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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
Keys
Doubt
Film
Good
Eisenstein
Editor
Editors
Trained

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I was continually connected with the whole world and never got any rest. At the moment, I spend only a few hours weekly on the net, that's just better for me.
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It serves the purpose of not serving a purpose, surely quite a valid one.
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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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I admit that death is not just about you, it's also about the people who love you.
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I don't think we've seen any cinema yet. I think we've seen 100 years of illustrated text.
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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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The game Flights of Fancy or Reverse Strip Jump is played from as high a jumping-point as a competitor will dare. After each successful jump, the competitor is allowing to put on an article of clothing. Thirteen jumps is normally more than enough to see a competitor fully dressed for the day.
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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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American actors are coy. We all have pricks and cunts, or are you different from the rest of us?
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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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Anybody who writes a diary insists it must be read by someone else.
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Cinema has reached a dead end.
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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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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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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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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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Itch to read, scratch to understand.
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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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If every man is supposed to think of sex once every nine minutes, what on earth does he think of in the other eight?
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