Original subtitles

The inscription on King Solomon's ring read: ''All is vanity''.

l would assert that in the human mind all is imprinted and preserved.

Ethically speaking, time is reversible.

For man, time can't just disappear without a trace-

-because it's subjective, belongs in the category of spirituality.

The times we live through are stored in our soul as layers of experience-

-bound by time.

ln some ways, the past is much more real-

-or at least more stable and constant than the present.

The present is ever elusive and disappears like sand through fingers-

-and only achieves material weight in memory.

Once upon a time, long ago-

-an old monk lived in an orthodox monastery.

His name was Pamve.

And once, he planted a barren tree on a mountainside, just like this.

Then he told his young pupil, a monk called lvan Kolov-

-that he should water the tree each day until it came to life.

The monastery scene happens here. You tell the boy the story here...

You talk about the system. Then you say: look how beautiful it is-

-like an ikebana, only bigger than in Japan.

Then there's a cry from Otto...

You can't get rid of me so easily, Alexander!

Beautiful, isn't it?

lt's like in Japan...ikebana.

l've been invited to your place tonight to celebrate your birthday.

lt's a great honour for me!

And then, when he asks about God, you tell him nothing.

You don't want to talk about it.

You walk in this direction...

-What's your relationship to God? -None. What do you mean?

You get on the bike...

..and begin cycling around him.

And you walk...

...and you cycle around.

You walk. Do you follow?

Walk just the way you like.

Cinema is the only art that operates with the concept of time.

Not because of its developing in time, because so does music-

-and theatre and ballet and other art forms.

l mean time in the literal sense.

After all, what is a take?

From when we say: ''action!''

To when we end by saying ''cut'', what is happening?

lt is the fixing of reality, the fixing of time.

The conservation of time-

-for us to keep forever.

No other art form can fix time except cinema.

So film is a mosaic of time.

...all three have dialogue.

So what is the essence of the artistic work in film?

With certain reservations, you could call it sculpting in time.

Just like the sculptor takes a block of marble and with a feel for-

-how the future piece will look, carves away all that is superfluous.

The film maker also carves away all that's superfluous from a time block-

-from an enormous and solid mass of living facts.

ln the finished product, he only leaves the necessary elements.

That which will stand out as the components of the cinematic image.

We dolly a little faster.

The walls are...

Come here.

This is what they were like in Gotland.

Does he want it darker?

No, l don't think so.

Doesn't he like it?

lt's beautiful in its own right...

l don't like the colour. lt's red.

-The sofa or the cushions? -Both.

The biggest obstacle in dealing with the set designer and cinematographer-

-is to make them, as well as every other member of the crew-

-into collaborators and shapers of the idea behind the film.

lt is fundamental that they are not passive, indifferent to the work-

-but instead participate as creative artists-

-who share the director's feelings and thoughts.

Beige?

...in this colour, for example?

lt would be good. There'd be contrast.

Right. So we could have the same for the chairs and the sofa.

The glass is very beautiful.

There could be reflections from over there, too - everywhere.

What do you think? Do you like it?

l think it's good, but we should blacken it a bit.

-No, no, no! -Yes. Just a bit.

We have to make a decision on principle.

The background will be dark.

And the walls will be dark; it'll be better.

Can we move this mirror if we have to? lt's very beautiful - so simple.

He was very involved in the set design.

He chose the exteriors himself, plus the interiors and the furniture...

The assistant director normally takes care of all that-

-at least in Moscow. Here, there's no such job.

l was assistant director for all his earlier films.

He was pedantic about detail-

-the colour of a dress, or hair or make-up...

He was involved in everything. And the results show on the screen.

All this might seem petty, but it isn't-

-because everything contributes to the feeling in a film.

lt wasn't that he didn't trust people or didn't want their help-

-he just believed that what he could do himself, he should do.

l'd like to quote from his diary...

...from March 25, 1 985.

''Never trouble anyone else with what you can do yourself.''

That was typical of Andrei. Both at work and in private.

We could be placed diagonally, too. As we like.

There's not much window there.

Maybe over here instead.

This is good!

We could move the table... to the centre of the picture.

lt'll be melancholic.

lt's good, this interior with the old furniture and the lamps...

lt provokes a sort of nostalgic feeling...

