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Sculpting in Time: Tarkovsky The Great Russian Filmaker Discusses His Art

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This extraordinary book is not just about filmmaking, it's about all art...about life, faith, inner exploration and the Russian soul. It contains exquisite poetry, mostly written by his father, Arseniy Tarkovsky, and detailed descriptions of the making of several of his films as well as photos of them that are eerie, mystical, and incredibly beautiful. Tarkovsky is the master of making us see the wonder of creation in the most mundane subjects. He brings us one step closer in our journey towards the light. From page 43: "The allotted function of art is not, as is often assumed, to put across ideas, to propagate thoughts, to serve as an example. The aim of art is to prepare a person for death, to plough and harrow his soul, rendering it capable of turning to good".

The idea behind the title of the book is that the film-goer goes to the cinema to experience time, and that the director's job is to sculpt the time that the audience experiences-- cut away the inessential words and seconds and pieces. This book is an introduction to the rules that Tarkovsky set for himself in achieving this goal.

The book covers his thoughts around a wide range of his films, beginning with "Ivan's Childhood" and finally ending with "The Sacrifice". On the way he covers his view of various aspects (both concrete and philisophical) of the cinema. Other chapter titles include "Cinema's destined role" and "The author in search of an audience".

The book is beautifully written and the ideas are important and relevant. It's useful on the level of the student learning film techniques (he provides some wonderful examples of the difference in how major and minor directors handle the same character moments in different films. It's also useful as a book about the philosophy of art in general (and cinema, obviously, in specific).

If that sounds like a heavy load...in the hands of some, it could well be just that. Here, it's a different - and refreshing - story. In this book, the great Russian film director looks back at his life's work - but not in the standard `this is how I did this' format. Rather, he approaches his cinematic creations from the aspect of his views on life as a whole: Where does mankind stand today, in respect to the past? In what direction should we turn - not just for answers, but also for the very questions themselves? What is the definition of art - and how does `artistic' cinema differ from `entertainment'? The discussion he undertakes here will open your mind and soul, as well as your eyes.

Over the course of this book's nearly-250 pages, Tarkovsky addresses these questions and many others - and at the same time, gives the reader invaluable insights into the thoughts that inspired his amazing films. The work progresses roughly in a straightforward time-line - unlike some of his films - and lays out the director's beliefs as well as his methods, but not in a cold step-by-step way. Instead, I came away from this book feeling that I understood Tarkovsky as a human being much more than I did before - and, as a result, I now feel like I know him better as an artist as well.

Without employing standard plotlines, characterizations, overdone (and overused) special effects, or any other low-ball devices so prevalent in film, Tarkovsky's works reach into the very soul of the viewers and touch them on the very deepest level. Far from being cold and emotionless and surreal, his works are some of the most moving I've ever experienced - and, true to his vision, they do so by actually being ULTRA-real, evoking the feelings that we carry around at our core. Words cannot really convey the power of his works - they have to be experienced. I recently came across a reference to Tarkovsky's work in the booklet of a cd of contemporary classical music - the note-writer likened his films to a `cold landscape, devoid of human life'...! I couldn't believe it - and I had to wonder what 5 minutes of which of Tarkovsky's films the writer had actually seen!! This was one of the most ludicrous references I've ever read.

There is a spiritual quality and undercurrent to Tarkovsky's films that runs very, very deep - and is extremely moving. This spirituality never comes across as `preaching' or `sermonizing' - it's simply there, as a foundation for his outlook and philosophy of life. He draws from numerous schools of thought, combining his influences into one of the most gently - and truthfully - humanist outlooks I've ever seen expressed.

The book is a revelation - and I know it will bear repeated readings. I've seen all of his films - but after reading his thoughts so eloquently expressed here, I know that they'll affect me even more deeply now.

SCULPTING IN TIME, gives the reader an intimate invitation into the mind of filmmaker, Andrei Tarkovsky. In this single, slim volume, Tarkovsky gives penetrating insight into his conceptualization of cinema as an art form. Although he does not refer to all of his films, one finds detailed information concerning his approach to cinematic form and why his films are so different and affecting. Tarkovksy, speculates on the role of the artist in today's world. He points the direction that others who may want to enter into the cinematic arts should go. Most importantly, one gets an engrossing look at the aspects of the cinema that define it as an artform outside of literature, painting, and the theatre. It is a profound book and one that you will find yourself re-reading again and again. It is to be cherished.

I suspect that perhaps even someone unacquainted with Tarkovsky would find this book interesting - provided that someone is curious about the relationship of art, human experience, and transcendence. One of the most inspired and inspiring works about cinema I've encountered, it releases the floodgates of cinema's potential energy and power. Next to the films themselves, this is the most important work to own for students or admirers of Tarkovsky. Probably as close as a book can come to representing a sacred text on the art of film.

"Sculpting in Time" is truly an amazing work of art in its own right. Certainly filmmakers have written books about their artistic styles in the past. Philosophers have written elaborately on the subject of aesthetics as a whole in the past as well. And yet "Sculpting in Time" offers those with aesthetic interests something truly unique.

