牺牲1986

初看塔可夫斯基的影片仿佛是个奇迹，
暮然我发现自己置身于一个房间的门口，
过去从没有人把这房间的钥匙交给我，
我一直渴望能进去，
而他却能进入其中，行动自如，游刃有余。

                                       ——英格玛·伯格曼

忧郁在塔可夫斯基的镜头中是生活的常态。似乎像是一种诉说哲思与谈论存在的必备武器。
而忧郁背后隐藏额情感是热烈的温柔的，疲乏的坚硬的，柔软的哲学的肉体与情感。
几乎在所有的文本与艺术对于“欲望与爱”的讨论都存在一种深层次的焦虑和词语的匮乏。因为相较于时间来说，欲望与爱并不是永恒的定义。
时间能够冲淡一切。
“爱就是束缚的极致，同时也是自由的极致。”在《雕刻时光》中关于《牺牲》的叙述，他将片中从始至终都存在的忧郁感解释为对于爱的永恒性的怀疑，以及人与人情感之间产生的矛盾与对立。这种矛盾与对立，就像是在享受日照般光明的同时，另一面必然朝向的是地狱一般的寒冷。

《牺牲》探讨的是爱与人的个性的阴阳两极。并且这种类似于两条相等波长的轨迹，在生命体的真实中共同存在：
一条轨迹是对于生存的追逐，需要规划性与积极性去推动希望的持续，从而维持好自我的生命力，而另一条轨迹是荒谬的虚无的，不断感受生命轮回的无意义，就像死一般的黑暗与语言无力感。勇往直前的斗志和在原地踏步的虚无，不断在同一个心灵当中发生反应、交叉、重合。所以幸福的或者关键的、重要的、悲惨的、无以复加的时刻，都会交替前来。
亚历山大的命运，别这两种光明与黑暗的势力主宰、鞭笞。
在面临内在世界的崩塌，面临世界末日的来临，人类该怎样保存希望？


A
忍耐

“用牺牲换取和谐主题，为何会触动我？是爱的双边依赖关系吗？
为什么没有人想到，爱只可能是相互的，其他形式的都不是爱。”

影片塔可夫斯基一贯的诗意之中展开。压力山大与自己咽喉手术的儿子在空旷的草原种了一棵枯树，并且提到基督教中的一则寓言：

东正教的一位修道士在山上种了一棵枯树，并且让他的以为弟子每天给这可枯树浇水，直到它成活，每天黎明十分，这位弟子带着一桶水出门，他爬上山给那可枯树浇水，晚上回到修道院。就这样持续了三年，有一天他突然发现那棵枯树开满了鲜花。

这则简单的寓言像一首开篇的小诗，简单却又引领了《牺牲》全篇的真理：世界上，有谁能够幸福的活着呢？人的心灵和所有的植物都是一样的，会突然性的衰竭，随着时间变得腐朽。唯独付出像寓言种的弟子那样非凡的努力，才能够撑起片刻希望，才能够获得片刻的幸福。

在塔可夫斯基忧郁的长镜头中，忍耐与静止是一种反作用力，对抗世界的变化。而这种元语言性质的镜头表现，所有的指示意义都在阐述一个简单而明显的事实，当你年逾古稀，当世间所有的一切都对你失去了诱惑力的时候，生活的真相才会存在，才会显露出真是的面目。
这不是因为你自己的思维结构的改变，以及行为习惯的变化而变化的，而是命运一般的一种现实：从产生的源头开始，枯燥和无聊的痛苦，就注定不曾有过任何改变，直到生命终结的那一天。

你是一位著名记者，写戏剧评论和文

你是一位著名记者，写戏剧评论和文学评论，给大学学生讲授美学，你还写散文。
但你却如此阴郁
什么叫阴郁？
你不应该这么悲伤，这么向往！
你不应该等待，
这是关键。人不应该等待。
“不应该等待？”谁说我在等待？
所有人都在等待。比如我，我一生都在等待。这一生，我感觉，就在火车站内等待着。仿佛我经历的人生不是真实的，而是漫长的等待。等待某种真实。

等待是忍受的一种常态。这就像《等待戈多》所揭示出来的生命终极命题，你所梦想的任何事情、那些诱惑的希望，外在靓丽的预约，做爱后的身体等，所共同推动的那种生命状态，永远也不会到来。而我们的生活却永远笼罩在“等待”的玻璃面罩之中，失去所有的主动权，进而被这种理想状态的生活目标，折磨的精疲力竭。


