British - Director | April 5, 1942 -
For 8,000 years, we've had lyric poetry; for 400 years we've had the novel: theatre hands its meaning down in text. Let's find a medium whose total, sole responsibility is the world as seen as a form of visual intelligence. Surely, surely, surely the cinema should be that phenomenon.
Peter Greenaway
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I believe that cinema died on the 31 September 1983 when the zapper, or the remote control, was introduced into the living rooms of the world.
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If you knew when you were going to die, wouldn't you make your life more worthwhile?
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Whether you're Godard or Almodovar or Scorsese, it's text, text, text. Everything begins with the text, and this is a source of great anguish to me. So please let cinema get on with doing what it does best, which is expressing ideas in visual terms.
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It's a big criticism of Greenaway films that they are far too interested in formalism and not enough interested in notions of emotional content. It's a criticism I can fully understand from a public that has been brought up by Hollywood movies that demand intense emotional rapport.
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We have more than enough deodorised, over-the-top, sentimental cinema. Let's try to bring a little human intelligence into things. It can be very rewarding.
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Religion is there to say, 'Hey, you don't have to worry - there's an afterlife.'
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All really worthwhile artists, creators, use the technology of their time, and anybody who doesn't becomes immediately a fossil.
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I want to be a prime creator - as every self-regarding artist should do.
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I'm a Darwinian.
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If you think about it, most cinema is built along 19th-century models. You would hardly think that the cinema had discovered James Joyce sometimes.
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My biggest critical success was 'The Draughtsman's Contract,' but then it wasn't the English who particularly thought so; it was the French, who are much more interested in Cartesian logic: in finding your way through more cerebral puzzle-making, if you wish.
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