like people. True, I don’t know if this is true? True. Stalkers? Oh, true? Of course, true. They just live in a different reality, you can’t touch and feel them, but, of course, here you go. So, your stalker lives? Yes, he is alive and will live forever. I also watch stalkers on other planets, I’m sure. Probably. Vladimir and Marinochka can recognize it. Yes, yes. And here I have another nice question. Once in a European country you were asked, what kind of dog do you have there? And you answered, a dog like any other. But in fact, of course, it was no ordinary dog. This is Anobis, the god-guide of the dead to the afterlife. In the old kingdom he was the sub-ruler of the micropolis and cemeteries, one of the judges of the kingdom of the dead.Did you know about this image in advance, when you asked for a dog with such long ears? Or was it a push, a hint, and the solution came later? It was an inner impulse. As I said, I communicated with a semi-alien world. And for me it was so natural that I just knew that I didn’t need anything else. I just took what was needed. Now I have a question: Lyudmila Feigina, your editor, did she also decide to save the first part of the film, right? She filmed it at her home and there was a fire, and she died, and the film was destroyed. So that’s true, right? The film was never found again, yes. No one saw the film again. Andrey, please tell me, Anastasia Alexandrovna, what was the spiritual reason that the film was destroyed and this part, the previous version, was not preserved? Was there some spiritual reason for this or not? It is not always the action of the person who influences, there is a spiritual reason from this point of view. The spiritual reason, if you look deeply, is simply this disclosure, another disclosure. That portal closed, the first version closed, the only one remained, that is the spiritual reason. But the actions that were done, this is the action of a person, this could not have happened. Well, yes, but we heard the reason, yes, thank you. 1976, you talk a lot about your struggle, and this is all the time, all the time in your diaries, all the time in red lines like this. And you write a letter to the Presidium of the 25th Congress of the CPSU complaining about unemployment and the controversial actions of Ermash and, in general, the eye of the cinema and after this appeal it somehow became easier, some project was approved, something happened. Yes, it became easier to breathe, that is, the pressure became less for a short time. But, as I understand it, to work to the delay with the company's exits, the pressure that was constantly experienced in Gospina, poisoning, it went beyond all boundaries. I saw that these were inadequate actions of the leaders in Gospin. This does not mean that I am filming something wrong, it means that something is being given to development. And this was my cry. But, probably, as I understand it, that agreements had already been made with foreign companies, certain individuals who bought the rights to my films, and this gave me the opportunity to breathe. Actually, I always felt the support of the West, although, probably, in the sophistication of a Soviet person it is very humane to say such things. Now we can probably say whatever we want. Now yes, now yes. Then this West will help us, it is very sweet, it is now like a joke. But then to say such a thing, it is unknown how it will end. Yes, I did not want to be a political prisoner, because I knew that then I would not be able to create my films. It was very difficult to go through these bars with nails, to stay alive. Yes, you said it right, bars with nails. And I got out, although bloody, but I got out. We thank you for stalker I thank everyone who was with me and did this. And even for the GUS-cinema Committee, who gave permission to reshoot, and even for ruining that film, I also thank you.That is why I am glad that it turned out the way it did, and everyone played their part, including me. And now I believe that this work is... Immortal. Absolutely right. That is how it is. I cannot help but mention that you had a production by Harry Tovlinkami in 1977. It went down in the history of the theater. Natalia Savanidova played there. Margarita Terekova played, his mother, when there was an 8-year age difference with his. Laverta was played by Nikolai Karalchinets, Apelya, an actress, Ina Chulikova. But were you planning to film Hamlet? Yes, I really wanted to film it. I really wanted to, but... You know, like any director wants to make a great work. But I always succeed. And I was not satisfied with my work either. Although it turned out unexpectedly for me, but I wanted it. I always believe that I am supported by forces that unexpectedly reveal opportunities for me when I had given up. That's why I fought to the end, but at the moments when I was already tired, they carried me in their arms. Okay. You received, signed, then, the filming of the idiot. The documents about your cherished desire, which is more than ten years old, were certified and signed. Yes, but it did not happen. It did not happen. But it's still good. I wanted to stage the idiot, it was my dream. But others staged it. To Andrei Seevuti, you wanted to talk about a difficult moment when in 1980 you went to Italy to work on the script for the film "Nostalgia". And together