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Cinema is dead, long live cinema.
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
Long
Cinema
Dead
Live
More quotes by Peter Greenaway
I got in trouble with the stern-faced Russians who didn't want me to create a guy who is mortal.
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A French critic referred to me as a gay pessimist, with gay used in its older sense, and talked of Cocteau in the same breath.
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We all know that we're going to die, but we don't know when. That's not a blessing, that's a curse.
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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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My heroes among filmmakers would be people like Buñuel and Pasolini, who were of very high cinematic intelligence, but tread on a lot of toes.
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Anybody who writes a diary insists it must be read by someone else.
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All the material is fictional and develops its own eight and a half private, coelesced journeys, where, perhaps not unexpectedly, the females can run faster than the men and trade their freedoms by exhausting the male sexual fantasies and replacing them by some of their own.
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I still would like you to feel the enthusiasm that all those people felt in the twenties and thirties, that indeed we had discovered, with cinema, the great 20th-century, all-embracing medium.
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It serves the purpose of not serving a purpose, surely quite a valid one.
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A really intelligent man makes an indifferent painter. For painting requires a certain blindness, a partial refusal to be aware of all the options.
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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 do indeed think that cinema is mortal. There is a lot of evidence already that it is dying on its feet.
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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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My personal obsessions are much more interesting to me than other people's.
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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.
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Cinema basically examines a personality first and the body afterward.
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The start of a film is like a gateway, a formal entrance-point. The first three minutes of a film make great demands on an audience's patience and credulity. A great deal has to be learnt very rapidly about place and attitude, character and intent and ambition.
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This is where I begin to do the writing. I am now going to be the pen and not the paper.
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If you're a Shakespeare fan, isn't that a way to negotiate sex and death?
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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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