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RAI Radiotelevisione Italiana
presents
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TRAVELLING TIME
by ANDREI TARKOVSKY
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and by:
TONINO GUERRA
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It must be Andrei.
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- Did you have anything to eat?
- Yes, thank you.
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You know, Andrei,
I wrote some poetry last night.
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- Oh, yes?
- Yes, for you.
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- For me?
- Yes, I want to read it to you.
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I write poetry in dialect,
not in Italian.
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But I will read it in Italian
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so maybe you will
understand something.
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I don't know what a house is
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Is it a coat?
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Or an umbrella if it rains?
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I have filled it with bottles,
rags, wooden ducks,
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curtains, fans
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It seems I never want to leave it
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Then it's a cage
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That imprisons whoever passes by
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Even a bird like you, dirty with snow
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But what we told each other
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Is so light that it cannot be kept in
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It's good.
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It's very good.
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It's very sad.
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No, it gives us some hope.
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Everything will go well.
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Today is a terrible day.
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We need to have a plan
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because otherwise
we'll never manage to do anything.
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I took down some notes.
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Here we are.
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We need to go through everything.
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We want to keep
of the journey what we did.
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What can be used for the screenplay.
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And we can throw away the rest.
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But we need to have a general list.
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We should start from Sorrento.
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Excuse me a second.
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Yes?
Oh, Michelangelo. Yes, we are here.
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Say hello to Michelangelo for me.
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He says hello.
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Thank him for everything.
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That's okay.
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Okay.
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You come here.
So you are coming as well?
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So you come here at 10:00,
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and then we go to the airport together.
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A big hug.
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Bye.
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Bye.
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Andrei.
I have spoken to Michelangelo.
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He told me he was the first one
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to do the documentary on Bomarzo.
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- Ah, yes?
- Yes, there were all the roots
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and nobody was taking any notice.
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That's nice.
He says we were there for a day.
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Anyway, he wants to see it.
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He says he wants to say hello to you.
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Thank you.
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No, but personally.
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Toni, I've been thinking a lot
about what you said to me...
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About those, shall we say, problems?
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You see, I've got a complicated
impression. I am confused, you see?
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The things that I saw yesterday
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seem as if I saw them a week ago.
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About our journey
that was a month ago,
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I feel as if it was
just a moment ago.
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Everything got mixed up,
the time and the space.
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I feel as if for Italy, the ability
to perceive the depths of perspective
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has not been invented yet.
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Proportions...
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as we saw those trees,
standing on the plain...
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This scope somehow reminds me
of Russia and its spaces.
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Everything else looks kind of flat,
as if it was located on a surface.
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The effect is so strong,
it bothers...
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All southern Italy, with Sorrento
and everything we saw...
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What are your most enduring images
out of all we have seen?
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Toni, I understand.
I'll tell you honestly.
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In the beginning of our journey
I felt somewhat strange,
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because in the south of Italy,
on the shore, it seemed to me...
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Amalfi.
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Very nice.
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It's more like a resort place,
a place for rest, for tourists.
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This irritated me a bit.
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Most of all I liked, let's say,
Amalfi or the place called Flore.
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Maybe this is where
the pirates used to come.
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I think it's the only place
where you can easily land.
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Where you can reach the shore.
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You know, I would be sorry...
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Frankly, I would be very sorry
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if we threw away all
Lecce and its baroque.
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Because it's beautiful.
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You know, the Lecce baroque
is unique and sophisticated.
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It's simple.
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There could be
some naked columns
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with some huge work inside.
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So, this flourish...
This eccentricity
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only appears
in some particular areas.
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Then, do you remember
those churches...
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All this Lecce stone.
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I think that priest
talked about a special stone.
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It's all in the altars.
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Altars, altars and simplicity.
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And I like it.
Lecce really impressed me.
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Maybe we could use it.
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For instance,
if our character was an architect,
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it would be a pity
if he did not see Lecce.
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Tonino, I think this place
is too beautiful for our movie.
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It's too beautiful.
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It's very interesting by itself,
but I think, that for our character,
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notwithstanding his interest
in architecture, it's too beautiful.
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Our character
doesn't always have to be
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at ingenious architectural sites.
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Wait. We can stop this priest.
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He'll know more than us.
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The Lecce baroque flourished
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because it's easy
to work the local stone.
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It's a soft stone.
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It's a soft stone
that can be easily worked on.
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And it's also very resistant
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as you can see.
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I could also add
that under the cathedral
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lies the antique chapel.
The antique church.
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There are 48 columns.
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But they all have their own symmetry.
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You'll see all these straight columns.
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I see.
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There is a good priest
that will explain everything to you.
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I understand.
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Then the mosaics on the floor
are symbolic.
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They date back to even before Dante.
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Here there was a literary culture
that preceded Dante.
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All the different cultures,
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lndian, Persian, Egyptian,
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Mesopotamic,
Scandinavian, Hellenistic,
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Platonic and Augustinian, Biblical
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and Breton cultures are on this tree.
