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Forums  >  Film-making  >  tarkovsky's 'sacrifice'
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at 20:05, 18 Feb 2007
Posts: 0
tarkovsky's 'sacrifice'
watching the film, my heart swelled. so many thoughts. and a deep sigh, as if where had this been all my life? and then watching the post-film, on tarkovsky directing the piece... a desire, very real in my chest. what a open soul, what a deep one...
and i must say... those gazes in 'sacrifice' right into camera recalled for me again 'orlando'... another true gem of art-making... thanks, sally.
sally potter
at 03:53, 1 Mar 2007
Posts: 193
When we were searching for partners to make Orlando with, we visited both Mosfilm in Moscow and Lenfilm in the city which was in the process of being re-named St Petersburg. On one of these many trips I saw a plaque in one of the enormous soundstages at Mosfilm which informed us that Tarkovsky had filmed there. Then we visited the cutting-room where he had worked. That is when my heart swelled... I felt awed and inspired to think that I might be working in the very building where he had sat for so many months and found the final form of some of his films.
As it turned out it was the Russians, in the end, who made it possible to film Orlando, the impossible project rejected by so many financiers in the West. The lineage which included Tarkovsky created an environment of infinitely greater acceptance of the language of non-realism than we encountered elsewhere.
We were fortunate to work there on the cusp of change, before perestroika had opened the door fully to a cinema industry based on the pursuit of profit.
at 14:19, 1 Mar 2007
Posts: 14
Tarkovsky on Sergei Paradjanov

Just now queued all the Tarkovsky films (including Sacrifice) I could find on Netflix & am excited to explore.

I'd heard of him but was not familiar...then found this on the website of the master of the temple of cinematic magicians, Sergei Paradjanov (another Armenian--born in Tbilisi, Georgia):

"To me, it seems, the cinema of Sergei Parajanov began not with the 'Shadows of Forgotten Ancestors,' as many think, but with 'Color of the Pomegranate.' Probably, besides the film language suggested by Griffith and Eisenstein, the world cinema has not discovered anything revolutionarily new until 'Color of Pomegranate,' not counting the generally unaccepted language of the 'Andalusian Dog' by Bunuel." ~by Andrei Tarkovsky about Sergei Paradjanov.

Read more at:

I highly recommend both the Parajanov films named above -- both are gorgeous & rich. A friend warmed me off the 'sliced eyeball scene' in 'Andalusian Dog' -- haven't found the courage to go there yet.

Thanks for infusing the conversation with more great films to see.

at 13:02, 5 Mar 2007
Posts: 1
thanks on tarkovsky
so fun to read both of your replies from this tarkovsky sharing i put out...
and helpful to hear of the path orlando walked in getting made... very helpful and inspiring to hear the back-stories on how something actually comes to fruition... best, erica berg
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