We can do it however we like.

So you prefer this angle? Because there are dark walls and 2 windows?

This or the one from the middle.

-But dark walls? -Yes.

The lights dimmed more and more, but it didn't grow darker.

As if the age of light, the unnatural delayer of darkness-

-was almost in reach.

The darkness that should have fallen long ago, but still had not set in.

Alexander sat in an armchair by one of the living room windows-

-thumbing through a thick monograph of old Russian icons.

The pages rustled. Gold and ivory-

-purple-coloured and fire-like creases in garments, rock-ledges in ochre-

-glimmers of a fantastical, never existing architecture were observed.

Look in the camera.

That's good, Erland. l just wanted to see something.

...too much at an angle.

Could it be like this?

But it'll be hard for him.

Hold it like that.

The curtains should be fluttering.

So, film is fundamentally an observation about the facts of life-

-through time.

Contemplation that corresponds with the patterns of life and laws of time.

Observation means making choices.

After all, we only leave behind the right components of the image.

But the image doesn't become truly cinematic until it not only lives in time-

-but when time also lives in it.

l used to feel that way, but when the boy was born everything changed.

Not all at once, of course, but little by little-

-as he grew. l'm very attached to him.

They have to be able to walk behind the picture, Kicki.

...so the actors can walk here.

We could put a weight here and two supports.

When the father stands up...

...you'll begin from here.

Then you straighten up... turn...and walk...

Should she do that with her hair? - Do like that with your hair.

But there were people living then, and not so badly at that.

And after that line you add: ''What are the words?''

-''l am so sick for freedom...'' -Yes!

You are trying to recall something.

We want to suggest that these are not your thoughts.

You turn around and walk...

''l am so sick for freedom, that if anyone should forbid me access''-

-''to some corner of the lndies, l should live''-

-''distinctly less comfortably.''

''As long as l find earth or air open elsewhere''-

-''l shall not lurk in any place where l have to hide.''

This is how we'll do it: Adelaide stands...

Searching as a process, is to the finished product-

-as the walk through the woods in search of mushrooms-

-is to what has already been found and collected in the mushroom basket.

Only the full mushroom basket is like the finished work of art.

The content of the basket is real and unconditional-

-while walking through the woods remains a question of loving walks-

-and fresh air.

l want Sven and Andrei to decide how to set up the dolly-

-by the water because the guys want to start building the rails.

Shall we pump water from the pool over there?

The difficulties in connection with a film's concept has very little-

-to do with the original inspiration for it.

The problem is keeping your conception intact and uncorrupted-

-as a source of inspiration and symbol for the finished product.

The risk is that the conception degenerates in the rush during filming-

-and that the film is mutilated during the process of its own realisation.

The film's path from conception to finished copy is fraught with danger.

lt's not just technical problems, but also the number of people-

-who are involved in the process.

The hotel will go crazy if they have to give us lunch.

So much to do! l hope these won't be in shot tomorrow...

Try to get them to shoot from the inside looking out...

We're gonna need farmers and cows...

lt's no exaggeration to say that the director runs the risk of transforming-

-into just a witness who watches while the writer writes-

-the set designer designs the sets, the actors act-

-and the editor edits the movie.

That is actually what happens in extremely commercialised productions.

l just have to check the exposure...

We could as easily shoot this scene outside the Film lnstitute!

1 52 when he goes in, and 1 65 later...

First there are big letters saying: 'Katinka Farrago presents'-

-and then it says: 'Tarkovsky' and then itjust starts!

You can move mountains when people who work together to realise a vision-

-in spite of different personalities, temperaments and ages are united-

-into one single collective inspired by a common passion.

lf you can build a genuinely creative atmosphere among the crew-

-it won't matter who's the originator of one idea or the other-

-about how to realize the movie. Who thought of how to achieve a close-up-

-or a panning shot, who suggested a certain lighting-

-or a certain camera angle.

-We'll shoot as soon as possible. -Yes.

-But we have to fix the poles. -All of them?

Yep. All six.

lf there's something l see before a shot-

-something l visualize, it is more the actual state-

-the character of the tension in the scenes to be filmed-

-and the psychological state of the characters.

But l still don't know anything about what form it will take.

l go to the location to get a feel for exactly how-

-and with the aid of what tools this state can be realized on-screen.