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And in all cultures
there is something true.
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And to enrich themselves, being faithful
to their political and religious beliefs,
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human beings take whatever
they need from other cultures.
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In an open way.
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This concept was reaffirmed
by the second Vatican Council.
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But we already lived it.
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It's the Biblical concept.
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So in respect of these cultures,
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today we can have a dialogue
with all cultures.
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Without any obstacles.
Without any ideology.
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I am very happy that
the Madonna del Parto
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will probably be in the film.
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Because it's so beautiful.
Very beautiful.
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I got a bit worried
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when I saw these reproductions.
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Look at all this red. It's not there.
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The walls seem to be
ready to eat the painting.
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There is so much dust.
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And there is this blue and white
on the lap. It's incredible.
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Here it's nothing.
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So I don't believe
in painting reproductions,
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I don't believe in poem translations.
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The art is very jealous.
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Very jealous.
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You must look for it at home.
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Some young people
sent a few questions.
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Listen to this.
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If you had to talk to today's
and yesterday's great directors,
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for what reasons
would you thank each of them
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for what you feel they gave you?
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First of all, I have to recollect,
not recollect, I always remember
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ingenious Dovzhenko,
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Alexander Dovzhenko,
''La Terra'' by Dovzhenko.
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The mute movie.
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Outstanding director.
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In that era of silent movies,
he made miracles, in my opinion.
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Poetic cinema.
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I'll be brief in answering
this question.
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Then... Bresson,
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Robert Bresson.
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Bresson has always astonished me
and attracted me with his ascetics.
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It seems to me that he is
the only director in the world
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that has achieved absolute
simplicity in cinema.
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As it was achieved in music by Bach,
in art by Leonardo...
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Tolstoy achieved it as a writer.
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For me, Tolstoy, do you understand?
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Therefore for me he's always been
an example of ingenious simplicity.
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Ascetics...
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Antonioni, for sure.
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Because Antonioni has made
a strong impression on me
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with his films,
especially with adventures,
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for which you,
by the way, wrote a script.
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Yes, you helped
and you made the script.
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I find the movie very interesting.
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I realised then,
watching this film, that ''action'',
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the meaning of action in cinema
is rather conditional.
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There's practically no action
going on in Antonioni films.
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And this is the meaning of ''action''
in Antonioni films.
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More precisely, in those
Antonioni films that I like the most.
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I like Fellini for his kindness,
for his love of people,
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for his, let's say, simplicity
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and intimate intonation.
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If you'd like to know -
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not for popularity,
but rather for his humanity -
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I value him tremendously.
His baroque, exuberant, beautiful...
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His movie ''Pale Moon Tales''
is astounding in its simplicity,
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elegance and wonderful nobleness
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of picture and acting.
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I remember Vigo
with tenderness and thankfulness,
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the French director,
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who, in my opinion, is the father
of modern French cinema.
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First, the new wave, then what this
wave has thrown out on the shore,
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what has left after this wave.
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It was...
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Vigo has founded the French movie,
and nobody has gone farther than him.
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Then, with great pleasure
and thankfulness I always remember
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the films of Sergei Paradzhanov,
that I like very much.
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His way of thinking
is very paradox and poetic.
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His ability of loving the beauty,
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his skill of being completely free
inside his own creation.
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Where did we see
all those hydrangeas?
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Do you remember?
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No, I don't.
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Ravello. Ravello.
I think it was in that cloister.
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I remember the lessons of Bergman,
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his films that I like very much
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and that I watch over and over every time
I start making a new film of my own.
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This villa, was it built
by order of a Russian princess?
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No, it wasn't built
by order of a Russian princess.
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00:21:02,680 --> 00:21:06,878
But by order of the Borboni
of Naples and of the Two Sicilies.
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But at one point
a Russian princess
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became the owner.
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Yes, the Russian princess
came here once the villa
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was given as a present
to Maria Filiberta di Savoia,
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who sold it to the Korchakov.
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00:21:26,520 --> 00:21:30,035
And to be precise,
to the princess Elena Korchakova.
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Tell him, please.
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- Do you understand?
- Yes, I understand.
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I want to ask you a question.
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We came here for a very odd thing
that happened to me.
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Seven, eight years ago,
someone told me about a floor.
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And I have gone crazy
and hope I'll drive him crazy as well
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in an attempt to see this floor.
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It's a white floor, made by Palizzi,
with some rose petals.
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Yes, it's true.
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And who built that?
It was the princess.
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Yes. That floor is in the villa.
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It was designed for this villa
by the painter Filippo Palizzi.
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In 1888, I believe.
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And it's unique.
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00:22:23,480 --> 00:22:28,952
In fact, it's very big,
about 15 metres long.
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With rose petals scattered everywhere.
Rose petals and leaves.
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In memory of a Portuguese countess.
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No, sorry.
