A short Italian visit
The first extended Italian trip
      The second extended Italian trip

Andrei Tarkovsky's Martyrolog on...

Tempo di viaggio — Tarkovsky's foot in the Western door

While not a major Tarkovsky work, Tempo di viaggio is still a very interesting item as it was the artist's first attempt at breaking out of the dead end of unemployment under the Soviet system and at extending his operations to the West. In order to contain the volume of the material we decided to limit the entries related to other projects Tarkovsky was involved in at the time to their administrative, not creative-artistic, aspects (Stalker, Hamlet, Scultping in Time, Hoffmanniana, Nostalghia). These details are nevertheless surprisignly illuminating despite sounding somewhat monotonous as they show the extent of frustration and, yes, monotony of Tarkovsky's circumstances at the time. Also keep in mind that Tarkovsky does not always fully explain his intentions in the diary. After all, his diary was examined on at least one occasion by a customs officer at the Moscow Sheremetyevo airport. Yet the meaning of this remark, for example, seems clear (January 1979):

We discussed many issues with Tonino. It seems he understood my position. I believe if such necessity arises he'll help me. [...] Larissa and I are very seriously thinking about Tonino. It's impossible to continue like this.

This is a re-translation from the Polish edition of Martyrolog, ed. and trans. by Seweryn Kuśmierczyk. Retranslation by Jan at Nostalghia.com. The retranslated material is posted on Nostalghia.com with the personal permission of Dr. Kuśmierczyk.

Note: the footnotes are by S. Kuśmierczyk except those appearing in square brackets which are ours. The pale yellow background indicates diary entries made in Italy.


20 January, Tuesday
        On 13 January I came back from Myasnoe. At the ETO*, at Mosfilm, they agreed with the Strugatskys on Picnic at the Roadside (based on the last chapter of the novel). Now the Strugatskys are in Leningrad — they are writing according to the ideas and the outline we've made with Arkady.
        Tonino Guerra from Italy was here not too long ago. They want me to direct a film there (but our authorities do not) or to make something for television (Travels in Italy). On account of that they want to invite me to Italy for two months (between Hamlet and Picnic) so I could get to know the country.

* An experimental creative unit at Mosfilm

19 February, Thursday
        [...] Lora Yablochkina came yesterday and said Tonino had bought the camera already.
        Cristaldi sent a telegram to Yermash and Sizov regarding Travels in Italy. For the moment I have no details and I gather they probably wouldn't want to inform me.
        Perhaps I shall have to write Yermash.

22 February, Sunday
        Feliks Kuznetsov says he has managed to get Chakovsky (that bandit) interested in writing an article about Mirror for Literaturnaya Gazeta. Doubtful. But Chakovsky had in fact seen the film at his editorial offices already.
        Enn in Tallinn is fighting the battle to make Hoffmann in coproduction with the FRG. He says it's a real possibility.
        I think I've found my goal — should make a film about Jesus. Of course not like Pasolini.
        There are two possibilities — either make it abroad or with an amateur camera and allegorically.

24 February, Tuesday
        Yermash summoned me through Sizov yesterday. Only to lessen my discontent with the lack of work, it seems to me.
  1.   He asked me to read the Strugatskys. He immediately mentioned he did not trust them as they had supposedly written a screenplay for Vasily Solovyov "in the spirit of Zionism". Yermash did not understand a thing from the outline.
6. He scolded me for my fondness of diseases. (Dr. Faustus, Hyppolit).
7. He rejected Cristaldi's offer, as was to be expected (Travels in Italy). He justified it by calling Cristaldi a "hedger".
8. He apparently knows nothing about Bergman's invitation for me.
        This is all idle chatter. Just to buy himself some peace and quiet from me during the Party Congress.

25 February, Wednesday
        Have to write a letter to the presidium of the [USSR Communist Party] Congress. The more so because I am certain the conversation with Yermash was pure demagoguery: they called Mosfilm (Nekhoroshev) from the cultural division of the [Party] Central Committee and asked what subjects Tarkovsky proposed for his films and which ones were rejected by the [Goskino] administration.
        Immediately afterwards Yermash summons me. Check — "the proposals have been presented" to Tarkovsky.

26 February, Thursday
        I wrote the letter to the presidium of the 25th Congress informing of my unemployment through Goskino's fault.
        I'm going out to send it now.
        I wrote a letter to Yermash.
        This was a deed. A new stage has begun.

18 March, Thursday
        Naturally Yermash found out about my letter to the Congress. He summoned me and "explained" that the third outline was needed in order to present it to foreign television producers and sell it on the spot. (7–9 installments of The Idiot, TV version.) For Kodak film and the equipment.
        What a change!
        He urgently needed the third outline of Strugatskys' screenplay. I told him I was in a critical situation and if the question of my employment did not clear up I'd write to the Politburo.
        Sasha Misharin wrote a ridiculous outline which should not be shown to anyone as it's only evidence of his drinking.
        Masha is going to phone and ask him to write something acceptable.

23 March, Tuesday
        Yermash rang yesterday during the theatre rehearsal. He informed me he had finished reading the screenplay about Hoffmann and he could not see anything improper in it. He asked me to correct the text in two places: where Hoffmann cannot be creative without drinking punch and where during a toast he speaks about inscrutability of the world. He said he was going away and coming back in one week.
        He also talked to Surkov about publishing Hoffmanniana in "Iskusstvo Kino".

29 March
        Now Surkov thinks it was he who defended Hoffmanniana against Yermash. What an idea!

19 April
        Two days ago Yermash summoned me through Sizov. I went to Yermash two days ago. Stalker has been approved (three minor remarks).
        Also approved is the first outline of The Idiot.

2 May, Sunday
        Tonino brought the camera — sound, 8mm.

10 May, Monday
        I talked to Tonino.
        The dialogue. He: about everything that's important, what he likes, what he hates.
        Me: the same.
   1.   Filming at my country home.
 2. At his country home.
        Editing as staging the thoughts.
        Introduction to the book of screenplays (the best two): Rublov and Mirror.
  1.   Filming the countryside.
2. The story of Tyapa going to the forester.
3. Tyapa tells his dream.
4. About Rome and Paris.
5. About the City.
6. How Larissa was building the house.
7. On cinema. "Cinema" and "Philosophy".
8. The story of the swallow building the nest.
9. The story of Gray and the kitten.
10. What dialogue is. What it is good for.
11. Loneliness.
(Give Tonino the locket — about Lora — as a present and ask him not to open it. When he reads it he'll understand she is not the right match for him.)
12. About a foreigner in a strange city: the beginning of Travels in Italy.

        Love — to forsake one in consideration of the other or oneself. This always implies a conflict.
        And the dialogue.
        Sacrifice — the only form of individual existence.
        If there were no borders our (Russia's) victory would be complete. Not because of the system. Because of ideals. Because we respect ideals. We live for ideals.
        Germans only create ideals. When I "live" by my ideals then I obviously also create them. Germans do not live by ideals. For them it is enough to create them. That's the difference.
        Give up cinema for 8mm (earn a living from screenplays). If I obtain the "permission".
        It'll be boring to direct Stalker although I know how to do it.
        It'll be boring to direct The Idiot.
        I want my own truth.
        It'll be boring to direct Hoffmann although I wrote it — because I want the truth.

        An object shown in a work cannot be a symbol of truth. What can be "truth" is only a method, an approach, the "how".
        Time to give up cinema. I've grown up.
        Begin with a book about childhood (include the screenplay for White Day).
        How they burnt the pig — the episode that started with the gingerbread; how they took away my ice skates; how I was butted by a ram. [...]

16 May, Sunday
        Points for the Italian book of screenplays.
        (Introduction: dialogue with Tonino).
  1.   The city.
2. The falcon and the kitten.
3. Tyapa goes to the forester.
4. I'd like to get involved in amateur film (to prove that it is not viewer — commercial considerations — that ought to govern cinema).
5. Paris and Rome.
6. A foreigner abroad provoking an incident so as not to feel his loneliness and emptiness.
7. Favourite books.
8. About the film Rublov — six hours. About episodes which weren't included or have been altered.

1 June
        In the theatre everything goes very badly. The deadline is on the 24th. One cannot prepare a play with just ten rehearsals. The costumes are not ready. Same with the props and the arms. [...]

27 June
        The rehearsals ended the day before yesterday. Obviously the play is not ready. What next?
        I switched Gomyashvili for Shiryaev. The rehearsals continued as if against the management's will.
        The costumes — not ready.
        The sets — not ready.
        The music — not recorded.
        The pantomime — not prepared.
        I hope by New Year's, after a number of rehearsals (10–15) the spectacle comes into being.
        I think the staging is very good.
        How full of some odd and elusive hostility this theatre is. The reason Mark Zakharov asked me to direct Hamlet for him remains simply nauseatingly incomprehensible. Did he want me to fail?
        I am at the preparatory stage for Stalker. I'm flying with Boym and Geller to Ashkhabad today for location search. The shooting script is ready. It will be copied while we are on location.
        I have no news from Enn Rekkor.
        They want to publish Stalker in "Iskusstvo Kino".
        They did not sign an agreement with me for The Idiot.

24 July
        Sizov told me neither he nor Yermash had received any letters of invitation for me from Cristaldi. If I want, I can ask the Italians to write the letters again and send the invitations.
        What is probably happening is that Shauro received a letter from Cristaldi complaining about the silence of the cinema administration.
        Odd: I received the letter but Sizov and Yermash did not. They are full of lies.
        I think it's likely they are going to sign an agreement with me for the screenplay based on The Idiot.

