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On the other hand, through a succession of details, we had the intention of leading the spectator toward a view of the entirety of The Trinity, the high point of Roublev's career. To bring the spectator towards this accomplished work by means of a sort of colored dramaturgy, making him wander through fragments towards a whole by creating a sort of flow of impressions. Third, this color ending, roughly 8zo feet of f,lm, was indispensable, aS far as we were concerned, in order to make the spectator rest from the spectacle of the film, in order to prevent him from leaving the room right after the last black and 25 white images, so he could have some time to detach himself from Roublev's life.
Were one to generalize about the aim of our movie, it is by all appearances the portrayal of a painter, an artist, who is unable to create if he is not an artist. The point here is not the idealistic position of someone with regard to his or her own thoughts. One might assume that Roublev was such a person, that he painted very delicately and in silence in his monk's cell, removed from the world. I cannot believe in such a Roublev. No one would believe in such a Roublev. That's what we wanted to make a film about.
He looks for the grain of hope, of love, of faith among the people of his time. He expresses it, through his own conflict with reality, not in a direct, but in an allusive manner, and therein lies his genius. He looks for a moral ideal within himself, and thereby expresses the hope and aspirations of the people, born of their living conditions. He expresses the attraction towards unity, fraternity, love-everything the people lack yet which Roublev feels to be indispensable. This is how he foresees Russian unification, a certain progress, and the hope in the only future that can get people involved by opening perspectives for them.