By Natasha Synessios

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In my view that has to be the basis for constructing the cinematographic image. And if one looks at it from the point of view of symbols, then the symbol in cinema is a symbol of nature, of reality. 18 Tarkovsky wanted desperately to work, but time was passing, and the studio remained noncommittal. Still, he pondered the title of the film, deciding that A White Day was too weak and flat (see ‘Author and Hero’, p. 80). Meanwhile, he met with his new cameraman, Georgi Rerberg, to discuss the film.

He edited all the footage in chronological order, as had been requested of him. He shortened, but did not remove, the long-disputed sequence of the levitating woman, and said he would write some more text for the narrator at the end of the film, clarifying his thoughts for the future; they were, ‘Never mind. ’ Tarkovsky continued to fight over the film. In early August 1974 he drew up a campaign plan in his diary, involving writing letters to Ermash and Sizov about his work situation and organising a screening for influential figures (among them Shostakovich) who might sign a petition in support of the film.

We haven’t shot a thing. ’ Tarkovsky spent the next few days working on the script, noting that he and Misharin had totally changed Terekhova’s role. This involved added dialogue between Terekhova and the author, as well as a decision to have her speak some of the disputed monologue Misharin had written about the author’s guilt in the hippodrome scene. Throughout this period Tarkovsky continued to re-edit the film’s sequences, writing down the different versions he wanted to try. He was becoming concerned with the length of the film, fearing that more scandals would erupt when the bureaucrats found out that it was longer than planned.

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