1) It can be said that one of the most important assumptions in the film is that the film image can only be presented in the true and natural form of the vivid and colorful real life itself. The image should be extremely natural. The nature I am talking about is not the naturalism that is usually said in literary theory. What I emphasize is that the image of the film must have a form that can be perceived by feeling.
"Dreamland" still has to be constructed on the screen in the real and visible natural form of life itself.
2) Now our work on "Andrei Rublev" is almost complete. The story of the film takes place in the 15th century. What bothers us most is to imagine "what was everything like at the time". We have to rely on everything we can find: ancient buildings, written materials, icon paintings, etc.
If we adopt the method of reproducing the tradition of painting and the method of reproducing the world represented in the painting at that time, a stylized and hypothetical ancient Russian world will inevitably appear... One of our creative goals is to make modern audiences reproduce the 15th century The real world, even in terms of clothing, language, customs, and architecture, cannot make the audience feel that this is a "historical site" or an "exhibition." In order to achieve the reality of direct observation, the reality of direct experience "physiologically" has to go against the reality of archaeology and folklore a little bit.
3) This movie about Rublev...For us, the true spiritual hero is Pauliska. The film intends to show how the dark ages arouse a kind of infectious fanatic energy, which awakens in Pauliska and burns fiercely in order to make a bell.
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