with Tony Noguer, you are filming a documentary "Time of Travel in Italy". You were looking for "Nature for Nostalgia". Stanina Goira, great creative people, two great creative personalities. How were you able to write together, create a script? He is very, very impulsive. Well, he is Italian, he is very impulsive, and I, on the contrary, am very phlegmatic. And this was our interesting tandem. And given that he listened to my vision... That is, he gave me the opportunity to reveal myself and show... I was making a film about a Russian, how a Russian sees Italy, and so he gave me the opportunity to reveal myself. And I revealed some moments to him that he did not even notice. And he was grateful to Semi. And he revealed incredible places to me. And in these places I studied myself, studied my inner state. My faith, in particular, whether I believe in God, how I feel about him, all this was revealed in Italy, where I was not forbidden to believe in God. You were very worried that Nostalgia did not receive the Grand Prix. And as they write, Fyodor Bondarchuk influenced this. Yes. And there was a conflict. And he spoke out against your film, openly admitting nostalgia. And it so happened that you were waiting for the Grand Prix, because it would have been an unconditional, complete recognition. And money, and new relationships with producers, and a completely different status. A completely different status. We gave you a different award. Well, I wanted to ask, was it really something about Vanderchuk's persecution, some kind of attitude on his part, right? From my point of view, Vanderchuk simply expressed the point of view of the USSR as a whole, the government of the USSR. I don't want to blame him personally.I would say so to the guns but I was surprised by the moment that it turns out I am not a Soviet director and my film is not Soviet either and this hid me to the depths of my soul not even that I was given the grand prix I received enough prizes but I was deprived of this moment I was undermined as to my further destiny and an earlier course. I took it painfully then and could not return to my homeland, as is known. That is, can we say that this was the starting point of oncology? Yes, we can say so. Now, Ol, and also tell me, please, Andrey Yersinich, have you met with the spirit of Bodnochchuk in the spiritual world? If so, at what level is it? I have not met. We have not met. And at what level, do you know? No. That's it, sorry, yes, I continue. Here, on July 10, 2004, at a press conference in Milan, you announced your decision and returned to the USSR. And in the homeland there was a house left, which was repaired with all their might. The homeland. There are different versions of this event, but... something happened, now we have already heard from you that this was the starting point. Yes, it happened that way. Yes, I was only a wife, there was a house, friends, a son, relatives. You tried for many years to get your son to come. Well, yes, they released him very late. For a long time I did not understand why they did not release him. On the contrary, if they wanted to get rid of me, give me back, let me go. But no, they had to torment, torment until the last. And this was the whole Soviet Union for me. It tormented. I loved the homeland so much, I was devoted to the homeland, but I felt this torment. For me, sacrifice is like one film, it is like two episodes, for me. Yes, it is like a continuation. And in this sacrifice I sacrificed myself, as you understand. We work until the last drop of your strength. This was a sacrifice, your sacrifice. Do you know that they erected monuments to you to the entrance to VOVGIG? You are there in the company of Vasily Shekshin and Gennadiya Shmalik. I am very pleased that the memory of Russia in the post-Soviet countries, as it is now, is alive and... and my companies are a relevant part of life. And another monument was opened in Suzdal, where they filmed the short story "The Bell" by Andrei Ryblyov and the idea of ​​Nikolai Burlyaev. Great. And where is "The Bell", of course? "The Bell" has different versions, so I wanted to ask about it, because there are different versions, I don't know for sure. They say that it was taken apart and hidden somewhere. Well, most likely, it was taken apart. I know that we wanted to install it there, but probably, yes, it was taken apart because it is bronze after all. They opened a foundation named after you, the Zerkalo festival, a film festival. There is a Tarkovsky Prize for the best film there. And in 1988 your name was given to Wow! I need to see, Dena. I need to see, yes, really. I don't need a number I was I am I will be and this is a brilliant line from your father in the spring of torpovstva yes yes and in this we are very similar with dad at level 18 and I am I was I will be this is about us as we have Vladimir asks this is his priority I want to say that in Solaris father speaks about the fragility of the world, about the fact thatWhat a tender and fragile Earth. And now we live in all your films at once, because we have a daily nuclear threat. Weapons - war in Ukraine, and we, children, will die, and it is very difficult for me to talk about this. To die as a nation, youth. We are losing our homes, we have erased the faces of the earth, cities and villages, all this continues. Do