Peter greenaway quotes

I loved Latin -- the grammar, the difficult tenses, the history -- but for some reason I was very bad at it, shamefully and blushingly bad at it. ... In moments of stress the embarrassment of how bad I was at Latin -- a subject I loved -- really hit me. It was like being laughed at by someone you desperately loved.

What are you - some kind of addict? Is this where you come to.

As for critics, one mediocre writer is more valuable than ten good critics. They are like haughty, barren spinsters lodged in a maternity ward.

I obviously irritate people. I obviously antagonise them.

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.

Americans don't understand what metaphor in cinema is about. They're extremely good at making straightforward, linear narrative movies, which entertain superbly. But they very rarely do anything else.

I certainly don't believe you documentary filmmakers. Like me, you are involved in making fiction, and your fiction is just as well organized and just as well predicated, but the big difference between me and you is that I'm honest and you're dishonest. I know I'm telling you lies.

If you never lived out your sexuality - it's a great force, and if you try to fight it, what does that create? Energy: positive and negative, self-loathing.

On the other hand, I view the whole matter from a cosmic perspective. I don't take a position. I believe that there are no more positions to take, no certainties, no facts. Many people find this confusing about my films; they say I am hiding out behind irony. But from a cosmic viewpoint, it is eternally unimportant whether one lives or not.

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.

I want to regard my public as infinitely intelligent, as understanding notions of the suspension of disbelief and as realising all the time that this is not a slice of life, this is openly a film.

It seems to me that dominant cinema seems to require an empathy or a sympathy between the film and the audience which is basically to do with the manipulation of the emotions and it seems to me again -- and this is a very subjective position -- that most cinema seems to trivialise the emotions, sentimentalising or romanticising them.

Words reproduce themselves pleasurably too.

There is no obligation for the author of a film to believe in, or to sympathise with, the moral behaviour of his characters. Nor is he necessarily to be accredited with the same opinions as his characters. Nor is it necessary or obligatory for him to believe in the tenet of his construction - all of which is a disclaimer to the notion that the author of Drowning by Numbers believes that all men are weak, enfeebled, loutish, boorish and generally inadequate and incompetent as partners for women. But it's a thought.

I am Welsh by birth, English by education, and European by nature.

There is visual illiteracy with text-oriented films like bloody 'Harry Potter' and 'Lord of the Rings.'.

Investigation is never complete.

If every man is supposed to think of sex once every nine minutes, what on earth does he think of in the other eight?

The Sistine Chapel is an extraordinary work of education - it lays out all the early books of the Bible.

For so many filmmakers, cinema is a means to an end.

I suppose I am gently cynical about notions of who we think we are, but I certainly don't hate my fellow man. I think my cinema, although it might often deal with death and decay, is highly celebratory.

As you probably know, I'm often accused of intellectual exhibitionism and all forms of elitism. Although I can understand this point of view, it's a rather wasted argument because, if we regard areas of information as being elite and therefore somehow not usable, it means our centre-ground of activity becomes very, very impoverished.

We have to move away from the concept of screening in cinemas. This can be achieved with the new technologies. I enjoy my films and the fact that I can include you in them as well. Cinema is only a small part of a much greater phenomenon. We transcend the barriers of culture. DVDs' image quality and longevity provide us with new prospects. They are a powerful medium. I think they were invented especially for me.

An American critic wrote that she would rather be forced to read the New York telephone directory three times than watch the film A Zed and Two Noughts, a third of which was a homage to Vermeer. Conceivably, if you are a list-enthusiast like me, the New York telephone directory might be fascinating, demographically, geographically, historically, typographically, cartographically; but I am sure no compliment was intended.

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.

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.

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.

American actors are coy. We all have pricks and cunts, or are you different from the rest of us?

Only cinema narrows its concern down to its content, that is to its story. It should, instead, concern itself with its form, its structure.

I really, sincerely believe that one should trust the work, and not the author.

You can play lacrosse all over the world provided you know where the goalposts are.

Here was opportunity to make an audience walk and move, be sociable in a way never dreamed of by the rigors of cinema-watching, in circumstances where many different perspectives could be brought to bear on a series of phenomena associated with the topics under consideration. Yet all the time it was a subjective creation under the auspices of light and sound, dealing with a large slice of cinema's vocabulary.

My second Christian name is John. Good solid bourgeois Christian name, like my first name, Peter, a rock. Minerals. Build on rock, rocks, uranium. Peter and John were two of the twelve apostles - arguable the two most significant. Were my parents hedging their bets?

My personal obsessions are much more interesting to me than other people's.

Human relationships are patterned and cross-patterned and restricted and limited and delimited and caged and freed again by the elaborate conventions, rules and games which we call civilisation. They're often absurd and farcical, and sometimes they're tragic, yet we acknowledge that they are necessary.

