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Andrei Tarkovsky Directing Advice — We look at what makes the films of Andrei Tarkovsky so powerful and poetic.

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Chapters:
00:00 - Introduction to the work of Andrei Tarkovsky
01:19 - Who is Andrei Tarkovsky?
03:00 - Story
07:10 - Production Design
08:50 - Color
10:43 - Cinematography
12:31 - Editing
15:15 - Sound Design
16:52 - Music
18:44 - Takeaways

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HOW ANDREI TARKOVSKY UNIQUELY MADE FILMS

There are few directors held in higher esteem than Andrei Tarkovsky. The legendary Russian filmmaker only made seven films, but over the course of his career he solidified himself as one of the most important figures in cinema’s history. So what is it about Tarkovsky that makes him so venerated? And what lessons can aspiring filmmakers learn from him?

ANDREI TARKOVSKY STYLE WRITING

Andrei Tarkovsky’s storytelling is deeply philosophical and poetic. His films explore themes of memory, time, and spirituality, often favoring abstract storylines rather than traditional narrative structures. His use of long, contemplative monologues and elliptical narratives invites the audience into a deeply immersive and reflective experience that feels like a visual poem.

ANDREI TARKOVSKY PRODUCTION DESIGN

Tarkovsky’s production design leans toward realism, but with a mystical and decayed quality that gives his films a timeless, almost otherworldly atmosphere. Tarkovsky frequently used natural elements to enhance the poetic and spiritual tone of his settings, making nature itself feel like a character in his films.

TARKOVSKY ON COLOR

Tarkovsky’s colors are muted, earthy, and organic, creating a painterly quality that enhances the emotional depth of his films. He avoided overly stylized or artificial color schemes, since he saw them as potentially distracting, and instead favored subtle hues that contributed to a dreamlike atmosphere.

ANDREI TARKOVSKY CINEMATOGRAPHY

Tarkovsky’s cinematography is famous for its long takes and fluid, painterly compositions. He often used slow, hypnotic camera movements that followed characters in real-time, allowing scenes to unfold organically. His use of deep focus, emphasizes the connection between characters and their environments, reinforcing his themes of memory and time.

ANDREI TARKOVSKY EDITING

Tarkovsky’s editing style supplemented his shooting style. He cut only when absolutely necessary. He called editing "sculpting in time," encouraging the audience to absorb each moment fully. Rather than relying on quick cuts or montage, Tarkovsky’s edits create a fluid progression that mirrors the workings of memory and thought.

TARKOVSKY SOUND DESIGN

Tarkovsky’s approach to sound design was sparse. He blended natural sounds into his films to create an almost hypnotic experience. Silence is also a crucial part of his sound design, emphasizing moments of introspection and deep emotion.

Music in Tarkovsky’s films is equally sparse, and often very atmospheric. He often employed classical compositions, and his music is rarely used as a manipulative emotional cue but rather as an extension of the film’s meditative rhythm.

Understanding Tarkovsky’s style can get us one step closer to emulating him. But there will always only be one Andrei Tarkovsky.

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♬ SONGS USED:

"St. John Passion, BWV 245: No. 1, Herr, unser Herrscher" - Bach
"Dojo Tradition (Instrumental)" - In This World
"II Allemande" - Brooklyn Classical
"Digital Prelude in C Major" - Johnny Gorillas
"Meditation" - Eduard Artemyev
"Prelude in E minor WTC I" - Ohad Ben Ari
"Track 1 (Andrei Rublev)" - Vyacheslav Ovchinnikov
"Prelude Cm Bach" - Ohad Ben Ari
"III" - Eduard Artemyev
"Theme (Stalker)" - Eduard Artemyev
"Listen to Bach (The Earth)" - Eduard Artemyev
"Prelude No 2 in C Minor BWV 934" - Yuval Vilner
"III Courante" - Brooklyn Classical
"Fugue in D minor" - Bishara Haroni
"Picture P. Brueghel Winter" - Eduard Artemyev
"Ode to Joy" - Ludwig van Beethoven
"Track 3 (Andrei Rublev)" - Vyacheslav Ovchinnikov
"Choral Prelude in F Minor" - Bach
"Track 13 (Andrei Rublev)" - Vyacheslav Ovchinnikov
"Cello Suite No1 in G Major BWV 1007 - III Courante" - Yoed Nir


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