"The cinema image, then, is basically observation of life's facts within time, organised according to the pattern of life itself, and observing its time laws. Observations are selective: we leave on film only what is justified as integral to the image. Not that the cinematic image can be divided and segmented against its time-nature, current time cannot be removed from it. The image becomes authentically cinematic when (amongst other things) not only does it live within time, but time lives within it, even within each separate frame.
No 'dead' object - table, chair, glass - taken in a frame in isolation from everything else, can be presented as it were outside passing time, as if from the point of view of an absence of time.
You only have to by-pass this condition to make it possible to take over any number of properties from one of the neighbour arts. And with their help you can indeed make very effective films; only from the point of view of cinematic form these will be incompatible with the true development of the nature, essence and potential of cinema.
No other art can compare with cinema in the force, precision and starkness with which it conveys awareness of facts and aesthetic structures existing and changing within time. I therefore find particularly irritating the pretensions of modern 'poetic cinema', which involves breaking off contact with fact and with time realism, and makes for preciousness and affectation."
--Andrei Tarkovsky, Sculpting in Time
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