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A really intelligent man makes an indifferent painter. For painting requires a certain blindness, a partial refusal to be aware of all the options.

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
Requires
Aware
Intelligent
Partial
Painting
Refusal
Makes
Blindness
Certain
Options
Really
Indifferent
Men
Painter

More quotes by Peter Greenaway

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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 got in trouble with the stern-faced Russians who didn't want me to create a guy who is mortal.
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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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The Sistine Chapel is an extraordinary work of education - it lays out all the early books of the Bible.
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One of my heroes, almost necessarily from what I'm saying, of course, is Borges, who is a supreme master of doing thing -- being a data bank -- and the beauty of this economy is that he could have written War and Peace in three or four pages who knows, it might have been a better book.
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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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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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Cinema basically examines a personality first and the body afterward.
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I think that films or indeed any art work should be made in a way that they are infinitely viewable so that you could go back to it time and time again, not necessarily immediately but over a space of time, and see new things in it, or new ways of looking at it.
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For so many filmmakers, cinema is a means to an end.
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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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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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Investigation is never complete.
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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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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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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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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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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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I share this interest in the weird, strange, unusual, surreal.
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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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