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It's the same.
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00:22:47,600 --> 00:22:50,956
No, she wasn't Portuguese.
Sorry, she was Hungarian.
255
00:22:51,440 --> 00:22:52,190
I made a mistake.
256
00:22:52,320 --> 00:22:55,790
Yes, an eighteen-year old
257
00:22:55,920 --> 00:22:56,955
Hungarian countess,
258
00:22:57,080 --> 00:22:59,753
of whom the Borbone
fell madly in love.
259
00:22:59,880 --> 00:23:06,149
Then, this countess died
and apparently the Borbone went mad
260
00:23:06,280 --> 00:23:11,957
and flung every object that
the countess had touched into the sea.
261
00:23:12,080 --> 00:23:15,914
Tell Andrei that I told him the truth.
262
00:23:16,040 --> 00:23:21,637
We are close to the villa and the
current owner won't let us see the floor
263
00:23:21,760 --> 00:23:22,795
but the floor is there.
264
00:23:22,920 --> 00:23:26,117
It's not true that the owner
won't let you see the floor.
265
00:23:26,240 --> 00:23:30,074
Unfortunately, the owner is not
in Sorrento at the moment.
266
00:23:30,200 --> 00:23:33,158
So, we cannot gain access
267
00:23:33,320 --> 00:23:39,077
to the rooms where the floor is.
268
00:23:39,200 --> 00:23:43,751
Okay, but we've been trying
to get in touch with her for four days.
269
00:23:43,880 --> 00:23:45,677
Now, it seems a bit...
270
00:23:45,800 --> 00:23:46,869
Well, this is unlikely.
271
00:23:49,680 --> 00:23:53,673
I received a call
at 9:15 this morning.
272
00:23:53,800 --> 00:23:59,875
I did not have the time to talk to her
and ask her to cancel her engagements.
273
00:24:00,040 --> 00:24:04,830
I am okay. I just wanted to prove
that the floor is actually there.
274
00:24:04,960 --> 00:24:07,838
Because we went to see
the bread and the bread is not there.
275
00:24:07,960 --> 00:24:10,474
- You made up the whole bread thing.
- You made up the whole bread thing.
276
00:24:10,600 --> 00:24:12,158
It's not true.
It's not true.
277
00:24:12,280 --> 00:24:14,157
It's not important.
278
00:24:14,280 --> 00:24:18,432
At this moment
the owner doesn't live here.
279
00:24:18,560 --> 00:24:21,632
I can let you take a picture
of the floor on the terrace
280
00:24:21,760 --> 00:24:27,153
where there is a plaque in memory
of a party that was held here
281
00:24:27,320 --> 00:24:31,029
at Parco dei Principi.
The famous Julia Sedova was a guest,
282
00:24:31,160 --> 00:24:34,709
the great ballet dancer of the
Saint Petersburg lmperial Theatre.
283
00:24:35,760 --> 00:24:37,955
Here he'll show us
another floor on the terrace,
284
00:24:38,080 --> 00:24:41,675
that was made in memory
of Julia Sedova,
285
00:24:41,920 --> 00:24:44,309
the great ballet dancer of the
Saint Petersburg lmperial Theatre.
286
00:24:44,440 --> 00:24:46,192
Of her performance here...
287
00:24:46,320 --> 00:24:51,838
In memory of such a poetic story,
Princess Korchakov
288
00:24:51,960 --> 00:24:58,354
asked Palizzi to paint
this floor with rose petals.
289
00:24:58,480 --> 00:25:03,918
In memory of such a poetic story,
Princess Korchakov asked
290
00:25:04,040 --> 00:25:08,352
Palizzi to paint this floor
with rose petals.
291
00:25:08,480 --> 00:25:11,995
- This is a romantic story. It is beautiful.
- Sentimental.
292
00:25:13,320 --> 00:25:18,110
- Yes, a poetic and romantic story.
- Very nice.
293
00:25:19,200 --> 00:25:22,875
I liked the idea of the painter,
of Palizzi.
294
00:25:23,000 --> 00:25:30,350
He did this white floor with petals
scattered here and there.
295
00:25:31,640 --> 00:25:34,473
They look like they were
thrown in from the window.
296
00:25:34,600 --> 00:25:40,470
As those leaves
are falling from the window...
297
00:25:40,600 --> 00:25:44,798
I have a page of this floor
298
00:25:44,920 --> 00:25:50,278
that was photographed by a magazine
specialising in architecture.
299
00:25:50,400 --> 00:25:52,994
It was presented
as a totally unique floor.
300
00:25:53,800 --> 00:25:56,030
Okay, let's see this page.
301
00:25:57,760 --> 00:25:59,910
Let's see this page,
let's see this page.
302
00:26:00,480 --> 00:26:02,118
But what have I got to do
with Sorrento?
303
00:26:02,240 --> 00:26:06,711
I like it, they tell me about
an extraordinary white floor,
304
00:26:06,840 --> 00:26:09,673
with some roses scattered everywhere.
