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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.

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
Editor
Editors
Trained
Keys
Doubt
Film
Good
Eisenstein

More quotes by Peter Greenaway

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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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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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The start of a film is like a gateway, a formal entrance-point. The first three minutes of a film make great demands on an audience's patience and credulity. A great deal has to be learnt very rapidly about place and attitude, character and intent and ambition.
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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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I never go to the cinema. I can't stand sitting in the dark with strangers -- all of us obliged to share the same emotional experiences -- it's too intimate. I like to be emotional in private.
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Anybody who writes a diary insists it must be read by someone else.
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It serves the purpose of not serving a purpose, surely quite a valid one.
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We don't need virtual reality, we need virtual unreality.
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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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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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Bill Viola is worth ten Scorseses.
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A hand cannot write on itself.
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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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My heroes among filmmakers would be people like Buñuel and Pasolini, who were of very high cinematic intelligence, but tread on a lot of toes.
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I share this interest in the weird, strange, unusual, surreal.
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There are basically only two subject matters in all Western culture: sex and death. We do have some ability to manipulate sex nowadays. We have no ability, and never will have, to manipulate death.
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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 went to art school, and every Tuesday and Friday we drew the nude. If you look at Western painting, male and female nudes are in the center of every painting. It's difficult and exciting to draw the nude. Why get so upset about this? It's our duty to break taboos.
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Cinema basically examines a personality first and the body afterward.
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I do indeed think that cinema is mortal. There is a lot of evidence already that it is dying on its feet.
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