Peter Greenaway

(The Cook, the Thief, His Wife & Her Lover)

Peter Greenaway
Peter Greenaway
  • Born: April 5, 1942
  • Nationality: British
  • Profession: Film Director, Screenwriter, Artist

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In 1962, Greenaway began studies at Walthamstow College of Art, where a fellow student was musician Ian Dury . Greenaway trained as a muralist for three years; he made his first film, Death of Sentiment, a churchyard furniture essay filmed in four large London cemeteries. In 1965, he joined the Central Office of Information (COI), working there fifteen years as a film editor and director. In that time he created a filmography of experimental films, starting with Train (1966), footage of the last steam trains at Waterloo station (situated behind the COI), edited to a musique concrète composition. Tree (1966), is a homage to the embattled tree growing in concrete outside the Royal Festival Hall on the South Bank in London. By the 1970s he was confident and ambitious and made Vertical Features Remake and A Walk Through H. The former is an examination of various arithmetical editing structures, and the latter is a journey through the maps of a fictitious country.

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All religions have always hated females.
Anybody who writes a diary insists it must be read by someone else.
As for critics, one mediocre writer is more valuable than ten good critics. They are like haughty, barren spinsters lodged in a maternity ward.
Cinema basically examines a personality first and the body afterward.
English culture is highly literary-based.
For so many filmmakers, cinema is a means to an end.
I admit that death is not just about you, it's also about the people who love you. Love, Romance, Marriage & Sex ;Death
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. Arts, Culture, Entertainment & Lifestyle
I can't think of anyone who has done anything remotely useful after the age of 80.
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 don't want to be a film-maker. I think painting is far more exciting and profound.
I obviously irritate people. I obviously antagonise them.
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. Death
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?'
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. Respect
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. Time ;Arts, Culture, Entertainment & Lifestyle ;Work, Workers & The Labor Force
If you want to tell stories, be a writer, not a filmmaker.
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've always been fascinated by Eisenstein.
The Sistine Chapel is an extraordinary work of education - it lays out all the early books of the Bible. Education, Learning, Knowledge & Training ;Work, Workers & The Labor Force
We all know that we're going to die, but we don't know when. That's not a blessing, that's a curse.