B
幸福生活所谓何物
“看透时空，预知未来是一种可怕的天赋，
注定要为自己的使命饱受痛苦。”

亚历山大的生日庆典，是对于一生的经验总结。作为一个典型的上帝的选民，坦诚罪恶的一生。当然，并没有任何人是无辜的，哪怕世界上最为神圣的人也是如此。
以前的人生，对于当下来说，也何尝不是一种原罪。玩弄过的激情，强烈与温柔；玩弄过的情感，分手与伤心；玩弄过的怎样用尽一切办法来展现自己诱惑的外表。哪怕是为了充实自己的思想，以及人生的维度，来进行行为和语言的设想。为了表达思想，将生命变成一种情感符号。

但是这一切的一切，都是不在场的空。
冷漠吞噬了行为的终极意义；疏离让外表成为一种虚无······
无论从哪个层面进行分析，亚历山大的一生也就是我们每个人所必须经历的一生，一种从内到外，双重性质失败的一生。这种失败是想要往更加深刻的人生进行超越的失败，是试图对于当下的枯燥与乏味进行彻底的翻转的失败。
当你决定，让另一个人料理你的生活，预测你的生活，决定你的生活，满足你的生活的时候，就已经注定了遁入类似的空无。
在亚历山大海边的房子里，他有一段与作为医生的大儿子之间的对话：



睁开眼，阳和你都在～
睁开眼，阳光和你都在～
睁开眼，阳光和你都在～
睁开眼，阳光和你都在～
你不觉得你的人生很失败？

你不觉得你的人生很失败么？
不，为什么？
以前我也这么想，但是自从儿子出生，
一切都变了。随着他的成长，
我非常依恋他。但我也有困惑，
我想过一种更高级的生活，
我学了哲学，宗教、历史、美学，
结果却把自己关进了牢笼，还是自愿的。
但同时我很快乐，就像今天。
这种生活形态，延续了几千年的社会结构，都基于一个同样的原则：人们互相依靠，凭借彼此的力量减轻生活的奴役，从而实现真正的自由。
不再把指针指向自我的生活哲学，究竟是一种怎样的语言方式：
人们会随之不再妄想自身，甚至将自己的生命目的当做子女或者他人的礼仪、生存、爱情、方法论等培训的媒介。
这是一种无形状态中的掠夺和施虐。
我记得在日剧《代笔作家》中中谷美纪为了反抗母亲的操控欲望，努力的为自己的生命做出决定。唯独挣脱，才能够获取生命中的精华，无论你采取什么样的生活方式。
但是这并不是真理本身，这只是获取真理的一种捷径。

那么，采用一种生活方式去挣脱以后会怎样？
在《牺牲》中，塔可夫斯基安排了玛利亚这个女性，来让亚历山大拯救灵魂。为了拯救他生活当中朝向地狱一般寒冷的一面。
深深的情欲与性的自我解救方式，最终带领我们走向的依然是一个越来越远的方向，直到对于活着的评判只能成为虚构的幻觉。所有的感悟和思考都会埋葬在对于幸福的希冀和歇斯底里当中。


C
距离
“她有多在乎别人，急于肯定自己的力量和攻击本能就有多强。
她无从洞悉真理，因而理解不了别人的世界。
但即便她看到了那个世界，她也不愿而且不能进入。”


爱是一种冷暴力。
当你爱上某个人，你会忘记那些陌生的身体，你会克服在你面前的这个人。当这种专一性以及冷暴力性质的自我封杀的情感，开始将自我臆想的各种可能性全部杀死，存储在一个狭小的维度，那么一次一夜情或一段激情韵事，只能算是漫长的渴望爱的虚荣的人生中的插曲。你绝对不会忘记一次真正的相遇，一见钟情就是一种暴力的行动。
 
阿德莱德的疯狂和专断，讥讽与嘲笑不断的去折磨着亚历山大以及每一个人，她精神上彻底的虚空与亚历山大的忧郁和敏感形成了强大的对抗力量。低贱与崇高究竟能够怎样在同样的空间进行共存？
愚笨的人完全按照“快乐——不快乐”的规则去鉴定，而智慧的生命总是按照理性的入世经验与精神的饥饿感，去达到优美与崇高的生命。