30 July
        I'm going to a meeting now, at 9.30, with Sizov and Yermash, about Italy. They are going to ask me to refuse Cristaldi because he is a "hedger" and Yermash wants to defend me against him.
        I was at Goskino.
        "...Cristaldi clearly is a hedger and if he wants me to direct a film in Italy, he must first fulfil the necessary formalities with Goskino." And that's it. And if I insisted I'd be acting against "the interests of the country"... And they've got me here.

4 August
        Due to the cost I agreed to use the universal frame.*
        Tomorrow I'm leaving for a few days to the country, to Tyapa.

* [A spherical 35mm process utilising the entire film width between the perforations (not unlike Super 35 today) and resulting in a 19 x 30 mm image size which would be cropped to the desired aspect ratio — in this case the cropping is from the sides for the aspect ratio of 1.37:1. We thank Alex Asp from Solaris Digital Ltd. for this information. See more details here.]

5 August
        For now I'm unable to leave for the country. Professional matters.
        I heard rumours — Nikolai Ivanov told Larissa — that it was Yermash who was against my September trip to Italy while everybody else, Sizov particularly, "and even Dobrokhotov", were "for". We shall see. Especially when, according to Tonino, Enrico Berlinguer is already involved.
        Geller is scared because there is so little time left to prepare the "Zone".
        There is no assistant director but most likely Andrei Maslyukov will be available on Tuesday. I don't know him personally but everyone is recommending him.
        For now I can't think of anything for those 100 metres of film with remarks on Franz Kafka which I had primised Tonino. I must read the one-volume edition of Kafka's works, perhaps something will come out of it.

22 August, Sunday
        If we cannot manage to start Stalker this autumn (I gather this almost certainly won't happen), we shall begin shooting in the studio, then on location (Moscow, in winter), and in April 1977 — "the Zone" (in Isfara). Obviously, this is going to make the work difficult as spring in Asia is not autumn after all.
        Instead, by the end of November and the beginning of December I'll have completely finished the work on Hamlet.
        I should be completely done with the film by the end of September. I cannot imagine what happens next — Travels in Italy?

26 August
        My back really aches. I work a lot around the house in fact. Today I was digging around the foundations from the garden side. Larissa may be coming back this Saturday. I wonder what's happening at the studio?
        Remind Geller:
        — the room for the crew and my furniture,
        — the assistant director,
        — the props assistant,
        — let the actors know about the new schedule.
        I dictated it all to Larissa. I am worried whether it will be done.

29 August, Sunday
        Should read Kafka for that 100 metres for Tonino.

7 September
        Larissa arrived on Wednesday. She had taken care of everything. Everything is done as she had promised. She fulfilled all my requests and even more.
        The agreement for The Idiot has been signed, the advance paid.
        Probably between the 10th and the 15th we'll go to Moscow with Lara. I ought to meet the production manager. Many issues pertaining to the preparation of the shooting. Tonino Guerra and Antonioni are arriving later from Yerevan. Perhaps something could be done about the Italian trip.

10 September
        Yesterday, few minutes after midnight, that is at night of the 8th and the 9th Mao Tse-tung died. A trifle but a pleasant one.

14 September
        Must write the letters. Don't forget:
  1.   Strugatsky. (The first scene with the wife. The row. He promised not to go to the Zone. He wants to leave very quietly.)
2. Lagutkin. (if Lara wants).
3. Siedov (to the theatre).
4. Solonitsyn (to the theatre).
5. Surkov — ask him to send Enn Rekkor in Tallinn several copies of the monthly containing Hoffmanniana.
How beautiful it is here (in Myasnoye)! What house we have! Naturally for Tonino it may seem poor perhaps but for me it's beautiful.
6. Letter to father.
7. To Sidelnikov's wife.

17 September
        I have finished Kafka's short stories and Metamorphosis. Somehow he does not impress me much.

25 September
        I am going to Moscow for a meeting with Alik Boym and Gosha Rerberg. Then I'm going to Tallinn. I sent them the agreement. They are waiting.
        Kafka does not affect me. [...]

20 October
        A lot has happened since my return from the country. I signed the agreement for screenplay based on The Idiot. Hoffmanniana was published in number 8 of "Iskusstvo Kino".
        I was in Tallinn. Unfortunately, we haven't signed an agreement for screenplay — they haven't found the right subject yet.
        I am beginning shooting Stalker on the 26th of January. Hamlet is to be ready on the 24th of December. I'm going to Isfara on the 1st.
        On the 10th to Tallinn again.
        Tonino is convinced I'll be directing Travels in Italy. We have almost finished the screenplay. There will be Russian scenes in it as well.

10 November
        A lot of work to do in Moscow.
        — Write a screenplay outline and send off to the Strugatskys in Leningrad. After reading Arkady's letter I got the impression they were idling their time away and did not understand what I wanted from them.
        — Transcribe the outline for the Italians, write the interview for Tonino, the letter to Tallinn.

14 December
        The strenuous Hamlet rehearsals continue. We are to present it on the 21st. We lost three days — first Solonitsyn had a problem with his leg, then Inna Churikova went to a concert, then Terekhova didn't show up at the rehearsal.
        The costumes, which at first didn't turn out good at all — Katya's work — are slowly being corrected by Tenghiz. He is very good.
        Perhaps all is not lost yet. [...]
        I could use eight more rehearsals!
        This about Stalker:
        I talked Larissa into working as the assistant director.
        We still have no sound engineer.
        Stalker — from the English word.


7 January
        I shot screen tests for Stalker: Solonitsyn, Grinko, Kaidanovsky. I haven't watched them yet. I am ill.

9 January
        I decided to write Shauro. It's time to decide about Mirror.
        1. Why this film (although it has been approved for distribution and obtained the second category):
        (a) isn't being shown in cinemas?
        (b) has been withheld from distribution and is not introduced to cinemas despite the administration's promises?
        (c) why is it being said that it is the people responsible for distribution who are not allowing the film if wherever I go they ask me themselves for help in securing a print for them (in Tashkent for example)?
        (d) why hasn't the film been sold abroad despite USSR's need for hard currency and the mass of orders sent to Sovexportfilm? Why has the price been intentionally raised to such an excessively high level?
        2. Please answer the following:
        — isn't Mirror a patriotic film with a deep moral resonance?
        — or is it perhaps an anti-humanist film or — perish the thought — anti-Soviet?
        3. I received many letters from viewers thanking me for Mirror and at the same time asking with astonishment why they cannot see the film in cinemas.
        Why the silence around Mirror? Why has the film been suddenly taken off the screens (the Taganka cinema and others)? Why aren't the articles discussing the film being accepted for publication? There were many of them.

27 January
        In the theatre everything is going badly. Zakharov probably wants to substitute other actors for Solonitsyn and Terekhova. I won't agree. Even if it means the end of the play. [...]

5 February
        Dmitryev told Larissa over the telephone yesterday that Mirror has been sold to France and West Germany for 500,000 francs (!). Never before has this amount been paid for any film made here.
        I would still like to make small changes in the editing. Especially in the penultimate part.

This bottle was smashed on the first day of shooting Stalker.
15 February '77
[champagne bottle label; from "Time Within Time"]

28 May, Tallinn
        [...] Mum is seriously ill, she had a stroke. The entire right side of her body is paralysed.
        The shooting of [Stalker] is plodding along, I don't know what to do. Aleksandr Boym is drinking. This is my last time working with him assuming I won't part with him before the work's end. Same with Gosha Rerberg. Unreliable, despicable people without any ambition. Infantile degenerates. Cretins.

24 June
        Yesterday I had to stay in bed. An attack of angina pectoris. For the first time. The doctor wanted to take me to the hospital. I refused.
        Mum is feeling better. Unfortunately, I cannot visit my father on his 70th birthday.

21 July
        This is all so horrible. Almost everything will have to be reshot. Simply everything — 1,400 metres. Not enough money. Not enough energy. It was Rerberg's fault.

26 August, Tallinn
        A lot has happened. The damage is simply catastrophic. And despite everything an equally strong feeling remains — no question about it — of having reached a certain stage and a new level which must be achieved — and this brings hope.
        Everything we shot with Rerberg in Tallinn is good for nothing twice over. Firstly, the technical problems. Reasons: the processing of the negative at the Mosfilm lab (the Kodak film we've received recently), the lack of experience, and the condition of the equipment. The chief engineer Konoplyov is responsible for this.
        Rerberg is responsible as well but for a different reason: he has betrayed the principles of art and talent. He decided that talent meant himself, that's why he degraded and destroyed it just like he destroyed himself. Through drinking, godlessness, and base vulgarity. He has sold himself cheap. From my point of view he is already a corpse.
        I've made an appointment with Leonid Kalashnikov. [...]
        Everything has been suspended for a month. One day before beginning the work on Stalker. Since it has already happened, everything might as well be changed. The cameraman, the set designer (I am going to risk it with Shavkat Abdusalamov), the screenplay (need to write everything anew, create a new Stalker who shouldn't be a drug dealer or a poacher type anymore but a slave, an adherent, an idolater of the Zone).
        So everything from square one. Will there be enough energy?