305
00:26:09,840 --> 00:26:11,114
Is it my fault if it's not there?
306
00:26:12,720 --> 00:26:15,314
lsn't it wonderful
to see something like that?
307
00:26:15,440 --> 00:26:16,793
I think it was Palizzi who did it.
308
00:26:17,600 --> 00:26:20,034
lsn't it wonderful to see this floor?
309
00:26:20,160 --> 00:26:23,550
We know that there is
a closed home with a big floor
310
00:26:23,680 --> 00:26:26,592
and that a woman asked for
all these white tiles to be made.
311
00:26:27,520 --> 00:26:29,954
With rose petals scattered around,
not in a regular pattern
312
00:26:30,080 --> 00:26:35,108
as if the wind had blown away
some rose leaves.
313
00:26:35,360 --> 00:26:36,156
Of course, it's not there.
314
00:26:36,280 --> 00:26:37,679
A guy from Naples told me.
315
00:26:37,840 --> 00:26:40,513
''Why do you make me go to Naples?''
316
00:26:40,640 --> 00:26:41,595
I have done everything I could.
317
00:26:41,800 --> 00:26:44,314
I swear,
I couldn't do anything more than this.
318
00:26:50,840 --> 00:26:55,072
If you had to talk to
some young directors,
319
00:26:56,080 --> 00:27:01,518
what would your
main recommendations be?
320
00:27:07,600 --> 00:27:09,795
Nowadays everyone makes movies,
321
00:27:10,000 --> 00:27:14,915
everybody thinks they can
make movies, you see?
322
00:27:16,160 --> 00:27:17,991
Anyone that is not too lazy...
323
00:27:19,240 --> 00:27:23,028
It's not hard to learn how to glue
the film, how to work a camera...
324
00:27:25,800 --> 00:27:31,033
But the advice
I can give to beginners
325
00:27:32,120 --> 00:27:38,798
is not to separate their work,
their movie,
326
00:27:40,760 --> 00:27:45,880
their film from the life they live.
327
00:27:46,200 --> 00:27:52,719
Not to make a difference between
the movie and their own life.
328
00:27:56,280 --> 00:27:58,157
Because...
329
00:28:02,480 --> 00:28:06,917
a director is like any other artist:
330
00:28:07,080 --> 00:28:10,914
a painter, a poet, a musician...
331
00:28:11,440 --> 00:28:18,312
And since it is required from him
to contribute his own self,
332
00:28:18,560 --> 00:28:24,271
it is strange to see directors
333
00:28:24,480 --> 00:28:29,156
that take their work
334
00:28:29,320 --> 00:28:35,111
as a special position,
given to them by destiny,
335
00:28:35,320 --> 00:28:37,834
and simply exploit their profession.
336
00:28:38,000 --> 00:28:42,118
That is, they live in one way,
but make movies about something else.
337
00:28:43,040 --> 00:28:46,077
And I'd like to tell directors,
especially young ones,
338
00:28:46,240 --> 00:28:49,835
that they should be
morally responsible
339
00:28:50,200 --> 00:28:53,749
for what they do
while making their films.
340
00:28:54,080 --> 00:28:56,719
Do you understand?
It is the most important of all.
341
00:28:57,160 --> 00:29:01,551
Secondly, they should
be prepared for the thought
342
00:29:01,680 --> 00:29:08,995
that cinema is a very difficult
and serious art.
343
00:29:09,120 --> 00:29:12,032
It requires sacrificing of yourself.
344
00:29:12,160 --> 00:29:16,631
You should belong to it,
it shouldn't belong to you.
345
00:29:19,000 --> 00:29:26,236
Cinema uses your life,
not vice versa.
346
00:29:26,480 --> 00:29:30,951
Therefore I think that
this is the most important...
347
00:29:31,120 --> 00:29:34,874
You should sacrifice yourself
to the art.
348
00:29:35,000 --> 00:29:40,358
This is what I've been thinking
lately about my profession.
349
00:29:42,920 --> 00:29:44,990
What's the problem?
He looks a bit nervous.
350
00:29:45,120 --> 00:29:48,078
We always travel
to these kinds of ''tourist'' sites.
351
00:29:48,200 --> 00:29:51,875
We always go to tourist places.
352
00:29:52,000 --> 00:29:54,719
I've not yet seen a place, where...
353
00:29:54,840 --> 00:29:57,400
I have not yet seen the place...
354
00:29:57,800 --> 00:30:01,759
...where our character could be...
355
00:30:01,880 --> 00:30:04,633
...where our character could live.
356
00:30:05,000 --> 00:30:09,198
He's right but I am
showing him all these places
357
00:30:09,320 --> 00:30:13,154
to enrich him with
all these ltalian beauties.
358
00:30:13,320 --> 00:30:14,833
After that,
he can forget about them.
