his death from cancer in 1982, Solonitsyn was also intended to play protagonist Andrei Gorchakov in Tarkovsky's 1983 Italian-Russian co-production Nostalghia, and to star in a project titled The Witch which Tarkovsky would significantly alter into his final production, The Sacrifice. Filming According to Johnson, filming did not begin until April 1965, one year after approval of the script, with J. Hoberman reporting a slightly earlier date of September 1964 for the start of filming in his film essay for the Criterion collection release of the film. The initial budget was 1.6 million Rbls, but it was cut several times to one million roubles (In comparison, Sergei Bondarchuk's War and Peace had a budget of eight and half million roubles). As a result of the budget restrictions several scenes from the script were cut, including an opening scene showing the Battle of Kulikovo. Other scenes that were cut from the script are a hunting scene, where the younger brother of the Grand Duke hunts swans, and a scene showing peasants helping Durochka giving birth to her Russian-Tatar child. In the end the film cost 1.3 million Rbls, with the cost overrun due to heavy snowfall, which disrupted shooting from November 1965 until April 1966. The film was shot on location, on the Nerl River and the historical places of Vladimir/Suzdal, Pskov, Izborsk and Pechory. Tarkovsky chose to shoot the main film in black and white and the epilogue, showing some of Rublev's icons, in color. In an interview he motivated his choice with the claim that in everyday life one does not consciously notice colors. Consequently, Rublev's life is in black and white, whereas his art is in color. The film was thus able to express the co-dependence of an artist's art and his personal life. In a 1969 interview, Tarkovsky stated that the flying man in the prologue is "the symbol of daring, in the sense that creation requires from man the complete offering of his being. Whether one wishes to fly before it has become possible, or cast a bell without having learned how to do it, or paint an icon – all these acts demand that, for the price of his creation, man should die, dissolve himself in his work, give himself entirely." The color sequence of Rublev's icons begins with showing only selected details, climaxing in Rublev's most famous icon, Trinity (Andrei Rublev)The Trinity. One reason