睁开眼，阳和你都在～
睁开眼，阳

我现在明白了，我根本不愿依靠任何人。
相爱的两个人，爱的并不一样，
一个是弱者，一个是强者。
弱者总是爱的不顾一切，毫无保留。
现在我感觉像是从一个梦中醒来，
经历了另一种人生。
不知为什么，我总是在抵抗，在斗争，
在保护自己，仿佛我体内有一个人在说，
不要屈服，不要赞同任何事，否则会死。
无论是谁一旦与某种自我主张的，个性主义的生命哲学相关联，就会在不知不觉之间变成这个世界的对立物，变成了他人纯粹的恶的无止境场域。
精神的空虚使得阿德莱德对待亚历山大，正如一颗每时每刻都面临爆发的恐惧的原子弹。同样也是她的偏执与强势，以一种生活受害者的特权，用所有的行为去导致亚历山大最后的悲剧。
 
所有自称是高尚的美丽的灵魂背后，都会事先建构起属于个人的自我的社会现实，似乎只有这样，她才能够完全承受的住生活施加在她身上的一切。
但是在这种受生活的苦难的被动行为同时，她在向外扩散自己的罪恶与阴邪。

油画 --娟娟流水声 大海 海鸟 ---声音
一定是每次潮来 潮退 ， 水留在弯岩里 逗留然后旋回着 在重力驱使下找寻
wait---- hope
======
What dwarf?
Oh, you know who I mean!
That hunchback!
Eh? The one Nietzsche mentioned.
-----
76
00:10:18,200 --> 00:10:20,998
And I've always felt as if...
as if the living I've done so far
hasn't actually been real life
but a long wait for it...
a long wait for something real,
something important!
What about you?
00:10:36,2
Yes, if that's what you mean.
00:10:38,
I just never knew you were
interested in that kind of problem.
00:10:
But I am! I most certainly am!
Unfortunately.
Sometimes I get
the most peculiar notions.
--------------
persona??? 前面对 not real
00:27:08,960 --> 00:27:13,272
For some reason, I started
feeling embarrassed on stage.
I was ashamed to impersonate someone
else, to play others' emotions.
But worst of all, I was ashamed
of being honest on stage.
It was a critic who first saw that.
But it wasn't sudden, not at all.
320
00:27:34,760 --> 00:27:39,276
So you mean that an actor
may not keep his ego intact?

That he must lose his identity?
322
00:27:42,440 --> 00:27:44,271
No, not quite.
What I mean is that an actor's
identity dissolves in his roles.
I didn't want my ego dissolved.
There was something in it
that struck me as sinful,
something feminine and weak.
327
00:28:02,840 --> 00:28:06,594
Aha! Feminine!
So that's what's sinful!
328
00:28:06,800 --> 00:28:10,270
I liked you as an actor, so you quit.
That's it!
===========
00:30:46,480 --> 00:30:50,268
But it's far too much!
Too much, Otto!

363
00:30:50,480 --> 00:30:53,278
I know it's no sacrifice, but...

364
00:30:53,480 --> 00:30:58,429
And why shouldn't it be?
Of course it's a sacrifice!

365
00:30:59,480 --> 00:31:02,756
Every gift involves a sacrifice.

366
00:31:02,960 --> 00:31:06,430
If not, what kind of gift
would it be?
====
From about 1478 to 1482, Leonardo had his own studio in Florence. During this time he got an important commission to paint a church altarpiece, now known as the 'Adoration of the Three Kings'. It is still not done today! The work has figures with only the light and dark areas visible as outlines. The 'Adoration of the Three Kings' shows three kings worshiping the Christ child. Leonardo changed the usual way this scene is usually viewed in the Christian faith.
Three leaders of the Chinese Christian Church[3] cite an alternate proposal for the origin of one of the Magi. They state that many Chinese Christians believe at least one of the Magi came from China. They cite anecdotal evidence about Liu Shang, the chief astrologer during the Han dynasty in China at the time that Jesus was born. Liu Shang discovered a new star the Chinese called the "king star" - which was associated with the birth of a new king. The disappearance of Liu Shang from China's imperial court for two years shortly after this star was discovered, they interpret as perhaps traveling the Silk Road to Bethlehem.
英语？？
00:58:03,360 --> 00:58:05,316
Alexander!
I can't bear it any more!
Please, please!
===========
653
01:02:44,080 --> 01:02:46,310
I think I know, now.
We simply don't want
to depend on anyone.
When two people love each other,
they don't love in the same way.
One of them is strong,
the other, weaker.
And the weaker is always the one
who loves without reckoning...
without reservation.
[卡比利亚之夜].Nights.Of.Cabiria
----1：13 oh , lord ~`
war~~ the fear of death
从此 他安然与死神下棋
拿枪 杀谁？ 孩子 风动的窗帘 一暗一明
裸体的女人 挺立的小乳房 在孩子的床 周围无目的地走动
我的镜头 如侯猎的豹子 慢慢走进 移动 平行移动
心是平静的 平静到极点
透过Adoration of the Three Kings 玻璃的 背影的走远 摄像机呢？
chance

