"Artists can be divided into two categories, those who create their own inner world and those who create reality. I undoubtedly belong to the former..." If there is a director who can be called a poet, it must be Andre Taco fsky. When Bi Gan was at the film school, he spent several days watching Laota's "Stalker" intermittently. In the future, he made his stunning debut "Roadside Picnic". In addition to the movement of mirrors, the reference and internalization of the use of light and shadow, what Bi Gan learned from this great man must also be the film's understanding of the daily experience of life - this can deepen the audience's resonance and be closely connected with reality.
When modern people’s lives are flooded with short videos and the cinemas are full of Hollywood blockbusters with dazzling editing and special effects, few people may understand that the essence of long shots is to generate meaning, not to show off skills. Tarkovsky's long takes are not abusive, his lengths vary according to the air pressure of the scene. The audience's emotional perception of the character gradually deepens with the movement of the camera or the change of light and shadow. When the emotion is saturated, the camera stops at the right time. The most famous long shot in "Nostalgia" is the poet Andre holding a candle and trying to walk in the dry hot spring again and again, trying to fulfill the long-cherished wish of "madman" Dominic until he reached the other side, and his heart failed at the same time. Without a single line, the national-specific spiritual state held by the displaced Russian, the strong spiritual belief in the weak body, has been deeply embedded in the hearts of the audience in front of the screen.
In Laota's film, emotion is not expressed through lines. His camera lens is silent and quiet. The most commonly used lens movement technique is to slowly push forward, and then slowly pull back, as if standing on tiptoe and walking forward slowly, peeping into the heart of the character, and then holding his breath and gently backing up, Leave it alone and silent. When Andre, the protagonist, is sitting quietly and falling asleep in the room of the hotel in the hot spring town, the camera starts from a small perspective. The camera seems to be standing outside the door to spy, and then slowly pushes forward to land on the close-up of the sleeping Andre's head. The light changes evenly and slowly from bright to dark, and from dark to bright, as if time is being mobilized by a mysterious force—perhaps the film poet is sculpting time.
Tarkovsky rejects Eisenstein's montage, arguing that it focuses only on the expression of ideas, while ignoring the experience of the audience. In Tarkovsky's concept, the meaning of film is to enable the audience to explore the spiritual world of characters through images, and to resonate in reality. Therefore, there are few symbols and metaphors in his films. "Mad" Dominic set himself on fire after his speech, lit himself in the passionate soundtrack of "Ode to Joy", and illuminated the faces of the indifferent onlookers. Over the hot springs. The meaning of the firelight was not revealed by the old pagoda, because it depends on the viewer's heart and the different life experiences of thousands of people. It can be nothing, or it can be all.
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