Once l have this clear in my mind the shooting begins.

Not at all! lt's genuine. lt's an original.

-lt's not possible! -Oh, so beautiful!

We'll have to take it inside. Come on, then!

lt's much too expensive... l'm not sure that l should...

My memory retains only what l need to remember.

l never remember things that could hurt or disturb me.

This doesn't mean l'm not aware of things.

lt's just that my memory is selective.

lt retains certain things independent of my will.

l'm not claiming l have a good memory: on the contrary.

l remember few concrete details. But l have a strong emotional recall.

l recall feelings rather than meetings, people and situations.

External events, intrigues, causal connections-

-mean less and less with each movie l make.

l've always been interested in man's internal world.

That's why it's more natural to travel through my main character's psyche-

-within the cultural traditions that is the foundation for his spiritual world.

l'm interested in the human being, because she has the entire universe-

-hidden within her. And in order to express this idea-

-about the meaning of human existence you don't need a wide screen-

-with an abundance of events.

You mean that in 3 or 4 shots he walks around her?

Maybe it's a little unnatural?

What do you think is best?

We see her in the foreground and he walks around behind.

So she is in medium shot in the foreground-

-and he is in the background. That could be really good.

And then a cross-cut shot - and this is a close-up-

-where we see her face only once.

lt's important to see that she's tense and a little mysterious.

And then a really good close-up of her face and eyes.

l'll go now.

My relationship with the world is more emotional.

l have a contemplative relationship with reality.

l don't think about reality - l try to perceive it.

l relate to reality more like an animal, like a child-

-more than a mature adult who can think and draw conclusions.

The actor has to maintain a psychological state-

-that is impossible to simulate.

The film has to show the truth of the state of the soul that can't be hidden.

The director who has put the actor into the right frame of mind-

-must then make sure that no false notes arise.

The film actor can put himself into the right frame of mind in different ways.

lt depends on external circumstances and the personality of the actor-

-that you're working with.

The important thing is for the actor to express different soul states-

-that are his own, that are natural to him-

-and correspond to his psychophysical, emotional, intellectual constitution.

l don't care how he does it. l don't have the right to force-

-the actor to express in a certain way, as we all have different ways-

-to experience any given situation.

Your mental state is what is important.

Shall she move towards me or away from me? Towards or away?

lt can be detrimental for an actor to be too aware-

-of the director's overall plan when he arrives on location.

lt is up to the director to structure the role-

-in order to give the actor complete freedom in the individual passages.

A freedom which would be unthinkable on the stage of a theatre.

lf the actor structures his role himself he is bereaved of the opportunity-

-to act spontaneously and instinctively within the dictated framework-

-of the intentions for the plan of the movie.

He drank more brandy in the dark-

-but felt ill and dizzy.

So he knelt down, clasped his hands-

-and tried to focus on the immobile tree tops.

Then he started praying for the first time in his life.

Serious prayers for the first time in his life.

You remember, you should be looser, and you turn your back.

This is the pattern: you walk away, with the glass-

-and then you stop, look at the picture, and remember the words.

''Our Father, Who art in Heaven''...

The feeling we get is that we don't know what you're doing.

You go down on your knees, but not to pray.

Maybe you're drunk, maybe you just have no strength; l don't know.

Then you start talking and lift your eyes...

-Ready for a rehearsal! -''Repetition!''

ln order for an actor to look expressive in a scene-

-it is not enough for him to be understandable.

He also has to be forthright and honest.

What is forthright and honest is not always easy to understand.

When a human being on-screen, as in life, honestly expresses-

-a specific feeling, it is a unique experience that can't be cut up-

-or given a final explanation.

Our Father, Who art in Heaven, hallowed be Thy Name...

Lord, deliver us in this terrible hour!

Don't let my children die! Nor my friends, nor my wife-

Nor Victor - nor anyone who loves You, believes in You...

Nor anyone who doesn't believe in You!

You don't have to direct Erland. He knows what to do himself.

l never have to-

-make an effort to push him in any certain direction.

l just tell him my understanding of the character-

-and what my intentions are in general-

-and that's all Erland needs for him to know what to do.

l have never had trouble communicating with him.