359
00:30:14,960 --> 00:30:17,269
On the other hand,
I could ask him a question.
360
00:30:17,400 --> 00:30:19,118
On the other hand,
I could ask you a question.
361
00:30:19,240 --> 00:30:22,312
Why would a Russian person
come here for a month?
362
00:30:22,440 --> 00:30:25,352
Why would a Russian person
come here for a month?
363
00:30:25,480 --> 00:30:29,314
He comes here for work or,
not so much for tourism,
364
00:30:29,440 --> 00:30:31,158
but for the culture.
365
00:30:31,320 --> 00:30:33,709
Our character would be abstract
366
00:30:33,840 --> 00:30:36,115
if we didn't show anything.
367
00:30:36,240 --> 00:30:38,708
I agree that we shouldn't show
too much of these beauties
368
00:30:38,840 --> 00:30:40,876
but I wouldn't like him to be abstract.
369
00:30:41,000 --> 00:30:42,513
I'd like to make a comparison.
370
00:30:42,640 --> 00:30:46,872
In my village, there is a painter
called Federico Moroni.
371
00:30:47,760 --> 00:30:48,556
He's very good.
372
00:30:48,680 --> 00:30:53,196
He's a great master.
373
00:30:53,320 --> 00:30:58,155
Once, he gave his pupils
an iron ball to hold
374
00:30:58,280 --> 00:30:59,156
with the left hand.
375
00:31:00,560 --> 00:31:03,233
Then he gave them a pencil
to hold with the right hand
376
00:31:03,360 --> 00:31:04,839
and asked them to draw a circle.
377
00:31:04,960 --> 00:31:07,474
The kids drew the circle.
378
00:31:07,600 --> 00:31:09,636
But it wasn't a flat circle.
379
00:31:09,760 --> 00:31:11,671
It was a circle with some volume.
380
00:31:11,800 --> 00:31:16,157
It contained the weight of the ball
on their left hand.
381
00:31:16,280 --> 00:31:21,479
Then I would like to put on his left
hand as many ltalian images as I can
382
00:31:21,600 --> 00:31:26,355
so that if tomorrow he takes a picture
of a field or something anonymous
383
00:31:26,480 --> 00:31:29,233
this will contain those beauties.
384
00:31:29,360 --> 00:31:34,309
I am a bit worried as I feel
like I am on holiday.
385
00:31:34,480 --> 00:31:36,914
And I am not used to this state.
386
00:31:37,040 --> 00:31:42,319
I am a bit worried
as I feel like I am on holiday.
387
00:31:42,440 --> 00:31:45,477
And I am not used to taking holidays.
388
00:31:45,600 --> 00:31:48,353
For me it's very important
that we experience this way of life.
389
00:31:48,520 --> 00:31:52,877
For me it's very important
that we experience this way of life.
390
00:31:53,000 --> 00:31:54,319
Not only the beauty of ltaly...
391
00:31:54,440 --> 00:31:59,309
Not only the beauty
and architecture of ltaly
392
00:31:59,440 --> 00:32:02,910
but also the people, their work.
393
00:32:03,040 --> 00:32:08,273
What happens in the streets,
their feelings...
394
00:32:10,920 --> 00:32:12,876
He's right but let me ask a question.
395
00:32:13,000 --> 00:32:14,752
How many days
have we been around?
396
00:32:14,880 --> 00:32:15,630
Four days.
397
00:32:17,040 --> 00:32:18,951
You must see these things.
398
00:32:20,720 --> 00:32:24,269
I feel like we've been
travelling for 2 weeks.
399
00:35:18,320 --> 00:35:21,437
This is a girl posing a question.
400
00:35:23,080 --> 00:35:27,119
Is science fiction a world
you feel passionate about
401
00:35:27,240 --> 00:35:30,471
or is it a way to escape reality?
402
00:35:31,840 --> 00:35:38,439
Neither Toni.
I don't like fiction,
403
00:35:39,560 --> 00:35:43,473
as I don't like to escape life.
404
00:35:44,960 --> 00:35:51,911
In the meaning... I think that genre
in cinema always indicates
405
00:35:52,040 --> 00:35:59,390
a commercial movie, in the bad
meaning of this word ''commercial''.
406
00:35:59,680 --> 00:36:05,516
I am not against popularity,
but I'm against commercial movies.
407
00:36:05,720 --> 00:36:10,157
Therefore when I make fiction films,
408
00:36:10,280 --> 00:36:13,113
I don't think of them as a fiction.
409
00:36:13,320 --> 00:36:17,518
For instance, I find
the movie ''Solaris'' not so good,
410
00:36:17,640 --> 00:36:21,997
because I could not escape
411
00:36:22,240 --> 00:36:29,510
from the genre,
from the fictional details.
412
00:36:29,960 --> 00:36:31,473
In ''Stalkin'', however,
413
00:36:31,680 --> 00:36:34,717
the movie that was made
was based on a science-fiction story.
