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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?
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
Earth
Every
Men
Nine
Think
Eight
Thinking
Supposed
Sex
Minutes
Doe
More quotes by Peter Greenaway
I have transmitted genetic material, all I have to do between my daughters' birth and my death is to decorate my life.
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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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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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We don't need virtual reality, we need virtual unreality.
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I share this interest in the weird, strange, unusual, surreal.
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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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The best painting is totally non-narrative. It doesn't have to tell you a story.
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Works of art are never finished, just stopped.
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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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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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Anybody who writes a diary insists it must be read by someone else.
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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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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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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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If Good approved of his creature's creation, He breathed the painted clay-model into life by signing His name.
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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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For so many filmmakers, cinema is a means to an end.
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The pretence that numbers are not the humble creation of man, but are the exacting language of the Universe and therefore possess the secret of all things, is comforting, terrifying and mesmeric.
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Life is full of a thousand red herrings, and it takes the history of a civilisation to work out which are the red herrings and which aren't.
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