7 April
        I haven't been making notes for a long time. A lot has happened over that period. I went to Paris with Larissa to attend the Paris première of Mirror organised by Gaumont. A great and, for our "top", unexpected success (judging by their reaction). Very good press reviews.
        [...] Zakharov decided to introduce three new actors to replace Churikova, Terekhova, and Solonitsyn. I prefer to change the bill.
        Kalashnikov resigned from cooperating on Stalker. His wife (but he as well) behaved monstrously. She telephoned around all places imaginable with declarations they "would not work" with me. He cowardly kept silent. Tito Kalatozov had warned me about him once.
        I hope we'll successfully make Travels in Italy with Tonino Guerra.
        In mid-May we are starting (yet again!) shooting Stalker.
        Cameraman: Aleksandr Kniazhinsky.
        Production manager: A.[leksandra] Demidova.
        Must make the film and initiate the proceedings against Konoplyov (letters to the Central Committee [of the Communist Party]) and the Goskontrol USSR).
        I had heart pains the day before yesterday (angina pectoris). We called the ambulance service. Poor Larissa — she was really scared. Did I hear a speech!
        Oh, one more thing. I work on my film as the set designer. For half the fee obviously.
        Rublov appeared on the list of the world's best 100 films. Among Soviet films Chapayev was the only other one there.

9 April
        Volodya Burakovsky was here yesterday.
        I have had a heart attack.
        I must undergo treatment for two months. The bewitched Stalker.
        Volodya sends in doctors, performs cardiograms.
        Man normally does not think of death. Why doesn't he believe he is immortal?
        How complicated or I'd even say, sickly, problem: judging someone at first sight. Is such judgment even possible? At any rate, I am very frequently wrong when I judge people.
        Must change my life. Keep overcoming it. I'm reading Hesse.

13 April
        [...] Mastery is above all based on knowledge of what can be done and what materials to use.
        I never tried to act according to a preconceived plan. That is, even if I knew the goal and had a strategy, I had no tactics and made no use of it.
        I kept losing a lot of time in this fashion. Isn't it about time to change it and above all to prepare a plan of action leading unfailingly to the goal? The appropriate moment has likely arrived. After all there is not so much time left to waste it.

15 April
        I've been lying flat in my bed for 9 days already. The doctors are saying that today they may let me sit in bed. I didn't expect to have a heart attack at forty-six. [...]
        I received several telegrams from France and Italy: Mastroianni, Tonino Guerra, Daniel Toscan du Plantier, Sergio Leone.
        A propos, if Leone hasn't abandoned his ideas about westerns it would be wortwhile to write the western about Grasshopper for him.
        Talk to Tonino.

        What should I think about all this?
  1.   For the third time we have no more film — 2,700 metres (Rerberg).
2. After the change of the cameraman and the production manager, Kalashnikov resigns and leaves (he shot 250 metres).
3. I'll sack Boym for his constant drinking.
4. I'll sack Abdusalamov for his obnoxious behaviour.
5. They are not giving us money for a two-part film.
6. In May we had to begin (or maybe to continue) the shooting and on 5/6 April I had a heart attack.
7. I submitted the manuscript [Sculpting in Time] to the editors at "Iskusstvo". They came up with a mountain of remarks which means the book has not been approved.
        Indeed, incredible things are happening... But with a minus sign.

28 April
        Tonino telephones from Rome almost every day.
        I can already walk around my flat.
        My heart is healing.
        Tonino wants to read the book. ("Iskusstvo" have proposed an abominable contract.)

  Whoever would understand a poet, must go into the poet's country.

16 May
        Tonino sent me his book consisting of 68 short poetic stories, some of them poems.
        He proposes that I respond to each of them and in this way a duel for 136 shots would be born.
        Next week I'm leaving for the sanatorium.

28 May, Sunday
        I'm going to the sanatorium on 1 June: Kola Shishlin has managed to get for me the papers authorising me for the "Podmoskovye".
        Larissa is in the country. She was very ill. She is staying there until my return from the sanatorium. [...]

28 June, Wednesday
        We've arrived at Tallinn. We are staying (Larissa and me) at the outskirts, by the sea. It's not too bad but this is just the first day...
        I was at the sanatorium for over a month. I felt really homesick. The average patients' age was 60. Distinguished service for the motherland.
        I could do without that trip. And without this one as well.

20 September
        It's very difficult to shoot this film. Nothing works. I think Kniazhinsky is not up to it. The scene with the smoke didn't work out: bad location. The mood is absent from the scene. I am really afraid this is going to be a flop.
        I have completely no idea how to film "the Dream". This ought to be something very simple.
        We are failing to achieve the most important thing of all: the sense of a steady change of location.
        Man has existed for such a long time and yet he still doubts the matters most important to his existence. This is astonishing.

23 December, Saturday
        I am not logging everything pertaining to my work on Stalker in this notebook. I am putting it in my work diary.
        Lately I have felt with increasing immediacy that a time of tragic experiences and unrealisable hopes is approaching.
        And this is happening precisely when I feel such a strong need to create as never before...
        I'm working on the soundtrack, music will be needed soon... It is in fact a bit too long but I think at the end of the day I'll manage to bring it to the right length.
        The film is going to be a good one. This has been a new experience for me — it's simple in form and at the same time it makes a clean break with the traditional understanding of tasks and functions of cinema.
        I hope after I finish Stalker I shall manage to begin Travels in Italy assuming there is no row about Stalker. But I think there will be one. Unless Yermash doesn't want to look like a fool again as after his games with Mirror. Is it possible? [...]
        I'd like to take a look one more time at plans possible to realise within next several months.
  1.   The Master and Margarita.
2. A documentary. A film-meditation The Countryside (16 mm).
3. Travels in Italy.
4. Kagol.
5. A film based on Castaneda.
  1.   On cinema.
2. My work at Mosfilm.
3. Essays.
        I need a 16mm camera, with sound. Also a good tape recorder.
        Here is the correspondence:
  1.   an official letter from the distributors of Mirror (Tonino brought it with him),
2. the second letter is addressed to me.

To the Mosfilm Headquarters
        As distributors of Tarkovsky's film Mirror we would like to present it to the film critics and to the Italian press at a première which is to take place in the Spring of 1979 in Saint-Vincent (Valle d'Aosta) in the presence of the author, signor Tarkovsky. Hoping that our invitation does not interfere with signor Tarkovsky's work schedule, we should be very much obliged if you would approve and settle upon a date of the presentation (in March) in order to allow us the time to make the necessary preparations.
        We thank you in advance. We consider it our honour to present one of your films to the Italian public which was never indifferent to the work of Soviet filmmakers.

        We are looking forward to hearing from you and we send you our best regards,
Italnoleggio Cinematografico S.p.A.
L'amministratore unico
Giancarlo Lagni

        And here is the letter to me:
Rome, 7 November 1978
To the Esteemed
Mr. Andrei Tarkovsky
        As distributors of your film Mirror in Italy we would like to inform you of the plans to present your work at a première for the critics and film press in March 1979 in Saint-Vincent (Valle d'Aosta).
        Your participation at the presentation would be most desirable. We'd like to ask you whether this would be possible and to propose a concrete date. We consider it our privilege to present your film in Italy.
With our best regards,
(signature as above)

        I am handing both letters to Sizov on Monday.

31 December
        [...] We were thinking (with Tonino) that I should make a 16mm film in the country.
        This ought to be a confession related to the house in Myasnoye. A storm in a teacup.
        A story about decorating the fence until it becomes hideous.
        Sasha Kaidanovsky should play myself (if he agrees). In the beginning a scene of Sasha's arrival and an explanation why he should play me. Self-portraits. Fellini — Clowns. Mirror — the hand and the bird.
        The ending: Sasha looks out the window and sees everything again in its original state — Sasha turns into me.
        Kuzya (a village neighbour). The invalids' home.
        The black creek.
        The shop.
        A family quarrel. Wife in tears, most likely someone has died. But it is an ordinary conversation — a conflict about washing the dishes.
        Rain. Water on the terrace.
        Film certain portions of Travels in Italy. Who will be the "traveller"?


1 January
        At 1am in the morning Tonino and Lora came in. We had a quiet, calm evening together. We discussed many issues with Tonino. It seems he understood my position. I believe if such necessity arises he'll help me. For now the idea for the amateur film (16mm, about the country) is at the forefront.

5 January, Friday
        Larissa and I are very seriously thinking about Tonino. It's impossible to continue like this. I have no idea how to pay back the debts.
        Yermash won't let me go to Italy in order to make Travels in Italy with Tonino until I mutilate the film. [Stalker] On top of that he is going to say my trip to Italy is only up to me.
        But I am not going to do anything and I shall be stuck here. Let's say I'll make my "amateur" film. But then one must edit it! Where? Here? I'd need a workprint and the studio soundtrack facilities. This cannnot work: Mosfilm will claim their rights. Nobody will allow me to leave before making alterations to Stalker.
        Leave in the atmosphere of a scandal?
        This means almost two years of torment: Andryushka at school, Marina, Mum, Father. They'll make their lives miserable. What to do?!
        Only to pray! And to believe.

       Most important — this symbol which wasn't given to understand but only to feel. To have faith, despite everything — to have faith...
       We are crucified in one plane but the world is multidimensional. We can feel it and we are tormented by the impossibility to know the truth... But there is no need to know! There is a need to love. And to have faith. Faith — it's knowledge with the help of love.
[image from "Time Within Time"]

        The garden would make such a beautiful film!
        One only needs to secure the necessities: the equipment and the film. I must think how to do it. We'd probably have to film it in April and May. Need to think, think...

        Cleaning the garden. [comp. 31 Dec. 1978]
        — rain on the balcony,
        — Pania, [?]
        — meeting S., the dream, "exchange of characters",
        — Sergei the tractor driver,
        — the dinner,
        — the forester,
        — the story of buying the house. We were lost,
        — the invalids' home. Kuzya,
        — the "tragic" tears,
        — the exchange again, the garden again,
        — the shop,
        — the teacher.
        What about the religious idea?
        What embodies it? The futility of action? The creative instinct? It's not very clear for now.

