You've probably read that Sean Penn, in an interview with Le Figaro, said this about working with Terrence Malick on "The Tree of Life": "I didn't at all find on the screen the emotion of the script, which is the most magnificent one that I've ever read. A clearer and more conventional narrative would have helped the film without, in my opinion, lessening its beauty and its impact. Frankly, I'm still trying to figure out what I'm doing there and what I was supposed to add in that context! What's more, Terry himself never managed to explain it to me clearly."
What you probably didn't read was what else he said, which was translated and posted as a comment by Guy Lodge in response to an article at InContention.com headlined "Sean Penn bitch-slaps 'Tree of Life'": "But it's a film I recommend, as long as you go in without any preconceived ideas. It's up to each person to find their own personal, emotional or spiritual connection to it. Those that do generally emerge very moved." (InContention.com followed up with "Penn on Malick, part deux.")
Back in May, the great production designer Jack Fisk, who has known Malick for many years, told Dennis Lim in the New York Times: "I was shocked by how personal the story was when I first read it. But when I watched the film I just think how universal it is." Or, as Richard Brody, who writes "The Front Row" for The New Yorker, aptly quotes Fritz Lang in Godard's "Contempt": "In the script it is written, and on the screen it's pictures."