Peter Greenaway Quotes

The vocabulary of film is camera cuts, it's how they communicate. But games are different. We don't really need to do that. We do it because it's a language that we're familiar with.

In narrative cinema, a certain terminology has already been established: 'film noir,' 'Western,' even 'Spaghetti Western.' When we say 'film noir' we know what we are talking about. But in non-narrative cinema, we are a little bit lost. So sometimes, the only way to make us understand what we are talking about is to use the term 'avant-garde.'

I would certainly say that films like Time Code and the Loss of Sexual Innocence were far more rewarding to me in terms of being able to move forward as a filmmaker.

All of my heroes, like Dali, are people who pioneered various forms of cinema.

I think the thing about film is, as it gets proved by a lot of young filmmakers now, that the medium will just go on reinventing itself, and so you just hope to be a part of that and not a part of some kind of endless regurgitation or 'Here I am doing what you know I do' kind of thing.

They seem much rarer now, those auteur films that come out of a director's imagination and are elliptical and hermetic. All those films that got me into independent cinema when I was watching it seem thin on the ground.

I don't think American independent films have ever really been particularly experimental, except for the original guys from the '60s who were huge influences, like Stan Brakhage, Robert Breer, and Stan van der Beek. They were the true independents.

The 'Station to Station' film is a fast-moving journey through the modern creative landscape. It's a kaleidoscope of voices and impressions rather than a standard linear film.

There is a definite argument to be made that videogames are becoming an art form put together by artists of different types.

I'd love to do a Michel Gondry film. That would be ideal! I'd love to do an Almodovar film; you know, I think he's very, very talented. I don't care that people say he's pretentious. So what? He's a good director; he can be pretentious.

People talk about making art films - experimental films. I can make an art film every day of the week. Nothing to it. What's difficult is to combine a commercial film with art.

I mostly associated video game storytelling with unforgivable clumsiness, irredeemable incompetence - and suddenly, I was finding the aesthetic and formal concerns I'd always associated with fiction: storytelling, form, the medium, character. That kind of shocked me.

I actually went to film school and was making experimental films for a short time, so it wasn't such a leap.

Given the kind of filmmaker I am, the kind of experiences I've been trying to give audiences, I was drawn to the potential of VR before I even tried watching anything in VR.

There are all kinds of things evolving in filmmaking I'm not sure I'm comfortable with. A friend of mine just showed me an immersive 360 movie where you move from environment to environment and can look in any direction you want while you're experiencing it. Which is cool - but it kills directing, as far as I'm concerned.

I went to film school, and I came in when video art was king, weird stuff was king, and there, you don't have a script as your bible.

I see games... as the ultimate combination of art and technology.

Movies tend to be dislocated and non-linear in their process.

I watched a lot of avant-garde films, like Maya Deren's work, and I love film's technical ability to do things that are impossible in real life. It's related to the way collage allows you to manipulate reality and the hierarchies that are inherent in our awful but amazing world.

The five directors in '5 Sundarikal' experimented, and it was a very personal exercise. Amal, Anwar, Aashiq, and Sameer have done things that they have never done before. Debutant Shyju has also made a beautiful film.

As soon as I went to painting school in New York, I took an experimental film course, and everything clicked and came together. I realized my love of music and drama and the visual arts all came together.

My interest in Virtual Reality (VR) films began for me when I began a fellowship with MIT's Open Documentary Lab. It was a profound experience to be on MIT's campus one day a week and to enter a new world of storytelling where breaking convention and traditional methods were expected. This was deeply challenging and inspiring.

A lot of the surreal filmmakers, like David Lynch, Alejandro Jodorowsky, or countless other underground filmmakers... Their sense of explosive images have always dominated their films. It's a way to shock the senses, to make them open themselves.

As soon as I went to painting school in New York, I took an experimental film course, and everything clicked and came together. I realized my love of music and drama and the visual arts all came together. This happened in 1989. Since then, it's been a long road of educating myself in every possible way.

I think the most interesting things happening in VR are going to be somewhere in between what you call a traditional game and what you call a traditional movie.