Of course, you always have to tell an actor-

-what you want from your film and what you want from his role.

But working with Erland isn't hard. lt isn't work at all!

...it's better anyway.

We need the mirror here.

Otherwise, we're dollying into emptiness.

lt's not right, l don't understand why...

We'll have to turn it that way, but it may just work.

Raise the light!

Number one, Hasse!

Now it'll show. Do you see?

-ls it better now? -ln principle, yes.

Lift a bit...

When the director decides the camera's and actors'movements-

-he must use the main characters' psychological state as a starting point-

-and the inner dynamic atmosphere of the situation, and tie it all back-

-to the truth in the individual, in the directly observed-

-in the unique texture.

That's when his concrete staging is combined with the ambiguity-

-of this truth.

lt's often, and correctly, said that all art forms experiment with montages-

-a selection and a new composition of parts and fragments.

But the film image originates during filming and exists within the shot.

Therefore, l concentrate on the lapse of time in the shot-

-in order to recreate and reproduce this.

The editing, the process in the editing room, disrupts the time flow-

-interrupts it and at the same time brings it new qualities.

The distortion of time is a way to rhythmically articulate it-

-and sculpt time.

-No, no, no! -What is it?

No, no!

l can't!

Drink this...

No!

...there!

lt'll soon be over.

Who has frightened you, Alexander?

Editing is just the perfect variation of the joining of the shots-

-which is already implicit in the filmed material.

Through the special qualities that the material has obtained during filming-

-a self-organizing structure arises during the editing phase.

Therefore, the editing will express the inherent nature of the material.

Everything yellow has to go!

ln the courtyard, a flowering bird-cherry grows - placed there.

And beneath it is a stack of firewood, against which Alexander leans a bike.

The bird-cherry blossoms fall down over his wet face and dirty clothes.

A flock of sheep runs away, bleating, when Alexander reaches them.

We'll try to have the sheep further down, but remember-

-not to scare them in that direction, but here instead.

l'm just worried about in which direction they're going to scare me!

Erland, some on this side, too...

This looks like dry dirt; shouldn't it come from a pool as usual?

l shouldn't have to describe a Bird-cherry to Swedes!

Everyone knows what they look like, but they're giving me black looks!

We went out to the country yesterday just to see what they look like!

lt was as white as a bride!

But this one isn't!

Clear it all away!

You've got 1 0 minutes to take everything away!

There's no time. Take it all away.

He returned to the entrance and knocked. No one answered.

After a few minutes, when he'd already been filled with despair-

-the floorboards started creaking inside the house. Steps were heard.

ln the small window by the entrance a sharp, flickering light appeared.

Alexander heard Maria's voice, filled with drowsiness.

Film directors can be divided into two categories:

Those who strive to imitate the world they live in-

-to recreate the world that surrounds them...

...and the directors who create their own worlds.

Those who create their own worlds are generally the poets.

They are: Bresson, above all...

Dovzhenko...Mizoguchi... Bergman...Bu�uel...

Kurosawa...

...and however strange it may sound, the most prominent in film-making.

That is why they have trouble getting their films out.

Because the audience is used to a symbolic, non-existent film world-

-the result of the audience's own interests and tastes.

The directors l named have all opposed this-

-that the taste of the audience should be the deciding factor.

Not because they want to be obscure-

-but because they want to listen secretly.

To give expression to what is deep inside those we call the audience.

You ask what relationship he had to his home...

Home was very important to him.

And as you have seen he has put our home into every one of his films.

The interiors, the feeling...

...the soul of our home.

Not as exactly as a photograph - this is art, after all.

He used other forms and other characters than ourselves.

But still: his life and his home are present in every film.

We deeply missed our home during our five years in the West.

This was our first home, and he loved it very much-

-and worked so well there. He used to draw the house often.

He wrote: ''l have been resting here for three days''-

-''but it feels like l have regained a whole year.''

''Now, l can work. But where is there work to be had?''

ln ''The Sacrifice'' he told the story of how we found the house.

lt was just as the man told his son-

-who is, in fact, our youngest, Andryushka-

-we went into the woods to gather mushrooms and got lost.

lt was grey and drizzling - a strange atmosphere.

There was a nasty, cold drizzle falling.

We came to the bend where the dry old pine tree is.