414
00:36:35,200 --> 00:36:38,556
I think I've managed
to overcome this genre
415
00:36:38,720 --> 00:36:42,759
and to get rid of all
''science-fiction'' signs completely.
416
00:36:42,960 --> 00:36:46,270
This gives me a big pleasure.
417
00:36:46,960 --> 00:36:50,839
The genre problem in cinema
doesn't exist for me,
418
00:36:50,960 --> 00:36:55,351
because for me, cinema is an art
that can cover everything:
419
00:36:56,080 --> 00:37:01,029
tragedy, happiness,
sadness, fun, fortune...
420
00:37:01,520 --> 00:37:07,709
Only then is cinema
able to reflect life.
421
00:37:08,280 --> 00:37:13,638
On the other hand,
I don't really
422
00:37:14,520 --> 00:37:19,275
like commercial movies, you see?
423
00:37:19,440 --> 00:37:24,150
Anyway, I am not a fan
of the science-fiction genre.
424
00:37:24,360 --> 00:37:31,038
And while making a movie,
I first of all think of it
425
00:37:31,240 --> 00:37:35,279
as a movie without any genre at all.
426
00:37:35,760 --> 00:37:39,196
Why were you so fascinated
by Bagni Vignone?
427
00:38:03,640 --> 00:38:08,589
I thought we should make
428
00:38:08,800 --> 00:38:11,519
one of the most important
scenes here, in the hotel.
429
00:38:12,760 --> 00:38:14,239
Maybe not in the hotel,
430
00:38:14,400 --> 00:38:20,509
but with decorations,
looking like it.
431
00:38:21,160 --> 00:38:23,469
Do you remember when I felt sick
432
00:38:23,680 --> 00:38:28,879
and went to room 38 to rest?
433
00:38:29,120 --> 00:38:30,838
For an hour.
434
00:38:31,080 --> 00:38:37,269
This room astonished me, since
the window wasn't facing the street.
435
00:38:37,480 --> 00:38:42,156
I didn't see any landscape.
It was a well, a tiny well
436
00:38:42,520 --> 00:38:45,557
with a dim light.
437
00:38:45,800 --> 00:38:48,837
It was dark inside,
it was always dark in this room.
438
00:38:49,200 --> 00:38:54,638
It was a very strange mysterious
place, like a hospital, maybe.
439
00:38:55,000 --> 00:38:58,959
A place where one
could only feel very bad.
440
00:38:59,800 --> 00:39:01,995
There is not enough air...
441
00:39:02,240 --> 00:39:05,516
I thought we should
make a scene here, in this room
442
00:39:05,680 --> 00:39:09,719
about our character...
In the moment of crisis...
443
00:39:10,640 --> 00:39:12,437
That's what I thought...
444
00:39:12,640 --> 00:39:18,078
Not only do I like this room,
445
00:39:18,600 --> 00:39:25,233
I also like this swimming pool,
of course.
446
00:39:25,520 --> 00:39:27,476
This swimming pool from which
447
00:39:28,520 --> 00:39:34,868
steam rises in the mornings...
448
00:39:35,320 --> 00:39:40,269
The atmosphere of mystery,
sadness and loneliness...
449
00:39:40,440 --> 00:39:43,716
I think that in the late autumn
it'll be very beautiful.
450
00:39:44,680 --> 00:39:47,797
It is the most important,
I agree with you,
451
00:39:47,920 --> 00:39:51,595
the most important scene
of our future movie.
452
00:39:52,320 --> 00:39:57,110
I don't think we should pay a lot
of attention to the architecture,
453
00:39:57,240 --> 00:40:01,438
although our character
is interested in architecture.
454
00:40:01,920 --> 00:40:06,357
I think it is important to pay
attention to the journey
455
00:40:06,720 --> 00:40:11,236
that our character makes inside
himself, this is the most important.
456
00:40:11,400 --> 00:40:16,394
And in my opinion,
this place is very useful to make...
457
00:43:53,680 --> 00:43:54,795
Do you cook your own food?
458
00:43:54,920 --> 00:43:55,636
Yes, everything.
459
00:43:56,320 --> 00:43:58,629
- Every morning?
- Yes.
460
00:43:58,760 --> 00:43:59,988
You are good.
461
00:44:00,120 --> 00:44:01,599
And what time do you go to bed?
462
00:44:01,720 --> 00:44:04,917
In the evening,
towards 10:00, 10:30 pm.
463
00:44:05,680 --> 00:44:07,272
What time do you get up
in the morning?
464
00:44:07,400 --> 00:44:08,958
4:30 am at the latest.
465
00:44:09,680 --> 00:44:11,511
- Are you the one who rings the bell?
- Yes.
466
00:44:12,320 --> 00:44:13,639
- At midday?
- At midday.
467
00:44:15,680 --> 00:44:17,079
And what have you cooked today?
468
00:44:17,560 --> 00:44:18,879
Well, I don't know yet.