Piero della Francesca 彼埃罗.德拉.夫朗彻斯卡 老头看的那本画册是谁的画？
again --Adoration of the Three King 映着大树 正面老头来
878
01:27:20,440 --> 01:27:24,319
Anyway, I prefer
Piero della Francesca!

879
01:28:24,320 --> 01:28:28,108
<i>As I understood Alexander's words,</i>
<i>he meant</i>
<i>that it is peculiar for a man</i>
<i>to change, of his own free will,</i>
<i>into a work of art.</i>
<i>Generally,</i>
<i>the result of all poetic striving</i>
<i>lies so far from its author</i>
<i>that one can hardly believe</i>
<i>that it is a man-made creation.</i>
<i>In the case of the actor, though,</i>
<i>the reverse is true.</i>
<i>The actor is, himself, his own</i>
<i>creation, his own work of art.</i>、
==persona 演员 actress acting drama--trauma
1：30 again 拿枪 从理疗盒 盒子中
prelude
-964
01:44:27,760 --> 01:44:31,719
put on fresh underwear,
a new jacket, even a tie.
Then I sat down in the chair
to see what I'd made,
through her eyes, as it were.
I...
I sat there...
and looked out through the window.
I had prepared myself
to enjoy the sight.
Anyway, I looked out the window
and saw...
What did I see?
Where had all the beauty gone?

All that was natural.

It was so disgusting.

All that evidence of violence!
戈黛娃夫人（Lady Godiva,或称Godgifu, 约990年—1067年9月10日）是一名英格兰盎格鲁—萨克逊的贵族妇女，依据传说，她为了争取减免丈夫强加于 ... 究竟这个故事中的戈黛娃夫人是称为Godiva还是Godgifu（「gift of God」上帝的礼物）在历史上仍是未知数。 ...
Godiva (or Godgifu) (c. 990?–September 10, 1067) was an Anglo-Saxon noblewoman who, according to legend, rode naked through the streets of Coventry in England in order to gain a remission of the oppressive toll imposed by her husband on his tenants. The name "peeping Tom" for a voyeur comes from later versions of this legend in which a man named Tom watched her ride and was stricken blind.
2007/4/24
迷失于GODIVA
1：49 花瓶振动 后面什么神动
01:48:40,400 --> 01:48:42,755
Save us, Maria!
But why?
You poor, poor man!
Why? No, not that way!
43 glasses 风铃一般
人行道 梦跑 again
1039
01:51:12,320 --> 01:51:18,077
I c-c-can't!

1040
01:51:19,960 --> 01:51:21,313
I can't!

1041
01:51:21,760 --> 01:51:23,512
Drink this.

1042
01:51:23,720 --> 01:51:25,392
No.

1043
01:51:25,600 --> 01:51:27,272
There...

1044
01:51:30,920 --> 01:51:33,275
It'll soon be over.

1045
01:51:41,520 --> 01:51:45,911
What's frightened you so, Alexander?

1046
01:52:35,320 --> 01:52:36,275
Mama!
裸舞的女人 谁 ？ 鸡
victor
1076
01:58:28,640 --> 01:58:33,395
The fact is, what I'm most tired of
is the lot of you.

1077
01:58:36,560 --> 01:58:39,120
Tired of being your nursemaid.

1078
01:58:43,520 --> 01:58:46,080
Your nursemaid and your warden.

1079
01:58:49,720 --> 01:58:51,756
Tired of wiping your noses.
============
japan
两次关的音乐？？
一段音乐 笙箫 呜呜
====
小孩在给japanese tree 浇水
10
00:05:59,200 --> 00:06:01,998
a monk named Ioann Kolov,
that he should water the tree
each day until it came to life.
Put a few stones there, will you?
Anyway, early every morning
Ioann filled a bucket
with water and went out.
He climbed up the mountain
and watered the withered tree
and in the evening
when darkness had fallen
he returned to the monastery.

