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I don't believe that one has to tear down the cinema screen in order to renew cinema. But new input and new energy are lacking. They are flowing above all into the television technologies. We must, therefore, concentrate on the CD-ROM.

Peter Greenaway

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Peter Greenaway
Age: 82
Born: 1942
Born: April 5
Actor
Cinematographer
Experimental Artist
Film Director
Film Editor
Painter
Screenwriter
Television Director
Theatrical Director
Writer
Newport
South Wales
Order
Screen
Must
Screens
Renew
Believe
Cinema
Input
Tears
Technologies
Therefore
Flowing
Television
Concentrate
Technology
Tear
Energy
Lacking

More quotes by Peter Greenaway

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In practically every film you experience, you can see the director following the text. Illustrating the words first, making the pictures after, and, alas, so often not making pictures at all, but holding up the camera to do its mimetic worst.
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I don't believe in the deplorable notion of realism in the cinema: you can over-reach it, and it becomes as false as convention.
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A hand cannot write on itself.
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I am certain that there are two things in life which are dependable: the delights of the flesh and the delights of literature. I have had the good fortune to enjoy them both equally.
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Words reproduce themselves pleasurably too.
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I like a lot of glasses about - it highers the tone.
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If Good approved of his creature's creation, He breathed the painted clay-model into life by signing His name.
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American actors are coy. We all have pricks and cunts, or are you different from the rest of us?
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I don't think we've seen any cinema yet. I think we've seen 100 years of illustrated text.
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Eisenstein was a good editor. I was trained as a film editor, and I've no doubt that the editor is key to a film.
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I have always had severe problems with Austrians. ... Musical, churchy, uptight... nice legs... hypocritical... authoritarian... always insist their dustbins are very clean.
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Cinema is dead, long live cinema.
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I never go to the cinema. I can't stand sitting in the dark with strangers -- all of us obliged to share the same emotional experiences -- it's too intimate. I like to be emotional in private.
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I think it is really important to be in some way provocative -- either intellectually or viscerally -- in the films one makes.
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I think my films are always quite self-reflexive and always question 'why am I doing this, is this the right way to do it, what is cinema for, does it have a purpose?
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Cinema basically examines a personality first and the body afterward.
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I wanted to make a cinema of ideas, not plots, and to use the same aesthetics as painting, which has always paid great attention to formal devices of structure, composition and framing.
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One of my heroes, almost necessarily from what I'm saying, of course, is Borges, who is a supreme master of doing thing -- being a data bank -- and the beauty of this economy is that he could have written War and Peace in three or four pages who knows, it might have been a better book.
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We live in a time of excess - excess population, excess information.
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I also think that everyone has an elitist approach to his own art, a complex knowledge of it, whether he is a clockmaker or an engineer. And I think it's perfectly legitimate to make use of this knowledge because it enriches the overall texture of life.
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