469
00:44:19,040 --> 00:44:20,029
You don't know?
470
00:44:21,160 --> 00:44:23,390
Listen, now you walk
towards the church.
471
00:44:24,000 --> 00:44:26,195
You can go towards the church. Bye.
472
00:44:30,640 --> 00:44:32,153
Straight on, towards the road.
473
00:44:37,800 --> 00:44:42,920
Which films did you not
manage to do and why?
474
00:44:45,760 --> 00:44:48,832
There were a lot of other intentions
475
00:44:49,040 --> 00:44:55,229
that I couldn't make happen.
476
00:44:55,360 --> 00:45:02,311
I think that every director
always has some plans
477
00:45:02,480 --> 00:45:04,869
that don't happen
for some reasons.
478
00:45:05,040 --> 00:45:09,909
I think it's part of a director's work
to have these ideas
479
00:45:12,440 --> 00:45:20,358
that you cannot make happen.
480
00:45:21,640 --> 00:45:24,393
I have this one scene
that I like very much.
481
00:45:24,920 --> 00:45:30,790
Maybe some day I'll make
a movie out of it...
482
00:45:31,000 --> 00:45:38,236
About a man who
sets his wife on fire
483
00:45:38,560 --> 00:45:43,953
only because she doesn't tell
the truth, because she lies.
484
00:45:44,560 --> 00:45:49,236
Lies aren't very important issues,
you see?
485
00:45:52,160 --> 00:45:54,071
He loves her very much,
and she loves him.
486
00:45:54,200 --> 00:45:57,476
She is a wonderful woman,
they love each other,
487
00:45:57,600 --> 00:45:59,909
and they have
a wonderful relationship.
488
00:46:00,080 --> 00:46:03,311
But she makes things up.
489
00:46:03,480 --> 00:46:07,837
She goes out and when she comes
back, he asks: Where have you been?
490
00:46:08,000 --> 00:46:09,718
She answers:
''I was visiting a friend.''
491
00:46:10,080 --> 00:46:13,868
But he knows that she
wasn't at her friend's house,
492
00:46:14,040 --> 00:46:19,273
she was some place else,
let's say in the movie theatre.
493
00:46:19,480 --> 00:46:21,596
He doesn't understand
why she lies.
494
00:46:21,760 --> 00:46:23,955
I think she doesn't
realise it either.
495
00:46:24,120 --> 00:46:28,432
Maybe because of some
self-preservation instincts.
496
00:46:28,680 --> 00:46:33,515
He struggles with her
497
00:46:33,640 --> 00:46:37,633
but cannot convince her not to lie.
498
00:46:38,600 --> 00:46:44,914
In the end he ties her to a tree and
sets her on fire, like Joan of Arc.
499
00:46:46,720 --> 00:46:51,999
I like this idea very much,
but I didn't make a movie out of it.
500
00:46:53,360 --> 00:46:59,151
Most regrettable is one scene
that I wrote together with my friend
501
00:47:00,120 --> 00:47:05,797
about someone...
502
00:47:06,800 --> 00:47:13,399
that looked for a place
where his mother was buried.
503
00:47:13,520 --> 00:47:15,909
He didn't know exactly
where the grave was.
504
00:47:17,240 --> 00:47:23,588
With the tombstone in his trunk
he drove through a town,
505
00:47:23,720 --> 00:47:29,272
looking for the place and asking
the people where his mother had died,
506
00:47:29,440 --> 00:47:31,431
in order to put up the tombstone.
507
00:47:31,560 --> 00:47:34,552
He doesn't manage to do it
and he drops off the tombstone
508
00:47:34,840 --> 00:47:38,549
at the first village
cemetery he sees.
509
00:47:38,760 --> 00:47:42,958
And he imagines that she...
510
00:47:48,760 --> 00:47:49,795
A year before she died,
511
00:47:49,920 --> 00:47:52,559
my mother came to see me in Rome.
512
00:47:53,480 --> 00:47:55,630
I did not live here.
I lived in the Parioli area.
513
00:47:57,320 --> 00:47:59,356
She came only for a day.
514
00:48:01,600 --> 00:48:03,556
And towards the evening,
she told me,
515
00:48:05,360 --> 00:48:06,475
''The night has come''.
516
00:48:07,760 --> 00:48:13,232
She didn't simply mean
it was the end of a day.
517
00:48:13,560 --> 00:48:16,836
She was probably
hinting at the end of her life.
518
00:48:18,240 --> 00:48:23,155
Now the night has come also for us.
519
00:48:23,320 --> 00:48:27,711
For this wonderful coming together.
520
00:48:36,880 --> 00:48:37,949
Tell me something.
521
00:48:38,840 --> 00:48:43,356
As soon as you get to Moscow,
what will you feel like doing?
522
00:48:52,440 --> 00:48:58,072
I'll try to go to the village
right away. I miss the village.