you know what is happening in Ukraine? Well, I know and I said in my lifetime that... a famous phrase, that there are no winners in war. But when there is a winner, he does not win the war. Unfortunately, people realize this very late. Therefore, war is madness. War, it is not constructive by definition. And I always did not understand when my father went to war, when he fought, when he came as an invalid. I could not understand what the point of this war was. And I am grateful that my father remained alive, and how many people died. And I understand that in this war people are dying, perhaps in an undiminished number. Maybe in a larger field of weapons absolutely now. And to convey through my films. that this is madness, I... I am such... I wanted this in each of my films. However, the idea of ​​opening the soul, probably, everyone understands in their own way. And for some it is still inaccessible, since then not everyone understood my films, and they seemed boring or monotonous. And even great directors, my colleagues saw monotony in this and... did not consider it something. a great creation of the director. Therefore, I could only convey through films. And if you ask what I would like to say now to those people who are in this state of war, then to those who are in this territory, by force of will to go through this test. That is, if you are here, you probably need to get this experience. To take care of yourself, to take care of your loved ones - this is the task of everyone. Because God protects everyone, but without your personal help God cannot protect everyone, because in this life, in living earthly life we ​​are all parts of one whole, but each on his own. And the task is to protect yourself, this is primary. I would like to wish, that is, courage to go through fire. and save your soul, not to destroy it with aggression, hatred. to save the divine origin and to those who are the instigators of this situation, to understand the senselessness of these actions, because the world is united, you will not take the conquered territory with you, your descendants will not exalt you, because your people are dying, your one nation, one nationality. And earlier we would have said that the people of the Soviet Union are united. 15 nationalities, 15 republics, more nationalities. Now, perhaps, it is different. But then one for one it was, it was felt, it was unity. We did not have differences between Georgians, you are Russian, or Tajik, or Ukrainian. This did not happen. And now, when Ukraine is at war with Russia, Russia with Ukraine, the Slavic peoples, it sounds strange, to say the least. Brother cannot fight with brother. This takes me back to the 14th century, when we were filming Andrei. And, probably, passions about Andrei remained. And it is a pity that time made such a loop and returned everything.at the end of the 14th-15th centuries. All this, review this film, and perhaps everyone can draw their own conclusions. I would really like to help everyone now. And, probably, now I would shoot another film, another picture. And, perhaps, it would be perceived differently, but unfortunately, I can only summarize with the film that I shot. Olga, who shoots companies beautifully, and which have prizes at the Cannes Film Festival. And, perhaps, she will be able to worthily apply this light stick and apply it to people in the senselessness of this insane war. I wish Olga to do this, I know that she does it to the best of her ability, and she succeeds. And she feels me. I, she says, will guide you. Thank you for your great films and for your high thoughts that support us. Supports the person in the person. Yes, to remain human is the main task of the embodied part of the soul. And stay with people always, in any situation, no matter what, and then the world will remain peace and the war will end. Thank you. The most important words. Thank you. The most important words now in the context of that, in fact, terrible situation that continues to develop in these warring now, in the war-torn territories of the former Soviet Union and further these two nations, Russia and Ukraine, well, what can I say. Everyone knows this, but I am very grateful for these important words spoken, for this comment. Good afternoon. Is that all for you or something else? Now I have a few more questions. Yes, of course, of course. I am simply under the impression of worse. I thank you with all my heart, Andrei Arseniovich, for such convincing, detailed, thorough and important answers to the questions that your colleague asked, who deeply understands in all these topics what she is asking about. A professional by education, a director. Thank you with all my heart. Well, I'm asking more as a viewer too. You probably shouldn't say, admirer or fan, or something like that, but a person who really appreciates your work and as a person who is involved in this spiritual project, so I'll just ask a couple more questions. Please tell me, have you managed to, so to speak, are you aware of the film industry? After you left? Maybe you can name some films that you consider very talented? Maybe before, maybe after, but what you think is necessary. What do you value in the art of cinema in recent times? I value documentaries very much. And I'm not very, maybe, in the trend of modern cinema. cinematography, he