A Quote by Andrei Tarkovsky

Although the assembly of the shots is responsible for the structure of the film, it does not, as is generally assumed, create its rhythm; the distinct time running through the shots makes the rhythm of the picture, and the rhythm is determined not by the length of edited pieces, but by the pressure of the time that runs through them. The pieces that 'won't edit', that can't be properly joined, are those which record a radically different kind of time
IN THE CINEMA A DIRECTOR EXPRESSES HIS INDIVIDUALITY FIRST AND FOREMOST THROUGH HIS SENSE OF TIME, THROUGH RHYTHM. RHYTHM GIVES COLOUR TO A WORK BY DISTINGUISHABLE STYLISTIC CHARACTERISTICS. RHYTHM MUST ARISE NATURALLY IN A FILM, A FUNCTION OF THE DIRECTOR'S INNATE SENSE OF LIFE AND COMMENSURATE WITH HIS QUEST FOR TIME.
Movies are pieces of film stuck together in a certain rhythm, an absolute beat, like a musical composition. The rhythm you create affects the audience.
As a director, the biggest job is to discern the imperfections in emotional tone and then view it in the global picture of what you're trying to do, if that makes sense. It's a rhythm, like music is a rhythm or composition and art is a rhythm. Dialogue is a rhythm as well.
Time is a social institution and not a physical reality. There is no such thing as time in the natural world - the world of stars and waters, clouds, mountains and living organisms. There is such a thing as rhythm - rhythm of tides, rhythm of biological processes... There is rhythm and there is motion. Time is a way of measuring motion.
Whenever I think about movies, I always look at that art process as having the best of a lot of worlds. Because if you watch a great film, you have a musical element to it, not just on the scoring, but in the way that the shots are edited - that has music and rhythm and time.
There's the internal rhythm within a sequence, and then there's the rhythm between the sequences, and that's extremely important in constructing the narrative. For example, you don't put two big dramatic scenes right next to each other. But you can use the rhythm of the transition shots; they can often serve a double purpose.
I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.
When you're playing spot minutes, it's harder to hit those shots. But if you're getting volume shots, now it's a lot easier to get a rhythm.
The rhythm is below me, the rhythm of the heat. The rhythm is around me, the rhythm has control. The rhythm is inside me, the rhythm has my soul.
Any time you sit out, it could throw off your rhythm a little bit, and I'm kind of a rhythm player.
The first day's always the hardest, because it moves so much faster than a film does and once you get into that rhythm, though, you feel like you've accomplished so much in such a short period of time, so there a bit of comfort in that. You just have to find your rhythm.
I think once you see a couple shots go down, and when you're getting shots in rhythm, the game flows.
Whether I'm performing or directing, I'm aways thinking about rhythm; sometimes it's nailing the right rhythm, and sometimes it's intentionally breaking the rhythm. Those two things are what make something funny or not. How long a shot is and where you put the camera are all part of that rhythm of directing.
I took the rhythm place, which a lot of people didn't know how to do the way I could, and this was really the first time that Johnny had a rhythm guitar player.
Rhythm is a perception of time... when drawing, the tiredness of the hand is a rhythm.
Every land has its own special rhythm, and unless the traveler takes the time to learn the rhythm, he or she will remain an outsider there always.
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