Several of Tarkovsky's films have color or black-and-white sequences. This first occurs in the otherwise monochrome "Andrei Rublev", which features a color epilogue of Rublev's authentic religious icon paintings. All of his films afterwards contain monochrome, and in "Stalker's" case sepia sequences, while otherwise being in color. In 1966, in an interview conducted shortly after finishing "Andrei Rublev", Tarkovsky dismissed color film as a "commercial gimmick" and cast doubt on the idea that contemporary films meaningfully use color. He claimed that in everyday life one does not consciously notice colors most of the time, and that color should therefore be used in film mainly to emphasize certain moments, but not all the time, as this distracts the viewer. To him, films in color were like moving paintings or photographs, which are too beautiful to be a realistic depiction of life.