advises watching some film called "Insomnia". I don't know what kind of film it is, to be honest. Maybe Olga knows. And in what country was it filmed or the director? He says that it is a Soviet director who lived abroad, or lives abroad. Olga, do you know the film "Insomnia"? I've heard of it, but I haven't seen it yet. We'll definitely watch it. I'll find it too, yes, I'll find it, yes, we'll find it. Here he advises us to watch it. Yes, he wants to advise Olya to tell him. Here he says,what, Ol, please use water in your companies. Work with chiaroscuro and black-and-white photography. And... If you like my presentation with music... then use it, and it will be a masterpiece. I just wanted to say about the music separately, that a separate program is needed. Yours is so complexly structured, alitro-musical. This score of yours, which you arrange in films, it is worthy of a completely separate conversation, a separate program. That's how it is, complexly there are so tenderly all sorts of secrets built in. You need to analyze and enjoy. Yes, he says, you have such a moment, he says in front of everyone. He says that when you want to convey a silent scene, then use classical music, loud and bright. A silent scene. When you convey voices or some actions of people, then the music should be quiet, and its tonality should be high. In order for... so that a person immerses himself more in the actions of a person, in words, and through his "I" looks at what is happening. Because it is important for a person to go through himself and look at the film with his own eyes, first of all, and only then with the eyes of the director. Yes, in my film I myself prepared very carefully for this script. And a composer from Italy wrote music for free in the enchanting material of the film. And we worked with him as if with a pre-breath. I myself came up with the voice of the tree, it appeared in the eighth. The voice of the tree, I turned it on with my voice and I myself did everything about it. And from a musical point of view, I hear that we ... Yes, I have Bach, by the way. Bach, these are your mornings, he says. But I also know that I would have had him. Oh, the phonographic chorale prelude. In "Solaris" Eduard Artemyev reworked it. He recognized such voices. You have so many noises. You were looking for only 20 noises of foliage there. But it is simply amazing. Because everything sounds there. The consciousness of "Solaris", how to express it? How to express the consciousness of "Solaris"? And it is necessary to separate it from the airiness of the earthly stars and cosmic stars. Yes, for some reason it gives an image now, you know, when you walk on fresh snow and it crunches. That is why I somehow say that to the Throne somehow else, probably, I do not know where it is, if it exists. At least, I do not know about it so far. It is on Earth, probably, there is information about it. But what is God? It is... It is unconditional light, it is the light of creation. In this state, you feel the potential of your creation. You know that this point of singularity, when you can create any desire of God, and you are ready to serve Him, this is it. And I am ready to serve. I am ready at any moment. And this readiness helps me to feel unity with everything that is happening at any point. the universe, the universe, in general, not only the manifested and unmanifested. That is, I know that I am simply ready and can be wherever I am told. Thank you, Andrey Arsenyevich. And I understand that we have run out of questions. And I just want to offer you, if there is a desire, maybe you want to add something else, to address everyone. If you have such a desire, please. Everyone should believe in themselves, be honest with themselves, carry their light with dignity. No need to adapt, no need to look for benefits. If it is against your inner state, then, from my point of view, it is not worth my life. Of course, there are different experiences, and perhaps you need a different experience. But my life experience shows that when I act from the soul, from an open heart, when I go according to what I am simply drawn to, pushed and do not look at the barriers, the obstacles, at everything that I had to go through, this further gives enormous opportunities for the realization of my Spirit. Please remember this. I want to wish Olga incredible creative success and the realization of all her ideas. And do not be sad, take away the pain that is inside you. Believe that pain does not allow you to move forward. On the one hand, yes, it helps to create, it kind of starts this mechanism of creation, but it does not allow you to realize yourself to the fullest. I didn't have enough either, I wanted more. So I wish you not to repeat my mistakes, move on. Thank you from the bottom of my heart. I want to thank Olga again only thanks to her. This most important conference took place, it was sponsored, and Olga had excellent questions. I thank the spirit, well, I'll say it straight, I thank you Andrei Ivanovich Tarkovsky, I thank Marina from the bottom of my heart for the excellent transfer of information and you, I thank friends of all those who carefully watched this very important, I am convinced of this for everyone, conversation. Until next time, dear friends, on all the broadcasts of Altcovan. Until next time! All the best.