I've always been irritated by the way that montage is such an artificial process, dictated by a cinema of efficacy. For example, a man enters, stops, and waits. In the cinema of efficacy this waiting is conveyed through montage, whereas in my work there is no montage — the scene exists in a time scale which is not reduced for the sake of efficacy. There is a material, concrete sense of time; real time, not evoked time. In my films "dead time" is built in, scripted, intended. Just as music is a conjunction of sound and silence, "dead time" in my films is musical, rhythmic — but not the rhythm of American films, where time is always cinematic time. In my films the spectator is not drawn in by artificial means, he remains inside and outside at the same time, with the opportunity of passing judgement. The pauses, the "dead time," give him the chance not only to assess the film rationally, but also to create, or complete, the different meanings of a sequence.
Theo Angelopoulos. in Theo Angelopoulos: Interviews (Entrevista de 1980 por Tony Mitchell). Dan Fainaru (ed.) University Press of Mississippi (2001)