6 February, Tuesday
        We were at Tonino's. A supper with a highly placed official from Italian television. A writer, playwright. He likes Tonino.
        He said Lapin (?!) had nothing against sending me out to Italy in order to shoot Travels in Italy (me — for the Italians, and some Italian — for us in the USSR).
        Lapin — that's an unexpected move! Completely independent from Yermash! Especially at the time of some conflict between them. It's quite possible this will succeed.
        I saw Sizov — he said everything with the Italians would be fine. Also with the Italian première of Mirror. Stalker ought to be presented at the Moscow festival. Provided the film is finished as soon as possible.
        I think I know what's behind it:
  1.   not to let the film go to Cannes,
2. force me to make changes (Sizov has been asking already if we really know where the action is taking place?),
2. and not let me out to Italy as a result.
        (And how about through Lapin now?)
        I've found out (from Knyazhinsky) that the film is being "bought" by the company Gambarow–Chamier Interallianz GmbH (FRG). This information came from Surikov, a Sovinfilm official.
        It's all clear! This means the film has been sold already!

10 February, Saturday
        I should introduce Tonino to my father. On Monday I'll send someone to Peredelkino.

1 April, Sunday, Saint-Vincent [Mirror première]
        I was running around all day: the press conference, TV, etc.
        Tonino is amazing — he came with Lora from Rome for one day especially to meet us. He worries about everything, verifies, helps. This evening we are taking the bus to Torino and then the train to Rome. Here it's sunny, mountains, remnants of snow. People are still skiing. Ilyin (our Sovexportfilm in Rome) was not present at the première.

2 April, Monday, Rome
        We've arrived in Rome. The train was excellent, comfortable beds. For now we've seen the city only from taxi windows. A car is arriving at 11 to take us to Tonino. Lora rang saying yesterday's interviews appeared in two newspapers already.
        One of them under the headline: "The eminent director od Rublov to make film in Italy". How are they going to take such a statement in Moscow? Isn't all this going to end in a scandal...

9 April, Monday, Moscow
        I am back in Moscow.
        Italy is gorgeous, Rome is powerful and brave.
        Clean air (even in the city), there are no factories — they are situated at the outskirts.
        Wistaria and plum trees blossom in the streets.
        On my birthday Tonino and his friend Franco took me out of town: Perugia (a wondrous square in the centre), Pienza (a city designed by some architect as homage to the pope Pius V), Asisi — the city where St. Francis is buried. The cathedral on two levels — staggering frescos by Giotto, Montepulciano. The landscapes and the old towns on the rocks are astonishing. I haven't experienced such strong impressions for a long time.
        I saw Michelangelo Antonioni, Francesco Rosi, Federico Fellini. Trombadori — a Communist member of Parliament — made a startling speech at Rosi's. He exposed and explained the differences between Italian Communists and ours.
        In Saint-Vincent we stayed in the same hotel in which the press conference was held, from there we travelled by bus to Torino, and from Torino by train to Rome.

10 April, Tuesday
        The Italians are suggesting we submit Mirror for the prize David di Donatello (the Academy prize) and they are promising the award. Our [officials] refused and instead of Mirror proposed some film by Lotyanu. In Rome everyone is taken aback.
        Tonino phoned yesterday evening. He says everyone really wants to help me with Travels in Italy.
        Today I asked Larissa to tell Shkalikov that I intended to write Zimyanin with a complaint about the Donatello Prize.

16 April, Monday, two o'clock in the morning
        Yermash telephoned the Publications Committee and the publishers at "Iskusstvo" asking them not to "wring" my book Confrontations [i.e., Sculpting in Time] too hard.
        Yermash stubbornly insists on The Idiot. At all cost I must make the Travels in Italy.

12 May, Saturday
        The festivals are out of question. Yermash refused Cannes claiming the film [Stalker] is so good he wanted to show it at the Moscow festival. (?!)
        Yesterday I talked to Sizov about the letter from Italian TV concerning the making of the film. He said they had received no letters yet. As soon as they arrive (he is to receive a copy as well) the whole matter will start moving. God willing! Is it possible?
        Cannes has been elliminated from my plans already. Hasn't this all happened before?
        The Italians sent the letter on 27 April. I can't make the final decision.
        Larissa is going to the country very soon to tidy up the house. She is leaving with Rashid.

22 May, Tuesday
        I went to Riga. I've earned 400 roubles over four days (seven presentations and twenty minutes on TV).
        I am tired. This is boring. How I dislike those "viewer meetings"! Were it not a life necessity I would never agree to them.
        Larissa talked to Lora and I found out today the letters from Italian TV had been delivered four days ago (by somebody who had just arrived) to Sizov, Yermash, and Shauro.
        I'm going to Sizov tomorrow.
        Larissa went to the country with Araik and Rashid. I sent her 200 roubles. Oh, if only the Italian project would succeed!

7 July, Saturday
        I have no documents for the trip to Italy yet. They are beginning to worry. It upsets their plans — hotels, cars. It's possible Lora is exaggerating slightly.

17 July
        I arrived in Rome yesterday. Transfer in Milan. I am late.

18 July
        Wake-up call at 6 in the morning. At 8 o'clock Ilyin is taking me to the meeting with the ambassador.
        Agostini is the distributor who wants to buy Stalker. I should appear at the press conference and warn there'll be a row if the film is shortened.

19 July, Rome–Amalfi, Hotel Carpaccio
        We left Rome at 8.20: Lora, Tonino, myself, Franco Terilli — who manages our crew — the cameraman Giancarlo Pancaldi with two assistants, and the unlikeable sound operator Eugenio Rondoni. Our leaving Tonino's house was filmed for "Sputnik". They also filmed inside Franco's Mercedes. It was a hot day.
        We have filmed "sheep crossing" at Pozzo d'Antullo (near Collepardo), the monastery, a church in Dituralti, and a very old, unbelievably beautiful pharmacy.
        We stopped not far from Amalfi at an extraordinary hotel named Le Sarazzin. Views impossible to imagine.

20 July
        We are leaving for Sorrento. A short episode was filmed in Furore: the smugglers.
  1.   A pan. A close-up of me and Tonino and then the pan.
2. The dialogue on the bridge. The landscape.
3. A close-up of Tonino.
        Filmed, not very successfully, the story of Countess Gorchakov's villa in Sorrento. We went sailing in the sea a little. That was filmed. We went to Ravenna to film a small courtyard completely overrun by hydrangea. I went swimming twice. It was wonderful! I regret so much Tyapus and Lara are not here with me. I miss them a lot.

21 July, the trip from Amalfi to Ostuni
        An enchanting journey. To tell the truth, I am tired. Later I'll mark our route on the map. I am tired, I keep falling asleep. 300 kilometres in this heat with a change of scenery every twenty minutes. I'd like to write some letters. Tomorrow morning we'll be done with Italy. We travelled it from the Thyrrenian Sea to the Adriatic. Alberobello — an astonishing city! Amalfi — Salerno — Potenza — Metaponto — Taranto — Martina Franca — Locorotondo — Alberobello — Ostuni (trulli!).

22 July, Ostuni, Hotel Incanto
        Morning in Lecce and Otranto. Baroque in Lecce! We filmed. I am not satisfied with the cameraman Giancarlo Pancaldi. We went swimming in the evening. Franco, myself, Tonino, Lora, Eugenio, Giancarlo, and two assistants.
        A young man standing by the roadside. A hitchhiker. He waves his hand. Nobody stops. He looks sad. A blond. This makes me think of Tyapa. He will also become an adult one day and begin to feel loneliness.
        Eugenio Rondoni, the sound man, is first-rate.
        The Red Desert...
        The conductor-guitarist on the streetcar to the cathedral.
        Resolution: to climb onto a mountaintop with a woman.

23 July
        We left Ostuni. We went through Fasano, through the magnificent city centre with two cathedrals. The sea is constantly to our right. One can see the trulli on both sides of the road. The roads are superb.
        Trani. The cathedral is next to the sea (by the road). We went swimming. We had spaghetti, fish, and shrimps. The best breakfast so far. Filmed two sequences with the cathedral.

24 July, Tuesday, Rome, Hotel Leonardo da Vinci
        Write the letters tomorrow. Phone Ilyin and the consul.
        I visited the area around Rome: Bomarzo (the monsters and Orsini's castle — Civita (the dream). A town that is dying, near Banbreggia — Bagno Vignoni (the baths) — return to Rome through via Chianciano. [...]

25 July, Wednesday
        I went to see Tonino. Terilli brought the contract. [...]

27 July, Friday, Rome
        We've made the plan for two-fifths of the screenplay. Everything falls within the pattern of the first version. Tomorrow we are flying to Sardinia, on Michelangelo Antonioni's invitation.

28 July, Saturday, Sardinia
        We couldn't go by air: there was a strike this morning. We took a ferry. An eight and a half hours voyage. We arrived late, it was dark already. Antonioni's house is round. The interior is completely white. Tomorrow I'll take a closer look at everything. It's a sort of a "bourgeois" modernist trifle.
        I am tired. I fell asleep in the car. I felt some heart pain. Tomorrow is our day off! — I declared to Tonino.

29 July, Sunday, Sardinia, Michelangelo's villa, Costa Paradiso
        I woke up at 7 in the morning. The villa is by the sea, it's surrounded by it. Tamarisk, thuja, undersized trees, granite cliffs. An enchanting odd beach with rocks sculpted by winds into extraordinary shapes. The azure sea. It's a dream place. A paradise!
        Where are my beloved, my little Tyapa and Larissa?
        I went swimming and sunbathing. I am red as a lobster.
        Michelangelo is very nice. His wife Enrica is kindness itself. She is a perfect hostess. I have a charming room, the sound of the sea under my feet.