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.

Film is such an extraordinary rich medium which can handle so many different modes of operation, combining together in the same place all these extraordinary disciplines which may be executed in their own right - music, writing, picture making of all kinds, and I often feel that some filmmakers make films with one eye closed and two hands tied behind their backs.

There have been innumerable films about film-making, but Otto e Mezzo was a film about the processes of thinking about making a film -- certainly the most enjoyable part of any cinema creation.

There's no such thing as history, only historians. That's how we know about the past.

I have transmitted genetic material, all I have to do between my daughters' birth and my death is to decorate my life.

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.

I made a very bad mistake; I miscounted these scraps of information on the record as 92, and in continual homage to this man who had been so influential to me, I began creating or constructing my own films on this so-called "magic" number of 92 ... but when I eventually made a film about John Cage and met him, I explained this to him, and he found it very amusing because there are only 90 stories on the two sides of the record, and I'd based three years of my filmic career on this mathematical error!

The best painting is totally non-narrative. It doesn't have to tell you a story.

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.

I have often thought it was very arrogant to suppose you could make a film for anybody but yourself.

I can't think of anyone who has done anything remotely useful after the age of 80.

A hand cannot write on itself.

I share this interest in the weird, strange, unusual, surreal.

We live in a time of excess - excess population, excess information.

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.

I always think that art is one of the most wonderful exciting curious ways to learn. I have no worries or apologies about art being used as a teaching medium.

If you want to tell stories, be a writer, not a filmmaker.

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.

I think my films are always quite self-reflexive and always question 'why am I doing this, is this the right way to do it, what is cinema for, does it have a purpose?

What do you want art to give you? What do you want cultural experience to give you? Shouldn't it be in-depth, profound experiences which have some satisfaction and can be retained in your four senses and your imagination for the rest of your life?

I was born on the 5th April 1942. On Good Friday. Round about crucifixion time. Archbishop Ussher, a man for dates, who calculated that the world began on September 27th 4004 BC, says the crucifixion took place at three o'clock in the afternoon on Good Friday in the year 33 AD. I was right on time.

We all know that we're going to die, but we don't know when. That's not a blessing, that's a curse.

That comes from most people having an American film model in their heads which is nothing but a total illusionary masturbatory massage.

Cinema doesn't connect with the body as artists have in two thousand years of painting, using the nude as the central figure which the ideas seem to circulate around. I think it is important to somehow push or stretch or emphasize, in as many ways as I can, the sheer bulk, shape, heaviness, the juices, the actual structure of the body. Cinema basically examines a personality first and the body afterward.

I think it is really important to be in some way provocative -- either intellectually or viscerally -- in the films one makes.

I like to think of The Falls as my own personal encyclopedia Greenaway-ensis.

This is where I begin to do the writing. I am now going to be the pen and not the paper.

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.

To be an atheist you have to have ten thousand times more imagination than if you are a religious fundamentalist. You must take the responsibility to acquire information, digest and use it to understand what you can.

English culture is highly literary-based.

It's precisely on the Internet that the majority of the writing is terribly bad and uninteresting.

All religions have always hated females.

There are those who think that Zeffirelli's Hamlet is the way to treat Shakespeare. I think that cinema can handle much more. We somehow expect cinema to provide us with meaning, to console us. But that's not the purpose of art.

Anybody who writes a diary insists it must be read by someone else.

I don't want to be a film-maker. I think painting is far more exciting and profound. It's always at the back of my mind - let's give up this silly business of film-making and concentrate on something more satisfying and worthwhile.

I am certain that there are two things in life which are dependable: the delights of the flesh and the delights of literature. I have had the good fortune to enjoy them both equally.

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.

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.

Too many proofs spoil the truth.

Cinema is dead, long live cinema.

My audience is comprised of three categories. The first category contains the people who decide after the first five minutes that they've made a mistake and leave. The second category is the people who give the film a chance and leave annoyed after 40 minutes. The third category includes the people that watch the whole film and return to see it again. If I'm able to persuade 33% of the audience to stay, then I can say that I've succeeded.

Many quite popular films are filled with violence. I think the difference between those and my films is that I show the cause and effect of violent activity. It's not a Donald Duck situation where he get a brick in the back of the head and gets up and walks away in the next frame. Mine have violence which keeps Donald Duck in the hospital for six months and creates a trauma which he will remember for the rest of his life.

I imagine if you had built the Newton Memorial outside Paris ... it would have undoubtedly shown the violence of 1870 and 1914 and 1942 and 1945 - even 1968! Consider building a vast cube of stone merely to register the effects of violence - marked and dated as an indictment.

I've always been fascinated by maps and cartography. A map tells you where you've been, where you are, and where you're going -- in a sense it's three tenses in one.