523
00:48:58,360 --> 00:49:02,035
Larisa and I
bought a little house there
524
00:49:02,160 --> 00:49:05,072
to spend most of our time,
525
00:49:05,200 --> 00:49:08,954
but unfortunately,
it's not working out.
526
00:49:09,120 --> 00:49:12,954
Half a year, about 8 months.
527
00:49:14,480 --> 00:49:18,234
It was the first time
I've ever lived in a village
528
00:49:19,480 --> 00:49:22,358
without going away, permanently.
529
00:49:23,160 --> 00:49:27,039
And I saw the whole cycle
of this life.
530
00:49:27,280 --> 00:49:34,470
I was astonished, because I saw
that in the same place the nature...
531
00:49:36,240 --> 00:49:37,514
I was in a hurry at the beginning,
532
00:49:37,960 --> 00:49:41,032
I thought I was missing
some important things in Moscow,
533
00:49:41,280 --> 00:49:44,716
that I should go,
catch up with someone.
534
00:49:45,040 --> 00:49:49,556
Now I live on this land.
535
00:49:49,760 --> 00:49:55,517
There are many beautiful fields
around our village, many fields.
536
00:49:57,200 --> 00:50:00,431
And a very beautiful land,
especially when cultivated.
537
00:50:01,680 --> 00:50:06,674
When the wheat blooms,
there are many white flowers.
538
00:50:06,920 --> 00:50:11,198
In the dark it looks
like fog on the ground.
539
00:50:11,320 --> 00:50:16,758
It is difficult to tell
whether it is fog or flowers.
540
00:50:17,360 --> 00:50:19,476
It is a very beautiful view.
541
00:50:19,760 --> 00:50:25,756
Beautiful soil.
Wet soil is violet.
542
00:50:26,200 --> 00:50:28,475
Dry soil makes a noise
when you walk on it.
543
00:50:28,640 --> 00:50:35,079
It reminds me of soil we saw in
Taskania on our journey, remember?
544
00:50:35,200 --> 00:50:39,239
But it's also beautiful
in Romagna.
545
00:50:39,360 --> 00:50:43,592
Up until I was 32,
I lived in the country.
546
00:50:44,520 --> 00:50:45,999
It's beautiful everywhere you go.
547
00:50:46,120 --> 00:50:48,031
The land is beautiful
because it's the same here,
548
00:50:48,160 --> 00:50:51,709
in Russia and everywhere.
549
00:50:54,600 --> 00:50:55,828
I have written a poem.
550
00:50:58,280 --> 00:51:01,670
First, I'll read it in ltalian because
otherwise you won't understand much.
551
00:51:04,960 --> 00:51:05,836
The bulls
552
00:51:07,920 --> 00:51:10,115
Tell the bulls to go away
553
00:51:11,240 --> 00:51:12,958
What they have done is done
554
00:51:15,040 --> 00:51:18,749
(repeats in dialect)
555
00:51:20,240 --> 00:51:35,679
(continues poem in dialect)
556
00:55:58,640 --> 00:55:59,390
Andrei!
557
00:56:00,480 --> 00:56:03,153
You have not told me
whether you like my house or not.
558
00:56:05,400 --> 00:56:06,833
Yes, I like it a lot.
559
00:56:07,640 --> 00:56:11,030
Yes, but I am sure you will change it
when you go to Russia.
560
00:56:12,400 --> 00:56:13,150
No.
561
00:56:14,680 --> 00:56:15,715
I like it the way it is.
562
00:56:16,760 --> 00:56:19,228
Oh, we pay each other compliments
like some prostitutes.
563
00:59:07,880 --> 00:59:10,997
Read your poem in dialect to me.
564
00:59:11,800 --> 00:59:12,630
Once again.
565
00:59:13,160 --> 00:59:13,910
Which one?
566
00:59:15,520 --> 00:59:17,476
The one about the coat.
567
00:59:17,680 --> 00:59:19,238
Ah, the one I told you this morning.
568
00:59:26,160 --> 00:59:27,559
I don't know what a house is
569
00:59:29,120 --> 00:59:29,916
Is it a coat?
570
00:59:31,200 --> 00:59:32,713
Or an umbrella if it rains?
571
00:59:34,000 --> 00:59:36,878
I have filled it with bottles,
rags, wooden ducks,
572
00:59:37,000 --> 00:59:38,558
curtains, fans
573
00:59:39,840 --> 00:59:41,398
It seems I never want to leave it
574
00:59:43,000 --> 00:59:43,830
Then it's a cage
575
00:59:43,960 --> 00:59:46,758
That imprisons whoever passes by
576
00:59:47,960 --> 00:59:50,235
Even a bird like you, dirty with snow
577
00:59:50,360 --> 00:59:54,273
But what we told each other
578
00:59:55,360 --> 00:59:58,830
Is so light that cannot be kept in
579
01:00:58,160 --> 01:01:04,349
TRAVELLING TIME
by Andrei TARKOVSKY
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