A Quote by Andrei Tarkovsky

I have to say from the outset that not all prose can be transferred to the screen. — © Andrei Tarkovsky
I have to say from the outset that not all prose can be transferred to the screen.
In almost every book I've written, there is a reference to a movie - legendary films, actors and actresses, and forgotten made-for-TV movies. The leaps poems make are not unlike the cuts in a film. The miniature and avant-garde prose poets have perhaps the most obvious ties to film, as a prose poem in its shape is not unlike a movie screen.
Poetry has an indirect way of hinting at things. Poetry is feminine. Prose is masculine. Prose, the very structure of it, is logical; poetry is basically illogical. Prose has to be clear-cut; poetry has to be vague - that's its beauty, its quality. Prose simply says what it says; poetry says many things. Prose is needed in the day-to-day world, in the marketplace. But whenever something of the heart has to be said, prose is always found inadequate - one has to fall back to poetry.
Any type of humor can be transferred to the screen, as long as there's clarity. The audience wants to know just what they're supposed to be feeling, when they're supposed to laugh.
I've already written 300 space poems. But I look upon my ultimate form as being a poetic prose. When you read it, it appears to be prose, but within the prose you have embedded the techniques of poetry.
There is poetry even in prose, in all the great prose which is not merely utilitarian or didactic: there exist poets who write in prose or at least in more or less apparent prose; millions of poets write verses which have no connection with poetry.
A prose writer gets tired of writing prose, and wants to be a poet. So he begins every line with a capital letter, and keeps on writing prose.
That prose is a verse, and verse is a prose; convincing all, by demonstrating plain – poetic souls delight in prose insane
I said the screen will kill the reader, and it has: the movie screen in the beginning, the television screen, and now the coup de grace, the computer screen.
I do understand sometimes when actors say there's no one to talk to, or you can't react to, there's truth in that, but for me, I've always enjoyed green screen, and blue screen.
You recalled the 1956 declaration, and this declaration established the rules that should be followed by both sides and that should be put into the foundation of a peace treaty. If you carefully read the text of this document, you will see that the declaration will take effect after we sign a peace treaty and the two islands [Kunashir and Shikotan] are transferred to Japan. It does not say on what terms they should be transferred and what side will exercise sovereignty over them.
I'd rather call prose poems something else, for clarity - something like "poetic prose," prose that contains a quality of poetry, but not poems.
Let me say at the outset that I do not reflexively oppose international trade.
Let me say at the outset, there would be no space for vendetta politics in Punjab.
The silences express so much and are so crucial in music, and prose does not allow for the creation of these silences, these white spaces on the page or the computer screen.
I have been married twice, and those were not the happiest times of my life. Part of the problem, quite frankly, is that when you get married, the romance disappears and the children arrive and the love is transferred. It shouldn't be that way, but too often it is transferred to the children.
The combination of drugs, homosexuality, some good prose recited on screen. . . . In the sweat lodge ceremony we went through, did you get any glimpse of the Ugly Spirit, what that was historically or biographically?
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