30 July, Monday, Costa Paradiso
        We worked a little, we wrote a summary but we ought to simplify things a bit for Yermash and prepare a simpler, more schematic summary.
        Yesterday evening I read in the newspapers that Que viva Mexico! and a film by Georgi Danelia will be sent to Venice. Lizzani, the festival director, and Moravia were requesting Stalker from Yermash but without success. So it is clear they don't want to show it. The reasons given:
  1.   Venice is a festival for dissidents (then why Danelia's film there?)
2. If we give Tarkovsky to Venice, then that festival may turn out more important than the Moscow one.
        This got me really upset. Bastards!

2 August, Costa Paradiso
        [...] We watched the Moon through Michelangelo's telescope. [...]

3 August, Costa Paradiso
        [...] A conversation in the evening: Michelangelo attacked Tonino about Special — that it wasn't finished yet and haphazard. He complained Tonino hadn't asked anybody's advice. Perhaps it's true — but Tonino is an angel and he wanted everything to turn out as good as possible. [...]

5 August, Hotel Leonardo da Vinci
        [...] I am again at Hotel Leonardo da Vinci.
        A telephone to Moscow in the evening. Olga frightened me recounting the conversation Larissa had had with Sizov about Stalker...
        I left my electric razor at Michelangelo's. He telephoned and promised to send it back. I am happy with the way our work is proceeding. I long for my little Lara, Tyapa, and Dak.

6 August, Hotel Leonardo da Vinci
        I rang Olga again this morning: there was no need to worry. Sizov or somebody simply didn't like the workprint. (They can alter as they please but without me!) [...]
        I met Luciano Tovoli, the cameraman who is now making a film* with Antonioni. It is he who'll be making Special. We talked a bit and I think he was satisfied with our meeting. [...]

* Il Mistero di Oberwald

7 August, Hotel Leonardo da Vinci
        Today is Tyapus' birthday! He'll be nine years old today.
        Need to phone Bobylev, the consulate, and Ilyin. Send the telegram to Francesco Rosi, to Moscow, and to Sergio Gambarov in Berlin.
        I didn't work. In the afternoon I saw a dumb film about Frankenstein. [...]

8 August, Rome — Bagno Vignoni
        We are leaving for Bagno Vignoni this morning. Tovoli and his wife, Eugenio, Franco, and two more people. We filmed along the way: 1. church ruins in Formello, 2. the landscape around Bagno Vignoni (Tuscany), 3. rams bunched up in the shadow of a tree by the road.
        Luciano Tovoli is a gentle and very pleasant person and his wife Letitia makes me think of Vala, the production manager of Stalker.

9 August, Bagno Vignoni
        There was a thunderstorm this morning — magnificent. It rained. In the morning we went to see the hot springs of St. Catherine. It's an excellent location for the film.
        I showed the creek to Tovoli and the windowless room for Sputnik and for the film.
        We filmed Piero della Francesca's Madonna del Parto in Monterchi. No reproduction can do justice to her beauty. [...]

10 August
        This morning we filmed St. Catherine's pool. We went sightseeing in the area. The Sant'Antimo Abbey in the afternoon. [...]
        Rain in the evening. We didn't film the hot water creek. Everyone left for Rome: Tovoli and his wife, Eugenio and Franco. I am staying with Tonino and Lora. We are going to do some work.

15 August, Hotel le Terme
        We've put some solid work into the screenplay for the Russians. I am examining the old abandoned house by the pool in Bagno Vignoni. Opposite my window. [...]

21 August, Bagno Vignoni — Rome, Hotel Leonardo da Vinci
        Here I am back at the Hotel Leonardo, as usual in the same room 511. [...]

27 August, Hotel Leonardo da Vinci
        I'm in the editing room. Special may turn out quite good. There isn't enough material though. Need an hour and ten minutes. We'll have more money then. I'll wait to see the colours in the positive and then begin the editing. [...] The editor is Franco Arcalli, the one who edited Antonioni's Profession: reporter. [...]

28 August, Hotel Leonardo da Vinci
        I edited Special.
        Luciano Tovoli is ill: an asthma attack.

29 August, Hotel Leonardo da Vinci
        I was doing the editing. The filming on Tonino's balcony (two days) is being postponed. [...]

30 August, Hotel Leonardo da Vinci
        The screenplay is finished. I talked to Tovoli about Special. Tomorrow I'm up at 5 in the morning: the filming. [...]

31 August, Hotel Leonardo da Vinci
        Early this morning we filmed Special with Tonino. [...]
        Almost 40 minutes of usable material was shot. Bravo Andrei! Tovoli is pure gold: he understands everything, he is very pleasant, working with him is pure joy! [...]
        Getting up at 3 am tomorrow.
        Sergio Gambarov telephoned: he did in fact buy the rights to Stalker, already at the preparatory stage of the production, but from what he says he never gave any film stock. Konoplyov talked to Mikeiev, a lab engineer, and was asking him if it was possible to prepare a good print directly from the negative. He wanted to show how good Rerberg's work was.

1 September, Hotel Leonardo da Vinci
        Phone Larissa in the evening.
        I woke up at 3.15. Everything was filmed. After the film is edited it's going to be 1 hour 20 minutes. Tonino and I are thinking about negotiating with TV. [...]

3 September, Hotel Leonardo da Vinci
        The screenplay is finished and typed.
        I worked on the editing.

5 September
        I attempted to edit the film just after watching the material which I still didn't like too much. Tomorrow!
        In the evening I went with Franco to see Zombie 2. A terrible, repulsive, horrible film.

6 September, Hotel Leonardo da Vinci
        I spent the entire day editing. [...]

7 September, Hotel Leonardo da Vinci
        I edited the material to show it on TV. It's not bad. I must touch up everything before my departure and prepare the final version.
        I got 4,600,000 lira for reworking Special.
        I saw Bertolucci's La Luna. Trite and vulgar to nausea.

8 September
        [...] Several producers are showing interest in Travels in Italy. [...]

10 September, Hotel Leonardo da Vinci
        I prepared the material for the showing tomorrow in view of the increased funds for Special.
        I booked the ticket to Moscow for the 17th at 9.30. [...]

11 September, Hotel Leonardo da Vinci
        A crazy day! In the morning I showed Special to Massimo Fichera and his staff at RAI with the intent of increasing the material and prepare a longer film. Everyone is so enthusiastic(!?) A well-known critic said: "This is a masterpiece" (!!?) Only to them, I think. Most importantly, Tonino loves it.
        I prepared the cut so that the film is 1 hr. 20 min. long. We need more time. How to make a feature film with just few weeks for shooting and 3 days for editing!? I'll do it anyway. Tonino is happy and proud. [...]
        Summing up: over less than two months we've written a screenplay, prepared its second version, begun establishing The End of the World, and filmed Special. That's fantastic! That's what I call life! Work purely for pleasure. [...]

12 September, Hotel Leonardo da Vinci
        TV have extended Special. Franco Terilli added 40,000,000 lira with 30% from the sales for me and for Tonino.
        The press conference turned out not too bad.
        I received the money: 4,000,000 lira. I paid the tax of 1,000,000. I have to deliver 50% to our embassy.
        Evening at Francesco and Giancarla Rosi. Martin Scorsese and Isabella Rossellini are a charming couple.

13 September, Hotel Leonardo da Vinci
        I went round some shops and worked on the editing of Special a bit (I went in twice to see what Franco Letti was doing). [...]

14 September, Hotel Leonardo da Vinci
        I edited a bit. I spent entire day mostly going round shops. I didn't buy anything expensive. Except a little thing for Larissa! I am tired! I glanced in the mirror and I got frightened. I took the 2,000,000 lira to the embassy.
        There are many repercussions from my press conference.
        Tonino says Moravia wants to interview me. I have no time.

15 September
        I spent the entire time before noon walking from one shop to the next. I walked the entire length of via Sannio and bought nothing. I am dead tired. Editing Special. There isn't enough time.
        I had dinner with Samokhvalov at Tonino's home in the evening.
        At night I tried in vain to get through to Moscow.

16 September
        I am so exhausted — like a dying dog! I am falling off my feet. I edited Special all day.
        It is 3.15 am now, need to get up at 5!
        I couldn't get through to Lara. I wonder if they'll go out to pick me up.

17 September
        The flight to Moscow. The airplane takes off at 9.30 in the morning. Alitalia.

5 October
        Today at 1 in the afternoon my Mum passed away. Earlier there was Italy for two months. I wrote about it in my Italian diary. About Nostalghia and Special.
        Today Mum passed away.
        She was in great pain. For the last two days she was on promedol and I hope she didn't feel the pain. But what can we know about death if we know nothing about life. And if we do know, we try to forget.
        God! May her soul rest in peace.

8 October
        Today is Mum's funeral.
        (At the exhibit for the 60th anniversary of the Soviet cinema my only film shown was Ivan's Childhood).
        Mum's funeral. The Vostryakovsky Cemetery. Now I feel defenceless. Nobody in the world will love me as much as my Mum. In the coffin she looked completely unlike herself.
        I am becoming more and more convinced of the necessity to make changes in my life. I should make them with more courage and look forward with certainty and hope.
        My dear, dear loving Mum. You'll see — God willing — I'll still accomplish a lot in life. One must begin anew! Farewell... no, not farewell as we are going to meet again, I am sure of it.

