Mirror

“So let’s start off with something very artsy-fartsy and kind of hard to watch. We’ve got The Mirror or Zerkalo by Tarkovsky. This is great. There are, like, tableaus and vignettes in this movie that are so gorgeous. There’s this scene where she’s washing her hair and then the whole crumbling apartment just– You gotta watch it. It’s really beautiful. Tarkovsky really knows what the fuck he’s doing.”

“The Mirror. Lars von Trier asked me to look at this before we did Antichrist. Surprise, surprise.”

“My all-time favorite director is Andrei Tarkovsky and this is a newly restored edition of Mirror. I come from a place where you don't really see films and it's a very small place... And I wasn't exposed to films and art until very late.”

“Oh, The Mirror. Let’s see, what to say about the film? I teach it in my class. Kind of defies language, but kind of resides in the remembering of the film itself, that’s kind of where it exists. Almost in the Godfrey Reggio, you know, ‘the viewer completes the film’ type of way. Maybe The Mirror is completed when you remember it.”

“I have to take a film by Tarkovsky because he's one of my favorites. This is Stalker... I kind of blend Tarkovsky together with all of his films, Stalker or Mirror. There's scenes in Mirror that I think are in Stalker, etc.”

“Tarkovski, alors moi je découvre Tarkovski je dois avoir 15 ans au cinéma avec ma maman. C'est un sens du paysage, un sens de la lumière, un sens du visage, un sens des visages aussi. Et Le Miroir c'est très beau, c'est de la couleur, c'est magnifique.”

“I see I’ve got all the Tarkovskys. Mirror is somewhere here. Mirror., oui. Well, actually, I know from Andrei Konchalovsky who wrote Andrei Rublev with him. He said to me that Andrei spoke to him and said, 'You know what? I found a new way to edit films and to put the end at the beginning. The beginning and... And that’s my new way of making films. What we call the beginning is often the end. It’s... With Mirror– The end is where we start from.'”

“The Mirror. Mr. Andre Tarkovsky. I do think that it's with the Mirror that I started to be really passionate about... What an image, what a framing, what a movement. Camera movement is also the fragmentation of the story and the layers, the time layers how it goes through times in his films in general and in this one in particular. The opening scene of this film is unbelievable, unbelievable. It's a one shot.”

“And as well as this one. Shout out to Mirror. Tarkovsky, my GOAT.”

“There's Mirror and there should be Solaris.”