And just then, the sun peeped through.

lt stopped raining and there was a strange light.

And then we saw it. And suddenly l was so sad it wasn't me-

-that is, not me and your mother-

-who lived in that house, under the pines and by the sea.

Do you like your house, my son?

Film is the only art form where the artist can feel like-

-the creator of a reality, of his own world - literally.

ln film, mankind's inherent need for self-assertion-

-has its most comprehensive and direct realization.

Film is an emotional reality.

lt is also that way, as an alternative reality-

-that it is perceived by the viewer.

Stop moving!

The artist's inspiration arises from the very depths of his ego.

lt cannot be dictated by external, business considerations-

-but must have a connection with the artist's psyche and conscience.

lt stems from the totality that his world view represents.

People often asked Andrei about the dreams.

Many critics saw the dream scenes in his films as symbolic.

But this is a misunderstanding.

Andrei saw dreams as a physical process in the body.

He was very interested in dreams.

Many of his own dreams, about himself, were used in his films.

ln his last film, ''The Sacrifice''-

-he used one of his own dreams.

When Erland is lying like a corpse on the camp bed with hands folded-

-with Maria beside him.

That was a dream Andrei had in 1 978, when he was still living in Moscow.

Life was hard. We were sleeping on camp beds, which is why he dreamt-

-about lying dead in a camp bed, with me sitting beside him-

-and tears running down my stony face.

He was seeing all this from above, as if from the ceiling.

He told me that everything felt light and easy-

-but that he felt compassion for everybody else-

-because they had lost him-

-and because it was sad to be leaving life on earth-

-so he was happy to wake up.

He used that dream in ''The Sacrifice''.

He wrote about dreams in his diary, although that was long ago.

On January 26, 1 978-

-this is what he wrote...l'll just put my glasses on...

''There are 2 types of dreams. ln one, the dreamer steers events.''

''He controls what is happening and what will happen. He is a demiurge.''

''ln the other, he is incapable of control''-

-''and is subjected to violence he cannot defend himself against.''

''Everything results in suffering and anguish.''

The director's job is to depict life.

lts movements, its contradictions, its dynamic and conflicts.

His duty is not to hide an ounce of the truth he has found-

-even if it's not to everyone's liking.

An artist can also make mistakes.

But his mistakes are honest, deserving of being taken seriously-

-because they reflect the reality that is his spirituality-

-reflect the fluctuations and the struggle within him-

-that the world around him has caused.

My boy!

l sense my own feebleness and that of mankind-

-towards the world and nature, and especially towards anyone-

-who is an enemy. That's the worst of all.

The worst thing of all is to be subjected to human violence.

The evil in man is worse than everything else.

They must criss-cross each other's paths.

We see what's happening underneath here.

We can see the stones.

All 400 run down the steps.

Some should stay around here-

-in front of the steps, and the others should go into the tunnel.

Take off your glasses...Very nice! You'll have to take your watch off.

You can put this on later.

Take off yourjewelry, too.

l'll give you another shirt - that one's too clean.

We see only white patches. lt would be good to have dark ones, too.

There are both light and dark - a lot of beige and light colours-

-with some dark, but we can use all the black we have.

There's so much white:

We need some black. Black plastic, for example.

We can buy lots of black plastic bags.

lt would be better to have more black hanging there.

lt's good against the light background.

He's so happy with all this dirt and rubbish around!

There's some truth in that...

Put it along here.

With the whole thing on its side.

The roof should be on this side-

-and the wheels should face this way.

We'll have to place it so that the other cars can get by.

lt'll be in the middle, here.

More!

Will you get up, please? We have a little problem here.

Look, Sven...

This level...

We'll need this for the mirror and the boy.

This is where the mirror will be.

lf this is where the mirror is, the camera will have to be here.

There will be a trail of blood here...

Focus on the blood, then you'll see the hand and then the boy.

Alright, that's changed. So we don't have to go up to infinity.

When we get on to the mirror, we focus on the blood.

Don't throw things!

No laughing! Serious expressions, please!

Don't be afraid.

My poor dear! What have they done to you?

lt would be wrong to say that the artist looks for material.

lnstead, material grows from within him and starts to demand creation.

lt's like giving birth. The poet has nothing to be proud of.