16 October
        [...] Leonid Mossin said Angelo Genti had told him Tonino Guerra was persuading me to stay in Italy.
        What to make of it? Is this true or is it just information about their attitude to me? An allusion to the situation? What does it mean? A preparatory step for a refusal to let me out to Italy? [...]
        Life in a waiting room (or out of suitcases) keeps on going in all of its grayness.
        Larissa is in the country, she is ill, she has fever. It's simply impossible to live like this any longer.

22 October
        God! What deathly sadness... It's so disgusting one loses the will to continue. This feeling becomes the more terrible the more one realises that loneliness means death. Everyone either has already betrayed me or is betraying me now. I am alone... All the recesses of my soul are opening and it becomes defenceless as death encroaches upon it. I am afraid to be alone. I don't want to live. I am afraid, life for me is unbearable.

31 October
        I gave Nostalghia to Sizov. He said there were no letters from RAI so far. (And what's all this?)
        A presentation at the Kurchatov Institute club (100 roubles).
        Everything is possible in this world!

2 November
        A presentation at the Institute for Radio and Television Research (100 roubles).

18 November
        I was in Poland. Warsaw, Katowice, Poznań.
        I saw Beata Tyszkiewicz, Andrzej Wajda. Beata wants me to help her with a screenplay based on Cortázar. A beautiful subject. [...]
        The day before yesterday (on Friday) I had a presentation at the Institute of World Economy (100 roubles).
        I have been told that Stalker will receive the third category and will be distributed like Mirror, without any advertising. Neya Zorkaya said so yesterday at the House of Culture, she was preparing the advertising notices. I incited Arkady Strugatsky who intends to write Zimyanin.

21 November
        Today I had a presentation at the Moscow Institute of Physics and Technology (150 roubles).
        I made an acquaintance with the chancellor Oleg Byelotserkovsky. We started talking about Arseny.

22 November
        I've seen Seryozha Mitrofanov lately. We phoned and he came over. He talked about Yoga a lot. He has one explanation for all fortune telling, spiritism etc.: receiving information through concentration. He told my fortune twice already: once before and now.
  1.   Question (the previous fortune): Is it worth it to suddenly change my life, to begin it almost anew, or at least in new circumstances?
Answer: Yes, it is worth it. If nothing is changed I'll get bogged financially and I'll make many enemies. If I change my life I'll become famous. (If famous that means ability to work and that's most important).
2. Question (asked now): Do I have a moral right to these changes?
Answer: Yes, I do.
3. Question (asked now): Should I believe that Pasternak told the truth when he mentioned four films?
Answer: No, shouldn't believe it, this is not so.
4. Question (asked now): Will I be able to take Andryusha with me?
Answer: Yes. This will depend on a woman (Larissa? Giancarla? The ambassador's wife?)

        I don't like the screenplay we wrote with Tonino. The most important thing is missing. There are no real scenes. Never mind, we'll rewrite it. Now I'm waiting for the letters from TV, from Rome.
        I had a presentation at the Electronics Research Institute (100 roubles).

1 December
        I went to Kharkov with Masha. I saw Oleg and Lyuda Tochilin. I had four presentations (550 roubles). Then Tbilisi (70 roubles). Paradjanov. Terrible. Such a shame. They don't give him work. No means. He is probably afraid to get involved in the previous affairs.
        Began returning debts: Chubchik — 130 roubles, Alosha Artemyev — 1,500 roubles.

4 December
        Volodya Sedov was here. I asked him to sum up our debts to him. I think it's something like 500 roubles.
        Meeting Volchich tomorrow. Tell him (a letter to TV):
  1.   for how long Larissa and I are leaving (one year),
2. what would be the amount of the salary or fee,
3. which actors will be needed and for how long,
4. how is the work going to be defined? As a service? How?
        Pay the debts. Return the manuscripts. Photographs. Records. Clothes. Pots and pans. Other.
        Religion and art — two sides of the same coin.

11 December
        I went with Masha to Kazan for three days where I had seven presentations. I met Rashid.
        A large audience. The projection was very bad but the interest was enormous.
        I received 1,000 roubles.

24 December
        They called from Sizov. He asked me to see him tomorrow. Some new "difficulties". (Probably about Andryusha. God help me!)
        Looks like I must write somebody and go to Yermash.
        It's difficult for me to define my future path. I am a bit lost in my present life. I only know one thing — that the life I lived until now, with very little work, experiencing the unending stream of negative emotions which are of no help but the opposite, they violate the sense of life's meaning which is indispensable, even if, for work — I cannot live like this anymore. I am scared of this way of life. There isn't enough left of it to afford wasting time!

26 December
        On Sunday Lara went to Myasnoye to "conclude the matters".
        Well, it looks like it has started: Sizov advised me to see Yermash who in turn appears to look astonished that I should want to go with my son. If he doesn't see me tomorrow I'd have to create a scandal.

27 December, Thursday
        I tried to see Yermash. He is busy today. I'll phone later in the day to try to make it in the evening although I doubt it very much.
        I have telephoned. No result. I'll phone again at 7.
        At 7 I was told that another secretary will telephone tomorrow at 11 and let me know when I can come since Yermash intends to see me before the New Year.

28 December, Friday
        I phoned myself as I received no message from the secretary. I called at 12. She doesn't know anything. Nobody has given her any message for me. She promised to find out and to contact me at home. We shall see.
        If I am to go on living the way I do now and the way I work now — going with the flow — I'll never get anywhere. My life (and my work as well) is set up in such a way that no work represents the optimal variant, the safest and most desired by the authorities.
        Larissa should have come back yesterday but she is still not here. [...]
        The secretary from Goskino telephoned and asked me to phone tomorrow morning at 10. They are going to tell me when to see Yermash.

29 December, Saturday
        The information given to me says be at Goskino before 3.30 pm. God help me!
        I couldn't sleep at all. I woke up three times. I dreamt about a dead woman who was carried along the platform to the train.
        The Municipal Committee of the CPSU [the Communist Party] has sent a sort of half-open letter to Mosfilm in which they condemned the low artistic level of films and as examples they used: The Cat in the Bag, Youth With Us, and Stalker.
        The distribution of Stalker is planned for the second quarter of 1980 in two hundred prints.
        I saw Yermash. He is categorically against Andryusha accompanying us. Obviously. I demanded respecting my rights. I said I'd demand justice through higher offices.
        Sizov was there as well, I am very glad about it.
        I went to Oleg Khalimonov's birthday. I asked him to find out everything concerning my rights so I could go with Andryushka according to the existing law.


3 January
        I went to see Sizov yesterday. He said Yermash's problem was not his fear of my not returning (it is even sort of the other way around — he had told Sizov that as far as he is concerned he can rely on me) but that Yermash is worried about difficulties that would arise from my demands which are something new to Goskino: a business trip including the family. This hadn't happened before.
        I told Sizov this was a new type of work hence extended demands which are compatible with the government regulations dealing with this type of leave resulting from a job abroad. Sizov answered that first of all I should contact Shauro regarding the matter and if he doesn't want to deal with it, contact Zimyanin.
        I got through to Shauro. Or to be more exact, he phoned himself when he found out I was looking for him — that's in how much hurry he was to distance himself from the question of my family going with me. He said this was not within his competence but Goskino's — the entity delegating me. I told this to Sizov. He said it wasn't a good thing Shauro did not want to solve this problem. I should now ask for a meeting with Zimyanin. And if he doesn't agree to see me I'll have to write a letter.
        Tomorrow I shall find out Zimyanin's office phone number and ask him to see me. Or perhaps it's better to write the letter immediately? Yes, no matter how the situation develops I'll write the letter.
        I decided to go and see Shkalikov tomorrow and ask him why Yermash is forcing me to fight for my rights, the rights which the Soviet state guarantees me while Yermash is denying them. Such fight may lead to categorical and extreme demands arising from the inability to obtain what is guaranteed by law. Does Yermash want me to demand the right to leave the USSR as a response to his persecution?

4 January, Friday
        I saw Shkalikov this morning. He was talking about the conflict with Yermash. He was indignant at his treatment of me.
        Summing up: Shkalikov thinks our tempers got the better of us. Yermash got upset because Goskino had never before sent anyone with children. This is supposedly "a novel issue" and this surprise irritated him.
        I answered that despite all that I was not going to let go of the matter and allow Yermash to deny me my citizen rights. I must wait. Shauro was right. Now eveything depends on Goskino.

5 January
        Afghan patriots announced that in retaliation for the Soviet invasion of their country there would be acts of terror against Soviet citizens abroad. If that's true then fine time we are choosing to go to Italy! Naturally it's not me that I'm worried about.

8 January
        I saw Volchich. He cleared up the issue of our trip. He will prepare a document on behalf of TV for Yermash asking him to send me to Rome earlier since the deadlines are approaching.
        Oh, forgot to write down that I had a presentation at the Science Research Institute for which I received 100 roubles. The telephone call cost me 60 roubles.
        A presentation at the Sakharov Institute on Lenin Prospect. (90 roubles).
        Mosfilm are preparing the details about my trip with Larissa for two months (per Goskino's request). I telephoned Shkalikov: he said he didn't know anything. I responded that in this case I was going to demand a free leave from USSR to work in Italy. Shkalikov got frightened. He said he would try to clear the matter up. We shall see.
        I am not going to surrender. What might happen is that Yermash will kick me out of my flat.

10 January
        [...] I saw Sizov. The whole matter of our business trip to Italy has landed squarely on his desk. Sizov wants (or rather — wanted) to prepare the formalities related to me leaving with Larissa to Italy on account of "preparing the contract". I am worried that later they will simply extend our stay there and we'll be left without Andryushka. And if we wanted to go back to Moscow, they'd find an excuse not to let us come back for Andryushka. If I go alone to prepare the contract I shall not begin the work until I get Lara and Andryushka out. Tomorrow I'm going to confer with Volchich and to see Dobrokhtov on the 12th.
        Tonino rang from Rome.

