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When film is not a document, it is dream. That is why Tarkovsky is the greatest of them all. He moves with such naturalness in the room of dreams. He doesn't explain. What should he explain anyhow? He is a spectator, capable of staging his visions in the most unwieldy but, in a way, the most willing of media. All my life I have hammered on the doors of the rooms in which he moves so naturally. Only a few times have I managed to creep inside. Most of my conscious efforts have ended in embarrassing failure...
--
On Andrei Tarkovsky in Laterna Magica (1987); The Magic Lantern : An Autobiography as translated by Joan Tate (1988) [also sometimes referred to as The Magical Lantern]

 

Ingmar Bergman

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Women dream till they have no longer the strength to dream; those dreams against which they so struggle, so honestly, vigorously, and conscientiously, and so in vain, yet which are their life, without which they could not have lived; those dreams go at last. All their plans and visions seem vanished, and they know not where; gone, and they cannot recall them. They do not even remember them. And they are left without the food of reality or of hope.
Later in life, they neither desire nor dream, neither of activity, nor of love, nor of intellect. The last often survives the longest. They wish, if their experiences would benefit anybody, to give them to someone. But they never find an hour free in which to collect their thoughts, and so discouragement becomes ever deeper and deeper, and they less and less capable of undertaking anything.

 

Florence Nightingale

 

The film moves at what I consider to be the speed of art — which is slow. Cremaster 2 does what I think sculpture does: It moves slowly and requires that one move around it to understand it, and to visit it repeatedly.

 

Matthew Barney

 

..the personification of the close-up detail, the individualisation of the fragment, where the drama takes shape, moves and have it being. Film concurs with this aspect for life. The hand is a multiple, transformable object. Before I saw it in a film, I did not know what a hand was! The object in itself is capable of becoming an absolute, moving, tragic thing.

 

Fernand Leger

 

Tonight, more than 200 years after a former colony won the right to determine its own destiny, the task of perfecting our union moves forward. It moves forward because of you. It moves forward because you reaffirmed the spirit that has triumphed over war and depression, the spirit that has lifted this country from the depths of despair to the great heights of hope, the belief that while each of us will pursue our own individual dreams, we are an American family and we rise or fall together as one nation and as one people.

 

Barack Obama

 

How do I know that enjoying life is not a delusion? How do I know that in hating death we are not like people who got lost in early childhood and do not know the way home? Lady Li was the child of a border guard in Ai. When first captured by the state of Jin, she wept so much her clothes were soaked. But after she entered the palace, shared the king's bed, and dined on the finest meats, she regretted her tears. How do I know that the dead do not regret their previous longing for life? One who dreams of drinking wine may in the morning weep; one who dreams weeping may in the morning go out to hunt. During our dreams we do not know we are dreaming. We may even dream of interpreting a dream. Only on waking do we know it was a dream. Only after the great awakening will we realize that this is the great dream. And yet fools think they are awake, presuming to know that they are rulers or herdsmen. How dense! You and Confucius are both dreaming, and I who say you are a dream am also a dream. Such is my tale. It will probably be called preposterous, but after ten thousand generations there may be a great sage who will be able to explain it, a trivial interval equivalent to the passage from morning to night.

 

Zhuang Zhou Zhuangzi (Zhuang Zi