18
00:06:33,200 --> 00:06:35,998
He did this for three years.
And one fine day, he climbed
up the mountain and saw
that the whole tree
was covered with blossoms!
Say what you will, but a method,
a system, has its virtues.

22
00:06:54,320 --> 00:07:00,156
You know, sometimes I say to myself,
if every single day,
at exactly the same
stroke of the clock,
one were to perform
the same single act,
like a ritual,
unchanging, systematic,
every day at the same time,
the world would be changed.
Yes, something would change.
It would have to.
==============
1176
02:20:28,000 --> 02:20:30,958
"In the beginning was the Word."

1177
02:20:33,080 --> 02:20:35,753
Why is that, Papa?

1178
02:22:17,320 --> 02:22:24,476
This film is dedicated
to my son Andriosha

1179
02:22:24,680 --> 02:22:31,836
with hope and confidence
Andrei Tarkovsky
=====
00:14:13,200 --> 00:14:15,156
Au revoir!

138
00:14:17,520 --> 00:14:18,475
What?

139
00:14:18,680 --> 00:14:20,477
What are you mumbling about?

140
00:14:20,680 --> 00:14:23,353
"In the beginning was the Word."

141
00:14:24,200 --> 00:14:27,476
But you are mute, mute as a fish.

142
00:14:27,680 --> 00:14:29,159
A little roach! (smelt)
02：05：04 回车
2.11.28----17.22
Most of the film takes place inside or around a house that was specially built for the production. The climactic scene at the end of the film is a long tracking shot in which Alexander burns his house and his possessions. It was done in a single, six minute, fifty second take, often misstated as Tarkovsky's longest shot.[
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Sixtyish philosopher Alexander (Erland Josephson) lives in a beautiful house on an island off Sweden’s Baltic coast, with English wife Adelaide (Susan Fleetwood), teenage daughter Julia (Valerie Maitesse) and young son, known only as Gossen, or “Little Man” (Tommy Kjellvqist). It’s Alexander’s birthday, and he’s visited by eccentric bicycling postman Otto (Allan Erdawll) and smug doctor Viktor (Sven Wollter), who is “carrying on” with Adelaide. Out of the blue, a nuclear war is announced on TV - the telephones and electricity are cut off, and the air is filled with the deafening roar of passing jets. All looks bleak - but then Alexander fervently prays, asking God to avert the impending apocalypse, in return offering to turn his back on his home and family, and take a vow of silence. Next morning, he wakes to find that, somehow, the threat of annihilation has been lifted - and now it’s up to him to keep his side of the bargain...

The Sacrifice is like a compendium of all the ideas (faith, role of artist, power of nature, virtue of childhood) and images (love as levitation, a boy standing by a tree) from his previous six films. As usual, there’s a baffling rush of philosophical debate, stitched together with some of the most astonishing shots in all cinema. Watching this long film is an intermittently dazzling experience, but also somewhat unsatisfying. Just how much of what we’re watching is real, and how much is Alexander’s hallucination - we’re given clues along the way, such a bicycle being parked in a certain way, only to reappear in a slightly different place later on - is open to question. In Tarkovsky’s films, dreams are nothing if not cinematic. But piecing together the director’s “intention” seems to be missing the point. 　　费里尼的【Orchestra Rehearsal】是唯一没看完的，一群人唧唧刮刮地说话说得我头晕，流畅，太流畅了，而我亲近于涩而重的。
　　还有塔可夫斯基，我连关于他的记录片都找来了，【The Genius, The Man, the Legend--Andrei Tarkovsky】瑞典人Michal Leszczylowski拍的，大致是表现塔如何拍【牺牲】，感觉比看【雕刻时光】强多了，塔是个很在意细节和感受的人，凳子怎么摆，窗帘往哪儿飘都特讲究，讲道理却不行，【鲁伯廖夫】DVD里有他的访谈录，他居然爬到一棵树上去讲艺术和人生的意义，我脑子里蹦出两个字：耍猴。【第七封印】和【鲁伯廖夫】一比，柏格曼有必要买块豆腐一头撞死，但【雕刻时光】和【魔灯】一比，可以拔根头发上吊的是塔可夫斯基。当然，这只是我胡说。
The camera work is slow and contains all the hallmarks of Tarkovsky and Nykvist. The film features a haunting soundtrack which has three distinct pieces that stand out: the passionate aria Erbarme dich from Johann Sebastian Bach's Mattheus Passion, soothing Japanese flute music, and eerie traditional chants from the Swedish forests (in the old days farm girls used to call home the livestock from their forest pastures in this way). The film also contains several long closeups of Leonardo da Vinci's Adoration of the Magi.