It should be forewarned that Tarkovsky, like Ingmar Bergman, was heavily interested in aesthetic philosophy. In fact Tarkovsky's ideas regarding art borderline the metaphysical (as this book is often used in higher level philosophy classes), and yet - through the tone in which the book is written - "Sculpting in Time" manages to appeal to the average Tarkovsky or cinema studies fan in such a way that no other aesthetics book has managed.

Tarkovsky's self-written "Sculpting in Time" is an amazing supplement which describes the brilliant filmmaker's use of filmic techniques but also goes a step further by explaining (at great length), why the filmmaker believes those techniques are significant. The value of his tried efforts to create a meaningful work of art directly relate to Tarkovsky's view of art as a whole.

Tarkovsky's views of art are complex and yet are reiterated for the reader so simply they stand out in "Sculpting in Time" like a gem. For instance the underlying theme in Tarkovsky's writing is the idea of an "absolute truth" of art which can be derived a given piece of art. Without giving too much away, Tarkovsky's beliefs, as expressed in his chapter "Imprinted in Time" mostly, is simply that art done for the right reasons - containing some form of objective truth within it - serves to link us (subjective beings), with an "absolute." From that blooms Tarkovsky's entire creative aspect fans of his films know and love him for.

I have to recommend this book to anyone interested in aesthetics, cinema studies, or Tarkovsky. I think this is a nice supplement to have when watching Tarkovsky films as well, so it might just serve to spark the interest in a philosophy buff to check out a few Tarkovsky films! Enjoy!

If you're looking for a key to understanding Tarkovsky's works, this may not be what you are looking for. The details and decisions that went into creating his sparse ouvre of films are treated only in the context of laying out his own artistic theories. At the same time Tarkovsky's broad artistic treatise gives great insight into the motivations, passions, and influences behind his anachronistic masterpieces. In fact, Tarkovksy presents a theory of film and art so archaic that the lines between religion and creation become irrelevant. More comfortable in the company of the religious mysticism of Dosteovsky and Rublyev, Tarkovsky proposes ideas blasphemous to the current commercialy driven, psuedo-naturalist film zietgeist. A must read for any artist serious about creating works of profundity and universiality, Sculpting in Time is plea from the grave for more film that is alive.

Sculpting in the time represents one of the most expressive eloquents statements of one of the supreme masters in the cinema art as Andrei Tarkovsky was .
All long this book you will read several aspects of the man , the thinker , the poet and above all the unvaluable reflections about the art in general and his craft in particular .
Tarkovsky makes an account about all his filmography ; making a detailed and exhaustive explanation about every film .
You will understand in all his wideness conceptual some concepts derivated about the role of the cinema in the actual world . The influence of ancient directors , his opinions about the role of the artist in the world , and some mesmerizing photos from his films as Ivan' s childhood , the Mirror , Nostalghia or Andrei Rubliov . There are some poems from his father Arseni Tarkovsky who were part of films such The mirror in the Spanish Civil War and the poem from the poet from Nosthalgia for instance .
It's a must for you to acquire this book . For me it was a delightful surprise to get this text in New York in 1995 .
Fundamental artistic legacy from this russian ( 04-04-32 / 12-29-6 ) master: in memoriam!

Sculpting in Time will be appreciated by people who like his films. It was nice to read Tarkovsky's own words on what is important. Tarkovsky gives important clues to understanding his art without destroying it through overanalysis.

In some instances the text is ambiguous in relationship to the films. Gorchakov (from Nostalghia) is apparently deceased in the picture captioned "after the struggle". The still is taken before the struggle in the movie. He was only napping. The movie leaves you in doubt about the fate of Gorchakov but the book doesn't. But these puzzles only add to the mystery of the films. One should turn to mathematics for clarity and consistency. This is something else.

I especially liked the miniature landscape in Domenico's house that extends to the horizon.

The still shots that were selected from the movies have a resonant quality and recall the emotions from the films. The picture of Margharita Terekhova on page 100 is a perfect photographic composition. But look closer at the expression of the eyes and the position of the hands. The picture bears an incredible resemblance to some Russian icons of the Madonna.

My only critical comment is that I wish the book included more about the making of Solaris.

Tarkovsky was a modern film maker with the soul of a Russion icon painter from ages past. He is calling to emotions that lie dormant in humanity but should be heeded.

I was introduced to Tarkovsky's work about 20 years ago during my time in film school, and The Sacrifice was the movie that turned me on to his outstanding cinematic legacy. The more I saw, the more I wanted to learn about the artist. Then I came upon Sculpting In Time; a cinematic memoir which has forever changed my life, and my artistic visions.

This book is nothing short of inspirational. I highly recommend it even if you are not familiar with Tarkovsky's work. Each chapter is loving written, eloquently detailed and profoundly insightful on topics such as the importance of sound, story and visual aesthetics in filmmaking. Tarkovsky's ability to, quite literally, sculpt cinematic moments in time in each of his films is nothing short of genius.