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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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We live in a time of excess - excess population, excess information.
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A hand cannot write on itself.
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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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Since Caesar, we know his historians are liars. The good writers get read. Bad history doesn't get read.
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Words reproduce themselves pleasurably too.
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I am Welsh by birth, English by education, and European by nature.
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The best painting is totally non-narrative. It doesn't have to tell you a story.
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Investigation is never complete.
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We don't need virtual reality, we need virtual unreality.
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Bill Viola is worth ten Scorseses.
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My personal obsessions are much more interesting to me than other people's.
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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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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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Cinema has reached a dead end.
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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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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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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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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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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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I have often thought it was very arrogant to suppose you could make a film for anybody but yourself.
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