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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
Boring
Continuity

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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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It seems so tragic to me that so many filmmakers are making movies up against this extra-ordinary revolution with one eye closed and two hands tied behind their backs.
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Words reproduce themselves pleasurably too.
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A hand cannot write on itself.
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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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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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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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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.
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I have often thought it was very arrogant to suppose you could make a film for anybody but yourself.
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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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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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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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Bill Viola is worth ten Scorseses.
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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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I admit that death is not just about you, it's also about the people who love you.
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I think it is really important to be in some way provocative -- either intellectually or viscerally -- in the films one makes.
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