12 January [Saturday]
        A formal letter will be sent from Rome on Monday with the information for Sizov that I should go to Italy without further delay in order to prepare the preliminary contract.
        Then I am to return here with a RAI representative who is also to sign (in the final phase of the project discussion) the contract as a representative of the Italians.
        The screenplay has been officially accepted at the RAI Channel Two. Tonino rang from Rome. He told me about the contract issues.

20 January
        On Friday we went to the Dom Kino [House of Cinema] with Larissa and Araik and saw one and a half films by Miklós Jancsó: Hungarian Rhapsody and Allegro barbaro.
        We didn't last until the end and we left. Simply awful — no taste, pretentiousness, ambiguity. Trite and without an iota of talent. A rabid, incompetent Paradjanov disciple.

Night 21/22 January
        I was editing the Stalker documentary with Araik.
        Tonino rang from Rome.

26 January, at night
        Yesterday they deported academician Sakharov near Gorky (Shcherbinki). There are protests around the world. [...]

2/3 February, at night
        Yesterday I had a presentation at the Progress (100 roubles). A good audience. Solonitsyn was there, he came to see the film for the first time. [Stalker]
        Lara is in Kazan. Tyapa and Tosya left for Nara for Saturday and Sunday. It's empty, sad, and boring here at home.
        Lora telephoned, or rather Tonino from Rome. "Nothing has changed."
        I am tired of waiting. Unproductive and tiresome.

4 February
        [...] I simply can't get any information regarding my trip. The news on the radio is frightful. I must talk to Sizov.

5 February
        [...] I talked to Sizov. There is still no news about Italy.

6 February
        [...] Larissa is in Kazan. She is treated there. And I am "waiting for Godot". Sizov doesn't know anything about my trip.
        It's sad... Work on the book? [Sculpting in Time] Thoughts about the country home came back again.
        Tonino rang again today. It looks like the Italians are reacting with consternation. God only knows how all this will end. The times are uncertain. What is awaiting us? What is awaiting Russia? God save us...

8 February
        [...] There is no news about Italy.
        Tonino asked me on the phone if I was thinking about Nostalghia... No, I'm not. I can't work without absolute certainty.
        I should have been working for a while by now. It's high time!
        But I do believe! I believe God will not abandon me...

19 February
        I went to Kazan on the 15th with Masha Chugunova. The Bureau of Propaganda had set up ten audience meetings. But the film wasn't there (the fault of the busybodies at the Moscow bureau) and I had to make up for it with a presentation over two hours long.
        I am terribly tired. I came back by plane.
        Bogomolov telephoned today — the Goskino editor-in-chief. There is a meeting of the editorial staff on Saturday with the heads of Goskino's republic divisions. There will also be a debate. I don't feel like it. It smells like a provocation to me.
        There is no news about Italy. I must go to see Yermash.

6 March
        I came back to Moscow a long while ago. Lara is in Kazan. There is a delay in the trip so RAI should send a confirmation that they still need me — that's according to Sizov. Perhaps this is just an excuse not to let us out to Italy. One could always say the situation did not allow it due to political reasons, for example. On the other hand there was the decision by the Central Committee to allow me to leave in order to make the film.

18 March
        Yermash provoked me into a presentation at the all-union filmmakers' conference. My speech was completely unsuccessful. That's what happens when one talks for no reason, only "for the cause".
        I promised myself not to go to presentations "at the request of the authorities" anymore.

22 March
        On Thursday (?) I went to see Sizov. He wasn't happy with my talking at the conference about problems with shooting Stalker. Not really upset but worried. But all I wanted was to bring this black sheep of ours — Konoplyov — back in line.
        There is the permit to go to Italy. Sizov said I would be leaving in seven–nine days. He asked me not to stay very long (I think the visa is for two months).
        I'm ill. I lost my voice. I have a sore throat.

Begun 22 March 1980. I haven't finished the old notebook as this one is smaller and more suitable for travel.

22 March 1980, Saturday, Moscow
        In about ten days I'm flying off to Rome to prepare the preliminary version of the contract between myself, Sovinfilm, and RAI which would be satisfactory to all concerned. (For me it's going to be disadvantageous no matter what.) It would be wonderful if I didn't have to travel back and some official could instead arrive in Italy and sign the contract. From Rome it would be easier for me to put pressure on Goskino and Yermash.
        I must rely on Araik and ask him to run all my Moscow matters for me.
        Yesterday I asked Masha for a favour while I'm away. I regret it — she agreed to help me against her will.
        I'll use this notebook in Italy, for now I'm returning to the old one.

25 March
        Tonino rang from Rome. We talked through Lora of course. I was awarded Prix Donatello (a kind of Italian Oscar). It's a very important prize.
        Sizov wants me to appear at a conference on Friday...
        The Italians are supposedly thinking about suing for damages in the amount of 100,000 dollars or so if I do not make the film there.

31 March/1 April, night, Moscow
        I went to Sovinfilm and talked to Boris Pavlov. We discussed several issues and later telephoned Sizov and went to see him at Mosfilm. They decided I should immediately go to Rome and close the preliminary contract so the preliminary work for the film can begin and then, when signing the final contract, include in it the details of RAI's service fees in the USSR.
        I'm flying off probably on Monday or — it would be better — on Tuesday. It all depends on the flight schedule.
        Lora and Tonino phoned today. If it wasn't Easter [6 April] I'd be flying on Sunday.
        Flying tomorrow to Kazan to Lara for two days.

3 April
        Today I came back from Kazan where I spent 24 hours. I went to see Lara.

11 April, Friday, Rome, Hotel Leonardo da Vinci
        I am once again in Rome, and again at the same hotel. What's more, in the same room 511! I'm giving it a special significance.
        I was at the TV offices. There are lots of problems with the contract because there is no such thing and there can be no such thing here as a "preliminary contract" for television.
        Need to contact Sizov immediately and ask for his advice especially as the idea of the "preliminary" contract was his.
        I explained to the TV people how they should talk to "us".
        Conto 273313. L. 7.028.799. That's for the documentary film about the travels.
        Narymov's phone number: 969359.

13/14 April, night
        [...] I have talked to Sizov twice already. At first he said the studio could sign any contract. The second time he was not so sure but promised to talk to Yermash and was convinced Yermash "will manage".
        I must send the telegram and the contract to TV in Moscow.
        We had supper with Francesco and Giancarla Rosi. They liked the presents and I'm happy they enjoyed them.
        An Italian journalist was there — Trombadori — who lived in Russia for a long time and a Spaniard Carlos who did the revolution on Cuba with Castro. Now he is a refugee. He talked about the popular protests. An interesting man. He said he had never killed anyone and that he only charged with his microphone.
        That was his answer to my opinion that blood only brings more blood.
        The most important thing now is to save the contract.
        During dinner with Franco Terilli yesterday the busboy at the restaurant brought me a note from a lady who thanked me for my films and wished me more success.
        Strange. They know me here as well? That's probably a coincidence.
        Narymov phoned. I must see him today.

14 April, Monday
        A lot has been happening.
        I saw Tempo di viaggio this morning. I have to shorten it. It's very badly edited. The episodes are in the wrong places.
        I went to see Narymov. He is being very active. Tomorrow morning he'll send a telex to Surikov asking him for the data for our contracts. Later he will let him know the amounts contained in the contracts.
        We phoned Yermash. There was a slight commotion there with the news that I supposedly intended to sign the contract myself. We calmed him down.
        It seems they swallowed and accepted the news that there can be no preliminary contract. We discussed the financial matters. I am to receive 30 million lira. Larissa — 300,000 per week.
        Solonitsyn is getting the same daily rate as Mastroianni (when he works for TV).
        Tonino is suggesting shortening Stalker for the Italian distribution to avoid having the distributor do it. This makes sense.
        First of all throw out the scene by the puddle (without Stalker).

15 April, Tuesday
        [...] I've been editing Tempo di viaggio since morning. I threw out 6 minutes from the first half. [...]

16/17 April, Wednesday
        I worked in the editing room. I shortened everything to 63 minutes. It's better but it's necessary to do the soundtrack all over again. Franco Terilli says there is no money. I have to think of something. In the evening we went to Rosi with Lora and Tonino. Carlos again and some rubbish with big names. Several Spaniards.
        Tonino met the distributor who bought Stalker. He threw his way an idea to ask Goskino to send the film to Cannes. Perhaps he would buy the documentary from the making of Stalker. We shall see.

17/18 April
        I edited Tempo di viaggio. Unfortunately, no soundtrack work on Monday. We didn't make it on time.
        A supper with Samokhvalov, Narymov, and the distributor of Stalker who asked our officials to help with sending Stalker to Cannes to Gino Augustini. Samokhvalov promised to help. We shall see.

18 April, Friday
        I worked at Fono-Roma. Tempo di viaggio is much better. Still I shall have to ask again for the money to redo the soundtrack. An uncomfortable situation. First we asked for 30 minutes then for 1 hour, then for one and a half. Now we are asking for 1 hr. 5 min. It's a bit odd. Despite all that I'm happy with the work done. [...]

19/20 April, Saturday
        Dino (Tonino's brother) arrived with Maria. The dinner they brought with them was incredible.
        I saw Coppola's Apocalypse Now. A very weak actor in the main role, bad dramaturgy. A film without spine. A live action comic strip.