Jean Renoir once suggested that most true creators have only one idea and spend their lives reworking it, but then very rapidly he added that most people don't have any ideas at all, so one idea is pretty amazing.

I've always been fascinated by Eisenstein.

I have always had severe problems with Austrians. ... Musical, churchy, uptight... nice legs... hypocritical... authoritarian... always insist their dustbins are very clean.

If Good approved of his creature's creation, He breathed the painted clay-model into life by signing His name.

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.

Cinema has reached a dead end.

Whispering can be a rest from a noisy world of words.

I do indeed think that cinema is mortal. There is a lot of evidence already that it is dying on its feet.

I do feel for me that cinema has somehow ceased to be a spectator sport. I get tremendous excitement out of making it rather than watching it.

Blind eyes cannot read.

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.

Tulse Luper, who without too many confessions, in a sense, is a fictive version of me. I have to say he has far more exciting adventures, and certainly a lot of them sexual, than ever I've experienced. But in a sense, what you do with an alter ego, you give them all sorts of permissions and licences which you know you'll never be able to embrace in your real life.

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.

I admit that death is not just about you, it's also about the people who love you.

There's more religion in my little finger than there is in the pope. But no, I don't believe in God. I am an athiest. A Darwinian evolutionist.

Itch to read, scratch to understand.

Cinema is far too rich and capable a medium to be merely left to the storytellers.

Most cinema is not about images but text. Why on earth have we based cinema on text? Why can't we break that umbilical cord? Why do we have to pollute cinema?

What initially attracted me to The Seventh Seal was that it had values and characteristics which I was familiar with in other art forms, most notably, the European novel and certain forms on English drama, and indeed, in relation to my rather academic interest in history -- not "history" in the normal sense, but history as a form of entertainment . It might be a very unfashionable view but I believe that history is an amazing bank or reserve area of plots, characterisations, extraordinary events, etc.

Works of art are never finished, just stopped.

Creation, to me, is to try to orchestrate the universe to understand what surrounds us. Even if, to accomplish that, we use all sorts of strategems which in the end prove completely incapable of staving off chaos.

I acknowledge Mike Leigh and Ken Loach. They are prostlytizers of English socialism preaching to the converted and telling us what we already know. Cinema is best served away from documentary neo-realism. I come from a tradition of post-post-Italian neo-realism in England, where we've produced the best television in the world. But to paraphrase Truffaut, the English have no visual imagination.

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.

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.

Cinema is not a playground for Sharon Stone.

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.

The range of human skin colours is quite narrow when you think about it - and I do - and subtle - beige, pink, white, tan, taup.

My favourite film-maker west of the English Channel is not English - but to me doesn't seem American either - David Lynch - a curious American-European film-maker. He has - against odds - achieved what we want to achieve here. He takes great risks with a strong personal voice and adequate funds and space to exercise it. I thought Blue Velvet was a masterpiece.

Continuity is boring.

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.

I think my films are very English. That certain emotional distance, interest in the world, interest in irony. These are all deeply English propositions.

I would be curious about one of those Jane Austen women - you know - long-suffering, dutiful - but all right in the end - a plump 19th century type, five foot four, ringlets, brown eyes, long fingers.

I don't think we've seen any cinema yet. I think we've seen 100 years of illustrated text.

I always think that if you deal with extremely emotional, even melodramatic, subject matter, as I constantly do, the best way to handle those situations is at a sufficient remove. It's like a doctor and a nurse and a casualty situation. You can't help the patient and you can't help yourself by emoting. And I don't think cinema is intended for therapy, so I object also to that huge, massive manipulation which is perpetrated on the public.

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

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.

I don't have any particular wish to be polemical or didactic; I don't have a 'message', but what I do thoroughly enjoy are those works of art, not necessarily in the cinema, but in the other arts as well, which have an encyclopaedic world.

I have a very, very secret drive to become a dilettante, without the pejorative overtones or the obligation to produce myself. There's so much to examine, so much to contemplate. I have enormous enthusiasm when I start a new project but then there's the meetings and the counter-meetings, the rehearsals, the struggles. You have to keep pushing and pushing and pushing to get your dreams realised.

I like a lot of glasses about - it highers the tone.

It serves the purpose of not serving a purpose, surely quite a valid one.

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.

I don't want to become an ivory tower filmmaker. That sounds peculiar, but I want to be a mainstream filmmaker. I want the largest possible audience that I can find - but, of course, on my terms.

Every historian has a vested interest. "The Decline and Fall of the Roman Empire" was not about the Roman but the British empire. What price the truth?

We don't need virtual reality, we need virtual unreality.

Bill Viola is worth ten Scorseses.

It's so miserable and so easy to keep slamming Titanic -- I'll shut up.