ISRASOL

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Skådespelerska Natalya Bondarchuk intervjuas om hur det var att spela in den film som jag håller bland de allra högsta i världen, nämligen Andrei Tarkovskys SOLARIS [översatt från ryskan]. Följande scenarion förklarar kanske ytterligare varför hans filmer har sådan närvaro, som om det verkligen är på riktigt:


"The way Andrei made his films was very complicated. I had to act in one of the most terrible scenes, that of the defrosting, when I was covered with a solution mad of ice, specially invented at the Mosfilm. It was an experiment on me, to see if I can survive. That was a kind of solution that got crystallized on me. It was not easy to be in it, all the more so that the defrosting was done in a very simple way: they just poured a bucket of water over me and I got soggy. Will I be able to endure several seconds in this so called make-up? I was not supposed to breathe, because I was a corpse. ....... My mouth was bound, I could neither talk nor move, because it was like a metal mask. If I laughed I'd have everything torn here. I communicated with the director with the help of my hands. ....... And as I was a diver, I could hold my breath very well. ....... And Andrei forgot that I hadn't been defrosted yet. He bent over me and said: "Good girl, my dear show maiden!" And I started smiling, I knew I would have injured myself. So to save myself I grabbed the bucket, toppled it over myself and got defrosted. Later I told him everything I thought about this shooting.

There were funny moments too. ....... I had to go through an armoured door. So I thought it would be combined photography. They brought two specially constructed doors. That plane was serious stuff, and I had to break through it. Though no one knew if I could do it. They made a cut with a knife for me: you see, it's foil and asbestos. ....... I guess I didn't pluck up enough heart and got stuck in the door. I couldn't move either way. So they had to get me out by parts. I had ruined the door. We worked in the regime of one take. There was no more Kodak. To complete the shooting I had to buy the Kodak myself. It's impossible to shoot in one to one proportion. Andrei's moustache even went up - I'd spoiled the take. Second take....... I ran up and went through it like through butter, leaving the director, Andrei, behind.

Once, in some Russian town, before going on to the stage, I guess to introduce "Solaris", I looked in the mirror and suddenly saw Andrei there, smiling mysteriously at me. Only later I realized that it was his portrait hanging on the wall, a darkened portrait, you know, like one of those live portraits. And it was reflected in the mirror, as if Andrei was giving me his blessing before I go to the audience."







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