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Continuity is boring.

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
Continuity
Boring

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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 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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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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We live in a time of excess - excess population, excess information.
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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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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 admit that death is not just about you, it's also about the people who love you.
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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 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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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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Anybody who writes a diary insists it must be read by someone else.
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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 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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For so many filmmakers, cinema is a means to an end.
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Words reproduce themselves pleasurably too.
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If you're a Shakespeare fan, isn't that a way to negotiate sex and death?
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Cinema has reached a dead end.
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Only cinema narrows its concern down to its content, that is to its story. It should, instead, concern itself with its form, its structure.
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