Peter Greenaway Quotes - Page 5

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• 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.

  Peter Greenaway

  Hate, Men, Thinking

  "Maybe I'm too clever". Interview With Emma Brockes, www.theguardian.com. May 10, 2004.

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• Cinema is not a playground for Sharon Stone.

  Peter Greenaway

  Cinema, Stones, Playgrounds

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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.

  Peter Greenaway

  Blessing, Curse, Knows

  "Peter Greenaway: 'I plan to kill myself when I'm 80'". Interview With Xan Brooks, www.theguardian.com. November 15, 2012.

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

  Peter Greenaway

  Book, Chapel, Extraordinary

  "Rome Interview: Peter Greenaway On ‘Goltzius And The Pelican Company,’ Sergei Eisenstein, 3D & The Future Of Cinema" by Jessica Kiang, www.indiewire.com. November 19, 2012.

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• I've always been fascinated by Eisenstein.

  Peter Greenaway

  Fascinated

  "Rome Interview: Peter Greenaway On ‘Goltzius And The Pelican Company,’ Sergei Eisenstein, 3D & The Future Of Cinema" by Jessica Kiang, www.indiewire.com. November 19, 2012.

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• Cinema has reached a dead end.

  Peter Greenaway

  Cinema, Dead Ends, Ends

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• Bill Viola is worth ten Scorseses.

  Peter Greenaway

  Bills, Viola, Ten

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• Cinema is dead, long live cinema.

  Peter Greenaway

  Long, Cinema

  "Towards a Present Tense Cinema". Interview with Margherita Laera, www.andreweglinton.com. August 14, 2008.

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• All religions have always hated females.

  Peter Greenaway

  Female, Hated

  "Peter Greenaway's pact with death" by Catherine Shoard, www.imdb.com. March 19, 2010.

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

  Peter Greenaway

  Writing, Diaries

  " Peter Greenaway's pact with death" by Catherine Shoard, www.theguardian.com. March 18, 2010.

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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.

  Peter Greenaway

  Daughter, My Daughter, Birth

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• Words reproduce themselves pleasurably too.

  Peter Greenaway

  "The Pillow Book". Drama, 1996.

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

  Peter Greenaway

  Whispering, World, Noisy

  "The Pillow Book". Drama, 1996.

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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.

  Peter Greenaway

  Gay, Pessimist, Used

  Peter Greenaway, Vernon W. Gras (2000). “Peter Greenaway: Interviews”, p.49, Univ. Press of Mississippi

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

  Peter Greenaway

  People, Massage, Film

  Peter Greenaway, Vernon W. Gras (2000). “Peter Greenaway: Interviews”, p.61, Univ. Press of Mississippi

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• 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.

  Peter Greenaway

  Art, Wish, Cinema

  Interview in Art and Design, no. 49,

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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.

  Peter Greenaway

  World, Moments, Hours

  Interview in Page, May 1999.

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• 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.

  Peter Greenaway

  Empathy, Cinema, Manipulation

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• 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!

  Peter Greenaway

  Mistake, Men, Years

  Interview in Art and Design, no. 49,

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• 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.

  Peter Greenaway

  Eye, Feet, Long

  "Fictional character: Philip Emmenthal". 8 1/2 Women, 1999.

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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.

  Peter Greenaway

  Cameras, Directors, Firsts

  Zoetrope All-Story, Volume 5, No. 1., Spring 2001.

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

  Peter Greenaway

  Names, Clay, Creation

  Peter Greenaway, Sei Shōnagon (1996). “The pillow book”, Distributed Art Pub Inc

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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.

  Peter Greenaway

  Running, Journey, Men

  Peter Greenaway (1999). “Eight and a half women”, Dis Voir Editions

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

  Peter Greenaway

  Shut Up, Miserable, Easy

  Peter Greenaway, Vernon W. Gras (2000). “Peter Greenaway: Interviews”, p.189, Univ. Press of Mississippi

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• There are, after all, approaches to be made other than the dependable routes that massage sentimental expectations and provide easy opportunities for emotional identification.

  Peter Greenaway

  Opportunity, Emotional, Expectations

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