“But film material can be joined together in another way, which works above all to lay open the logic of a person’s thought. This is the rationale that will dictate the sequence of events, and the editing which forms them into a whole. The birth and development of thought are subject to laws of their own, and sometimes demand forms of expression which are quite different from the patterns of logical speculation. In my view poetic reasoning is closer to the laws by which thought develops, and thus to life itself, than is the logic of traditional drama.
Through poetic connections feeling is heightened and the spectator is made more active. He becomes a participant in the process of discovering life, unsupported by ready-made deductions from the plot or ineluctable pointers by the author. He has at his disposal only what helps to penetrate to the deeper meaning of the complex phenomenon represented in front of him. Complexities of thought and poetic visions of the world do not have to be thrust into the framework of the patently obvious. The usual logic, that of linear sequentiality, is uncomfortably like proof of a geometry theorem. Associative linking allows for both an affective as well as rational appraisal. It possess an inner power which is concentrated within the image and comes across to the audience in the form of feelings, inducing tension in direct response to the author’s narrative logic.
When less than everything is said about a subject, you can still think on further.”
-Andrei Tarkovsky, Sculpting in Time–