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塔可夫斯基曾说，电影是雕刻时光的艺术，他一生都在尝试捕捉流动影像中真实的节拍，把时间当成实体来对话。在他看来，电影的本质在于记录时间流动的能力，影像不仅讲述故事，也能唤醒隐藏的记忆、触及人的灵魂。《殉道学》是他为自己的生命雕刻的时光标本，阅读它，如同与作者进行一场尘封多时的对话。在那些私密的絮语中，他对电影、对生命的祈祷从未停止。
I find it plausible to think that early humans began to observe, to feel the difference between right and left, and to ascribe qualities like “clumsy,” “awkward,” “crooked,” and “tired” to the less dexterous hand (it is interesting that these very terms still show up prominently in today’s modern languages) and correspondingly positive qualities to the right hand preferred by the majority. This process, intertwining emotion and cognition, can well be expressed in the terms of embodiment... The semantic values with which the terms for left and right are charged in almost all the languages examined for this survey could have their origin in this very process: embodiment turned into words.