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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.

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
Together
Equally
Good
Delight
Things
Flesh
Life
Fortune
Literature
Enjoy
Dependable
Two
Delights
Certain
Quantity

More quotes by Peter Greenaway

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We are all united by the phenomenon that we have a body and that body is universally the same, more or less. If we lose sight of that perspective, everything can desperately suffer.
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Imagine a world where nothing is stable. In the West, we have three moving elements -- Air, Fire, Water -- but at least we can depend on the fourth.
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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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You should be allowed to rub out and start again, it means that you are human. The purists are tedious, they tell you a mistake is like an enduring black mark. Nonsense -- better to be human than some infernal machine never going wrong.
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Bill Viola is worth ten Scorseses.
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Cinema basically examines a personality first and the body afterward.
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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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American actors are coy. We all have pricks and cunts, or are you different from the rest of us?
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Anybody who writes a diary insists it must be read by someone else.
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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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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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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 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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Investigation is never complete.
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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 share this interest in the weird, strange, unusual, surreal.
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For so many filmmakers, cinema is a means to an end.
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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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If you're a Shakespeare fan, isn't that a way to negotiate sex and death?
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Since Caesar, we know his historians are liars. The good writers get read. Bad history doesn't get read.
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