20 April, Sunday

21 April, Monday
        Went to see Narymov in the morning and phoned Yermash. He wants the Italians to come to Moscow in order to sign the contract.
        I edited the film. I'd like to finish it tomorrow. [...]

22 April, Tuesday
        I finished the editing of Tempo di viaggio: one hour three minutes.
        Here it has been decided already: Colombino is going to Moscow with the proposed contract. He coordinates it, comes back to Rome for Paolo Grassi's signature and goes to Moscow again to sign the contract. I need to ask them (RAI) to convince Goskino that my trip to Moscow is not possible. (Even to sign the contract.)

25 April, Friday
        I'm in bed. I feel awful — influenza.
        I must phone Samokhvalov today. Pavlov is arriving with a translator on Monday for the contract. And what does our agreement with Yermash look like now, the agreement that it was the Italians who were supposed to go to Moscow?
        I talked with Samokhvalov over the phone about the arrival of Pavlov and Yerovshin from Sovinfilm. He said that even with the latest news they would be still arriving here since that's "how it was decided". Magnificent! What logic... [...]

28 April, Monday
        Fono-Roma are on strike. We couldn't prepare the new soundtrack for Special. The strike continues tomorrow. [...]

29 April, Tuesday
        [...] At Fono-Roma I copied from records the music for Special, I met Rostotsky [a Russian film director]. He threw himself at me for an embrace and a kiss. I can only imagine what he wanted to hide by this action. God, what a scoundrel!
        I phoned home, talked to Tyapus. Better not to mention it...

30 April, Wednesday
        I was selecting the music for the new Special soundtrack. It's been raining the whole day — awful weather. I'm going to the embassy with Samokhvalov tomorrow: May Day.

5 May, Monday
        We didn't manage to redo the soundtrack for Special. Not a single act among the seven.

6 May, Tuesday
        We worked a bit with Tonino. At 3 o'clock the rerecording of Special. We did four acts. Tomorrow another four and that's it.
        I am in a foul mood. Our representatives from Sovinfilm are arriving any moment now while Colombino from RAI is in Moscow. How are they going to communicate? How is the contract supposed to be signed? God only knows.

7 May, Wednesday
        I finished rerecording Tempo di viaggio. Pavlov and Yerovshin have arrived. All of us (including Narymov) went to see Fichera at RAI. Their attitude seems quite normal, I think. But the contract should be signed in Moscow. I must definitely stay here to assemble the crew, find the actors, etc.
        A contract project from RAI was handed over to our representatives, the Italians in turn received the project prepared by the Russians.
        In the evening I talked to Tonino and we wasted a lot of energy discussing possible results of the actions by the Russians.

9 May, Friday
        We met twice at RAI with our officials. They demanded unbelievable sums but it was explained to them that RAI was a government institution and accepting the Soviet terms would make it impossible to make any films besides Nostalghia as it would consume the year's entire budget.
        I am forced to prepare fictitious budgets for fictitious scenes because it's necessary to submit to RAI the cost of scenes to be filmed in the USSR.
        Tonino and I haven't got the screenplay ready yet.
        Most likely a preliminary contract covering the beginning of the shooting will be signed. Then I'll be able to stay in Rome to work while the main contract will be signed without me. It will be easier for Larissa to insist on leaving with Andryushka. I am tired of running around and all this mess. Lora's Italian is not sufficient.

12/13 May
        We met at the TV offices. RAI and Sovinfilm are slowly finding a common ground. Our officials are signing the preliminary contract immediately, a guarantee for the work to begin. Then they are leaving. In June RAI are signing the contract in Moscow.
        I think I shall stay in Rome for now to work with RAI on the film cost calculation.
        Renzo Rosso did an interview with me before his trip to Cannes. It seems the French distributor is going to show Stalker.

13 May, Tuesday
        I was at TV since this morning where the preliminary contract was signed. It allows me to begin the preparatory work. [...]
        Fichera mentioned vaguely that he'd prefer an Italian actress for the translator part. Last night I talked to Sophia in Stockholm. I asked her to mention to Bergman an idea of three of us making a film: Bergman, Antonioni, and myself. If he declines one could think of someone else. Kurosawa? Buñuel? But I think he does not want to make any more films.
        Oh yes! Very important news — today, 13 May, Stalker was shown in Cannes. The French distributor bought it for 500,000 dollars (!)
        I know of only one critic's reaction. The same who liked Special. (Kezikh?)
        Something will most likely be in the newspapers tomorrow. The film was apparently shown as a "surprise". Last year Wajda's Man of Marble was shown in this fashion.
        During the supper I began to understand from Narymov's remarks that Goskino intended to renew our visas every three months. Most likely in order to prevent us from bringing Andryushka with us. I think from the legal and practical side this won't prevent us from creating a scandal and demanding to bring our son with us. I'm afraid. These are unpredictable, scary circumstances.

15 May, Thursday
        Rondi phoned from Cannes. He said Stalker created a sensation. Everyone is talking only about this film. [...]
        I was also told about Rondi's request for my participation in the (film?) jury for the Donatello Prize in June. I'd probably have to decline if I am to direct Nostalghia for RAI.
        Tonino is also thinking of suggesting Special for an out-of-competition presentation at the Venice festival.

16/17 May
        We worked all day. Sophia (I forgot to write it down last night) rang from Stockholm. Bergman is very interested in a film by the three of us — Bergman, Antonioni, Tarkovsky — but he is unfortunately booked up through 1983. He would really like to see me. Sophia says he saw Rublov ten times.
        Martine Offroy phoned from Cannes. She told us about the great success of Stalker. By requests of the audience, the jury, and the critics the film will be shown again tomorrow (!)
        Gaumont have expressed interest in producing Nostalghia.

17 May, Saturday
        I got through to Moscow — Larissa is back! How I long after her!
        Seems she hasn't quite recovered yet. In two weeks she is leaving for Kazan again for two days. We had little time and I didn't manage to tell her much. We cannot talk again (because of the telephone) until next Wednesday. [...]

20 May, Tuesday
        Went to RAI — I signed some paper which allows me to receive my daily rates.

21 May, Wednesday
        I got through phoning home. I talked to Lara and Tyapus. Lara isn't feeling too well yet. She longs to see me. Me too. When is all this going to end? When are we going to be able to live all together?
        The Moscow première of Stalker took place in cinema Mir and it was a resounding success. I told them about Cannes. Larisa is suing Uzbekfilm on my behalf: to this day they haven't paid for the screenplay and the film is already in cinemas.

22 May, Thursday
        I talked to Lara and Tyapus over the phone. Lara got through to Yerovshin. She asked him if they understood she could not leave without her son. Yerovshin answered that yes, they understood that. I don't know what to think. To all appearances everything looks all right.
        Will Tyapa and Lara come here? Is it possible?

23 May, Friday
        "Our" boys from the embassy made futile attempts to made me accept some actress which was supposedly indispensable for some reason. I figured her out. I hope they'll never again attempt to push their stupid ideas on me. She has some "very important" contacts for them...
        I met a representative of the Donatello Prize committee today. She invited me to Sicily to receive the Luchino Visconti Prize. A Russian, very old, Elena Gavrilovna, her Russian is bad. I told her I'd try to come, regardless of work, together with my wife. Perhaps with Andryushka? (That, however, I didn't say outloud, only thought it).
        I telephoned twice, didn't catch Larissa. During the second call I talked to Araik. He was telling me about the film on making Stalker.

25 May, Sunday
        I started the Russian translation of our new screenplay and errors became apparent immediately. We must correct many things.
        I went with Tonino to a performance by a Swiss pantomime theatre, their last show. Three astonishing young people, one woman among them. They presented an amazing, poetic show. In total silence, without music, without a sound. Some of the etudes were simply delightful. [Was it them?]
        In the evening I had a talk with Tonino and his stories about life in Italy and in the West in general made me feel down and sad.

26 May, Monday
        I must start a separate diary for everything work-related. Just as I did with Mirror and Stalker. We discussed the matter of the translator today.
        I talked to Larissa. She is not feeling well. Does it mean Musharapov was of no help? Anna Semyonovna's blood pressure is too high. She must stay in bed.
        My poor Larochka! She is going to the country with Tyapa. I don't quite get it. Anna Semyonovna is in Moscow and she is ill after all. I'll be talking again tomorrow. My sweetie pie...

6 June, Friday
        I am reading an amazing essay by Lorca — surprisingly passionate, sublime, deep, truly poetic remarks.
        Lara told me that when she asked Sizov if he knew about the reception of Stalker in Cannes, he responded: "Yes, it was a fiasco. People were leaving in the middle of the film". Interesting, who gave him this information? Latrissa immediately cheered him up by mentioning the reviews and the two prizes. Then Sizov asked: "Then why didn't they enter it in the competition?" Larissa answered that she'd like to know it too.
        Talked with Larochka and Tyapus. Lara says Araik managed to buy strawberries and they (Tyapus and his friends) were simply stupefied by this. My God!
        Lara said my permit was for three months, not two, and I shouldn't worry.
        In the evening I watched Cocteau's Return of Orpheus [sic] on TV.
        Where are you, the great ones?! Where are Rossellini, Cocteau, Renoir, Vigo? The great poor of the spirit.
        What happened to poetry?
        Money, money, money, and fear... Fellini is afraid, Antonioni is afraid... Only Bresson is not afraid of anything.

9 June, Monday
        We were showing the final variant of Tempo di viaggio at RAI. They liked it very much.

[Two months later Tarkovsky went back to Moscow (3 August 1980). After brief visits to England and Sweden in 1981 (for the opening of Stalker in Sweden) he went back to Italy on 7 March 1982 to shoot Nostalghia. He never went back to Russia.]  end block

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