The film uses long takes more than Tarkovsky's previous films. The opening, post-credits shot (a tracking shot of Alexander, Little Man, and Otto talking and walking) lasts nine minutes and twenty-six seconds, and is the longest take in all of Tarkovsky's work.[citation needed] Shots lasting between six and eight minutes are commonplace in the film, and there are only 115 shots in the entire film.[citation needed]
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It was out of such ideas that I decided to make The Sacrifice. The sole means of returning to a normal relationship with life is to restore one's independence vis-a-vis the material things of life and consequently reaffirm one's spiritual essence. In this film I deal with one of the aspects of this struggle for anyone living in society: the Christian concept of self-sacrifice. If one has never known such a feeling, never experienced such a desire, then, as far as I am concerned, one ceased to be a man, one begins to revert to the animal condition and becomes a strange machine, an object to be experimented with by society and the state. On the other hand, if one acquires a moral autonomy, one may discover within oneself a capacity for self-sacrifice.
不需要 妻子的hysteric
When one is hungry, one goes to a shop and buys something to eat; but when one is truly depressed, in a kind of spiritual crisis. there Is nowhere to go, except to sexologists and psychoanalysts who have no understanding of what is going on inside one. They are voyeurs and chatterboxes, who console you, soothe you and cost you the earth. They are charlatans, but terribly fashionable charlatans.
信息之奴
In my films one often finds the theme of language, whether present or absent. The fact is that the power of speech which has been given us has an absolutely extraordinary influence. It can inspire us to great or evil actions. And yet, these days, it has lost its value. The world is jam packed with empty chatter. All that information of which we pretend to have such need - consider radio and television - all those permanent infinite debates to be found in newspapers, all that is empty and meaningless. We imagine that, to survive, man has to know all kinds of things which in fact he does not need in the slightest; it's a strictly useless kind of knowledge. We shall all die beneath the weight of this garrulous information. In reality, it is better to act than to speak. As for the words, the phrases, with which we communicate - and this applies to art - they ought to be divested of all trace of passion. It is in the nostalgia that we feel for the Olympian principle, for its coldness, its classical sobriety, that resides the magic, the secret, of the great metaphysical masterpieces.
回到你自己introverted rather than the reverse.
Obviously, the artist himself is a creature of passion, but he dilutes that passion in the forms that he creates. In any case, inserting one's own emotions in a work of art is always vulgar. That's why I am so attracted to Oriental art; or else Bach, who is an ideal representative of art, or Leonardo da Vinci. Though each man most be Capable of expressing himself that he must channel his self-expression does not imply having publicly to produce a book or a film. It is this human vanity which is so typical of the West and which is not to be found in the Orient whose philosophy demands that man withdraw into himself, that he be introverted rather than the reverse.
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I could see that he obviously was not very interested in lighting. To him, of primary importance were composition, camera movements, the literally moving image.
Close-ups are also strikingly rare in Tarkovskij's movies. He preferred to see the actors' movements at a distance, almost choreographed, and alway in the center of the frame.
We had special-effects people brought in from England as there was a requirement in place that the house burn down in eight minutes and ten seconds sharp. Otherwise the film cartridge would run out.
For an entire week this scene was meticulously rehearsed. We had decided to not shoot the scene under sunlit conditions, and so we were forced to get up at two o'clock in the morning, do a few test runs, and then to commence shooting the scene at a carefully selected moment just prior to sunrise.

Approximately half-way through the take, my assistant yells out, "Sven - the camera is losing speed! We got twenty..., now we're at sixteen frames per second! What shall we do?"


We received some additional funding through our Japanese co-producer, and in the end we all decided to give it another shot. Nothing is impossible, as Ingmar Bergman was fond of saying. It was his gang behind the camera here. The house was re-built!

Fortunately, it turned out just fantastic. As the smoke billowed forth from the house the sun shone right through it and generated some truly great shading on the ground. It was a lucky strike indeed that the sun appeared - entirely to our advantage, and Tarkovskij was exceedingly pleased when he saw the end result.
I also asked him why he never showed up in Rome. "I was too shy," he said, "Bergman and Fellini are way too big for me."
----------Sven Nykvist
On the Shooting of The Sacrifice