“I wanted to place cinema in a position where it could stand shoulder to shoulder with any musician or painter. I wanted to be able to consider cinema as a force capable of competing with those arts. Furthermore, I wanted to get to the absolute essence of my medium and handle it in the purest way possible.” – Peter Kubelka, Lecture at New York University, 1974

"Thus in a sense movement has two aspects. On one hand, that which happens between objects or parts; on the other hand that, which expresses the duration or the whole. The result is that duration, by changing qualitatively, is divided up in objects, and objects, by gaining depth, by losing their contours, are united in duration. We can therefore say that movement relates the objects of a closed system to open duration, and duration to the objects of the system which it forces to open up.

"For the DIY filmmaker, the means are often also the ends. Canadian film scholar Éric Thouvenel argues that the history and practices of experimental film embrace a “DIY mode of thinking” that “runs counter to industrial practices, which more often than not employ machines whose functions have been standardized and whose uses have been highly prescribed.”

“"I've always been interested in that kind of film. That kind of window film where you place your camera and leave it, over a long period of time. Canadian Pacific took about three months. When I moved into that studio I immediately saw the window and thought there could be something done there . What interested me about the shot were the horizontals: train tracks, the water, the mountains, the sky. Very few verticals in it.