He is not the master of the situation, he is its servant.

There is no other form of existence for him than as a creator.

Each creation he produces becomes an action that he can't experience.

Only through the faith in its ideal can he be ensured of the necessity-

-and logic of these actions.

For this faith is the only thing that can confirm his system of images.

Read.. system of life.

l cannot draw a line between my films and my life.

The films are a part of my life.

To be able to make a film-

-l've always had to make some sort of a fateful choice.

l know many people can distinguish between their films and their lives.

l know many who act one way in their daily lives-

-and then express other ideas in their films.

ln some way, they make the thoughts in their films into their own.

l'm not like that. Filming isn't a job for me - it's my life.

And every film is a fundamental act.

Quiet. This is a take.

Same thing.

The artist is committed to his art, not in order to tell someone something-

-but as an insurance that he is ready to serve mankind.

l'm astounded by artists who say that they create themselves while free-

-and that it's possible to do this.

lt is the artist's lot in life to accept that he is a creation of the time-

-and of the people he lives with.

As Pasternack wrote..

''Stay awake, artist. Stay awake.''

''Don't give in to sleep.''

''You are the hostage of eternity and the prisoner of time.''

You did marvellously! Thank you!

l believe that...

...to form a concept of art-

-you first have to face another, more important question:

Why does man exist?

We have to use our time on earth to improve ourselves spiritually.

This means that art must serve this purpose.

lf l had chosen another departure point for my life-

-art would have meant something else-

-and l would have made other films.

Some want art to be educational-

-like all other intellectual and spiritual activities.

l don't believe in the possibility of education.

Knowledge leads us away from knowledge.

The more we learn, the less we know.

We get so deep that we lose the broad view of life and the world.

The purpose of art is to help man improve himself spiritually.

To rise above himself by using his own free will.

The script for ''The Sacrifice''-

-was put together from two concepts: ''The Witch'' and ''The Offering''.

Andrei got the idea when he was still in Moscow.

He writes here:

''l have to produce a draft for 'The Sacrifice'.''

''Perhaps the two scripts together, taking the best of both.''

''Of course, that would make it long and l wanted a shorter film''-

-''of 1 hour and 40 minutes from a concise dramaturgical concept!''

lt was not to be a short film...

He wrote the first draft of ''The Sacrifice'' in San Gregorio in ltaly-

-where he completed the script in February, 1 983.

'''The Witch', 'The Sacrifice' - a son forbidden to speak.''

''He has just had an operation on his vocal cords. At the end he makes''-

- ''an important statement in defence of his father (tradition ).''

''He makes common cause with the stupid rebellion of youth''-

-''with a revolutionary view of tradition.''

''Rejection of violence. Return to roots.''

''Harmony, unity, opposed to evolutionary theory.''

''But in favour of unity and true harmony.''

''New impressions. Rejection of the impressions of others.''

''The search for his own path.''

''The heretical, i.e. holy character of poetry is motivated''-

-''by a conviction that man is the hardest of all beings.''

''The spiritual condition of the poet leads to catastrophe.''

''Poetic culture springs from the desire to avoid that catastrophe.''

Those were his first thoughts. He wrote a lot about the script.

He completed it very quickly - in three weeks.

But it was not an amalgam of ''The Witch'' and ''The Offering''.

Only partly.

The scripts he wrote in Moscow - ''The Witch'' and ''The Offering''-

-could only be made as separate films, whatever happened.

Without orders?

l think they have a problem...

Shall we shoot, Sven?

Everybody ready?

Set it on fire!

Light it and get out of frame!

lt's not burning... l don't see any flames...

lt takes time...

More fire!

Now! Lots of fire!

The tree!

Keep it that way!

Camera!

Wait, wait, wait!

Where's he going? The motherfucker!

Ambulance! Back!

Ambulance! Wait, wait!

Get going! Get going!

We don't have the shot of Erland running.

-We don't have it? -The camera jammed.

Why didn't you tell me?

...Thanks. Thank you.

That's how good we are!

The last thing l expected was for the camera crew to foul up...

lt was a tragedy for him. That was the first scene he wrote.

lt was to be the climax of the main character's spiritual struggle.

The whole film would hinge on this scene.

lt was the most important scene and it failed. He was crushed.

