Agree with that statement.
My favorite article so far from Cinephilia & Beyond is for Terrence Malick's, "The Thin Red Line"
I don’t know if this will make sense the way a normal film does. Terry’s wildly intuitive and impressionistic. He wrote a script based on the novel, and he’s making a film based on the script, but he’s not shooting the script. He’s shooting the essence of the script, and he’s also shooting the movie that’s up there on the hill. He’s trying to transcend the book and the script and himself. He’s just out there. He’s a wild cat. — John Cusack on Malick
Terrence Malick is oblique. He would start shooting the scene, but watch the sky. And about six, when the sky was just right, he’d say ‘That’s enough of this scene, let’s revisit the scene we shot the other day.’ Nothing will match, but that’s fine. He was finishing the scenes in golden light. He couldn’t tell the studio he was only going to shoot in golden light, they would have freaked, so he would hold these scenes off. The actor didn’t get to do what he wanted to do, John Toll didn’t get to photograph it the way he wanted to, and Terry didn’t get to shoot it as he’d written it. All those elements were thrown out, and the only new element was this light that’s what it was about. — Nick Nolte on Malick