No.5421
What would his style had been like if he grew up in America?
Do you think he would've found any success?
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No.5422
Would he still have heavy rusian influences in his life. Such as his family friends etc.
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No.5423
Yeah, nature vs. nurture comes into play. Does this question involve simply placing his soul and DNA into some US family?
If he worked in Hollywood in the 60s, maybe he could make a better version of The Killers than Don Siegel's.
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No.5430
>>5422
Let's say yes. Let's imagine that he had the same upbringing but moved to America to make the American version of Ivan's Childhood.
>>5423
Have you seen his shorts? I think the first one he ever made was called The Killers. Was Don Siegel's flick based off of Tarkovskys?
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No.5433
>>5430
He would've been fuck out of money to make a film and would've moved back to Russia to make it.
If he was exactly the same, but was only trying to make a film in America, this is the only result. He wouldn't have compromised his vision. The much more interesting question would be what he would be like if he were raised an American. Less eastern spiritual, more centralized vision on Christianity. Parajanov's profound influence on him wouldn't have happened. Who knows what he would've drawn inspiration from. He probably wouldn't have known about Dovzhenko. Chaplin would've been his main silent film influence. I'm not sure if he would've known about foreign film, particularly early in his career. It's somewhat likely he would've heard about Bergman.
His predicament shifts from putting up with the Moscow Board and the censorship to not having any funding. I see him fizzling out after his first film bombs and is unable to get more funding for future projects. Probably says fuck it and writes poetry, maybe goes to theater.
Speculation
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No.5434
>>5433
You praise Russia and the east too much. Westerners were very aware of the talent from other countries, especially Bergman.
I agree with your last part where he'd secure funding for one film and it'd be a wreck.
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No.5435
>>5430
> Was Don Siegel's flick based off of Tarkovskys?
Both come from the Hemingway short story, but the Siegel version barely resembles it. It's really just a bad TV movie (not that there's anything wrong with that).
I'd like to think American Tarkovsky could find some way to work outside the studio system to maintain creative control. Independent filmmaking became more common in the mid 60s. His output would be infrequent but he could still insist on a singular vision, even if his influences were completely different. Perhaps a cult hit or two with the midnight movie crowd.
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No.5438
>>5434
I honestly don't think Dovzhenko or Parajanov would've been known in America.
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No.5441
>>5435
Sounds about right. I wonder if the American Tarkovksy would've been interested in an animation? That would be kinda wild to see what he'd be capable of.
>>5438
Probably not Dovzhenko but Parajanov was definitely known. Didn't Shadows of Forgotten Ancestors receive a bunch of awards from the international community during it's release?
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No.6060
>>5434
Bergman is literally the biggest name they know. Probably because he was nominated for Oscars quite a few times.
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No.8009
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No.8016
>>8009
interesting. where's that from?
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No.8017
>>8009
God how different my life would have been if this happened.
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No.8019
>>8016
It is a page from «Andrei Tarkovskys Poetics of Cinema». I sourced the quotation from Derek Jarman within a brief diary about his struggle to find money to make films in Britain. I like his observations about Pasolini that he writes about.
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No.8037
>>8009
This kind of thinking leads nowhere fast. That you need to be in the right place at the right time to take advantage of a window of opportunity goes without saying. He took this advantage in the Soviet Union, but there is no telling if he wouldn't have had an analogous opportunity in the UK or in America, or anywhere else for that matter.
A biography can't be separated from its circumstances so it's stupid to try to seriously simulate stuff like this. The variables will grow exponentially the more you dig in.
For one, it would be highly unlikely for him to soak Orthodox spirituality as a Westerner - he would have had different thematic interests. He would have also studied editing from a different academic perspective and likely never arrive at his time-sculpting theory. He would have different political concerns.
But then there's no telling if this fantasy upbringing would have given him the tools to start a career in film specifically, as opposed to medicine or editorial work. After all, he would have had different childhood role models, influences and hobbies. He would have applied to different schools.
Tldr: stupid.
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No.8038
Reading the context I think Jarman was being less serious than that standalone sentence makes it sound
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No.9181
Old bump. Well there is no definitive answer to your question.His work is absolutely saturated in Russian culture and the more natural places that he grew up in. Would his films still have that poetic quality? Probably but I wouldn't be surprised if he dealt with different themes, or better said similar themes in vastly different circumstances. Andrei Rublev (or any of his films) would not exist, and I have really no idea what would be in their place. He would still have been able to find funding just based on his talent and visual eye, and I do believe that he would have found success, although maybe not to the degree of his Soviet career.
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