quinta-feira, 6 de dezembro de 2007

Citações

Algumas "quotes" do Greenaway. Greenaway por ele mesmo:

http://www.amk.ca/quotations/peter-greenaway/


Prospero's Books is the Terminator 2 for intellectuals.

Peter Greenaway

... 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.

Peter Greenaway

My father died. His ornithological knowledge, never collected or collated in anything like a comprehensible book -- it was five suitcases and two trunks of scattered notes -- died with him. A loss of knowledge. I made a film in small part reparation.

Peter Greenaway

On the making of A Walk Through H

I think that every artist dreams of renewing the forms which came before, but I think very few can be considered to have achieved that. We are all dwarves standing upon the shoulders of the giants who preceded us, and I think we must never forget that. After all, even iconoclasts only exist with respect to that which they destroy.

Peter Greenaway

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.

Peter Greenaway

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.

Peter Greenaway

From an interview on salon.com

I was trained as a painter. I'm very familiar with the nude body, masculine and feminine. I do, I suppose have a soapbox position, and I want to be certain that the human body is in the center of the frame. Its physicality is important and is always very, very strongly positive because I think that that physicality would begin to lose perspective over all the other senses.

Peter Greenaway

From an interview on indieWIRE.com

I suppose on another level, I'm often irritated that, basically, certainly should we say Hollywood orthodox cinema deals in nudity primarily from the point of the view of the female body and she has to be aged between 16 and 30. What happens to the rest of us? What happens to the whole mass of man/female, masculine/feminine kind who do not get represented in this context? We ought to be there along with everybody else.

Peter Greenaway

From an interview on indieWIRE.com

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.

Peter Greenaway

From an interview in Art and Design, no. 49

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

From an interview in Art and Design, no. 49

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.

Peter Greenaway

From an interview in Art and Design, no. 49

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

On John Cage's Indeterminacy, from an interview in Art and Design, no. 49

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

From an interview in Art and Design, no. 49

You don't go into the National Gallery of any famous capital city and cry, sob, laugh, fall about on the floor, become very angry -- it's a completely different reaction. It's a reaction which is to do with a much more composed sense of regarding an image; it's a reaction with a thought process as opposed to an immediate emotional reaction.

Peter Greenaway

From an interview in Art and Design, no. 49

All my films are somewhat experimental, they are all, each one, taking a certain amount of risk, but there's always the basic assumption that we should be able to appreciate the cinema as much with the mind as we can through emotional empathy. Sometimes it works, sometimes it doesn't.

Peter Greenaway

From an interview in Art and Design, no. 49

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

Peter Greenaway

From an interview in Art and Design, no. 49

I made, for a London television company a programme called 26 Bathrooms ... which was about the ways in which people behaved in their bathrooms. It was about where people put the soap on one level, or the colour of the bathroom curtains, the acoustics, about whether you sang in the bath, and it was structured very simply on the alphabet. We had a man and a woman who arrived one by bus, one by bike, to come and demonstrate for me, in front of the camera, how a jacuzzi operated. I asked both of them to take their clothes off because obviously you don't get into a bath with your clothes on. They hesitate, but eventually their dressing gowns came off and they got into the bath. They had never met one another before. Six weeks later I got an invitation from these people that I had brought together so peculiarly in this jacuzzi -- they were planning to get married! I understand that now they have three children.

Peter Greenaway

From an interview in Art and Design, no. 49

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.

Peter Greenaway

From an interview in Art and Design, no. 49

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.

Peter Greenaway

From an interview in Art and Design, no. 49

Interviewer: "Let me ask you about the body and nudity ..."

PG: "Aha, the classic American question!"

Peter Greenaway

From an interview on salon.com

I remember seeing [David] Lynch's "Blue Velvet," which I thought was a magnificent film, some years ago now, of course. I pay it the highest compliment by saying I wish I'd made it myself.

Peter Greenaway

From an interview on salon.com

In a sense I think it's already too late: Cinema is an old technology. I think we've seen an incredibly moribund cinema in the last 30 years. In a sense Godard destroyed everything -- a great, great director, but in a sense he rang the death knell, because he broke cinema all apart, fragmented it, made it very, very self-conscious. Like all the aesthetic movements, it's basically lasted about 100 years, with the three generations: the grandfather who organized everything, the father who basically consolidated it and the young guy who chucks it all away. It's just a human pattern.

Peter Greenaway

From an interview on salon.com

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

Peter Greenaway

From an interview on salon.com

I suppose I am basically a clerk, a cataloguer. I like the reductiveness of that, I like the stripping down, the basic form of organization.

Peter Greenaway

From an interview on salon.com

Tulse Luper is a sort of alter ego I created many many years ago -- Tulse to rhyme with pulse, and Luper is the Latin for wolf. So he's the wolf on your pulse.

Peter Greenaway

From an interview on salon.com

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.

Peter Greenaway

From an interview by Sheila Johnston

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