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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.

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
Curse
Blessing
Dies
Going

More quotes by Peter Greenaway

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I am Welsh by birth, English by education, and European by nature.
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In a world where we can all be our own filmmakers, the old elites are disappearing and there is no desire to look at somebody else's dream anymore because you can go off and make your own.
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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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There's more religion in my little finger than there is in the pope. But no, I don't believe in God. I am an athiest. A Darwinian evolutionist.
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Continuity is boring.
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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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I don't think we've seen any cinema yet. I think we've seen 100 years of illustrated text.
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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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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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Investigation is never complete.
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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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Cinema is dead, long live cinema.
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Works of art are never finished, just stopped.
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Jean Renoir once suggested that most true creators have only one idea and spend their lives reworking it, but then very rapidly he added that most people don't have any ideas at all, so one idea is pretty amazing.
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Human relationships are patterned and cross-patterned and restricted and limited and delimited and caged and freed again by the elaborate conventions, rules and games which we call civilisation. They're often absurd and farcical, and sometimes they're tragic, yet we acknowledge that they are necessary.
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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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We don't need virtual reality, we need virtual unreality.
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The Sistine Chapel is an extraordinary work of education - it lays out all the early books of the Bible.
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If every man is supposed to think of sex once every nine minutes, what on earth does he think of in the other eight?
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Cinema has reached a dead end.
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