He rang me, and asked me in a broken voice to come to him.

l was very busy arranging to reunite the family-

-but l had to go to him immediately because he was feeling so bad.

When l arrived on Gotland, they were discussing-

-whether or not to do a retake. He was crushed.

He felt misunderstood-

-when some of the team suggested he could edit the scene together.

But he maintained that without that scene there would be no film.

And so it was. Because he never accepted the smallest compromise-

-and always got his way.

He was the only Soviet director to do exactly as he wanted.

Journalists often asked if he was forced to make cuts in his films-

-and l could provide an answer, since l saw every film cut:

He never compromised over a single frame. He did just what he wanted.

The same happened here. He made them understand-

-and they re-did the fire scene. And it was fantastic.

ln a few days they built a house just like it, a copy of the burned down one.

The entire house in just a few days.! lt is nothing short of a miracle-

-and also evidence of what people can do when they believe in something.

Not just people, but producers too, so-called supermen.

l'll tell you exactly what to do.

Kerstin - we're ready.

-Are you ready, Kaj? -Nearly. Just the petrol in the car...

-Janne! Minus eleven! -Shall l yell to him?

Fire!

Enough.

What are you doing with him? Don't touch him!

-Enough! -No more fire!

ls it good? ls it good for you, too?

Cycle slowly, Gudrun!

Lift her, Sven!

-He didn't have time... -Did you have enough film?

During the retake of the scene, the tension wouldn't lose its grip on us-

-until the cameras had been turned off. One by the camera assistant-

-the other by hands that belonged to Sven Nykvist, the lighting genius.

Hands that shook of fear.

Not until then did relief set in.

All of us cried like babies. We threw ourselves into each others'arms-

-and l felt how tight, and how closely knit our group was.

lt was so natural!

Camera, you traitress! l don't like you...

Let's throw it into the sea!

Like they did in lceland with unfaithful wives.

For some reason you're all smiling!

You don't think there would be any women left!

You'd be lost, for one!

Thank you, on this final day!

Like Death...

Death doesn't exist for me. l don't know...

l once dreamt l was dead.

And it was such a relief - such lightness and incredible freedom!

That very feeling of freedom and lightness made me believe-

-that l was dead.

That is, free from all bonds with this world.

So death doesn't exist for me. There is just suffering and pain.

People often confuse the two - suffering and death.

l might think differently when l have to face it some day.

-You think you're immortal? -Yes, certainly.

ln ''The Offering'' the philosopher finds out on his birthday-

-from his friend the doctor that he is incurably ill with cancer.

On the advice of the insane Otto, he goes to the witch, who cures him.

As l said earlier-

-Andrei's life and his films dovetailed in a fatal way.

When he was gravely ill with cancer he said:

''lt's time to chose a new artistic direction.'' He never had time...

...from the TV, that's where we should start colour reduction.

Yes. Absolutely. l once thought...why should we be afraid-

-to have too much black and white?

lf there were lots of different places-

-then it would be a pity.

But it's mostly the same things all the time.

lt's the same objects all the time, both in colour and black and white.

ln the morning, the evening and during the day - it can be very good.

One and the same detail in different states...

We can make the dreams full of contrast.

ln the field, for example. We can put in as much contrast as we like.

There are no mathematically calculated proportions-

-but there is an atmosphere between light and shadow.

l'll explain why: if there is a lot of colour-

-the film itself puts its own quality into it.

Contact can be cut off at any second...

...but l have been able to tell you the most important things.

When they passed the dry tree that he and the son planted-

-the day before, Alexander caught sight of Lilleman.

He carried a heavy bucket of water that was way too big for him.

When the ambulance reached him he stopped-

-put the bucket down and followed the car with his eyes.

Alexander retreated from the window so that the son wouldn't see him.

The ambulance passed by-

-disturbing the dust along the white road, and disappeared behind the bend.

Lilleman dried this sweat off with the hem of his shirt, picked up the bucket-

-and went to his tree. Once there he stopped-

-pulled the bucket towards the trunk and leaned on it.

The hot, cracked dirt greedily absorbed the water.

He didn't know how much water the tree trunk needed.

But he was dead set on not wasting another day-

-and on bringing the tree water until it started flowering.

After all, his dad had told him that it would start flowering soon.