Frasi di Peter Greenaway (272 frasi) | Citazioni e frasi celebri

Peter Greenaway: 272 frasi 1 Mi piace

Peter Greenaway frasi celebri

“Lavoravo per un'agenzia che faceva documentari e a fine anni 60 ne stavano girando uno su chi inala la colla. Ragazzi giovani che, nei negozi di ferramenta, compravano la colla con un alto quoziente di evaporazione. Sniffavano questi vapori per sballarsi. Il produttore si stava spazientendo, non otteneva buone inquadrature. Così diede a un ragazzo dei soldi per fargli comprare la colla e fabbricare le prove. Per me era troppo. Non ho più voluto trovarmi in una situazione eticamente problematica come l'industria della ricostruzione di documentari. Mi sembra vergognoso pensare di chiudere la realtà nel cinema. La mia risposta a questi problemi è dire volutamente delle bugie. Sono un regista che inventa. Il mio è un cinema artificiale che cerca la verità attraverso la menzogna.”

Peter Greenaway

dal documentario L'aleph e l'occhio. Documentario su Giochi nell'acqua Massimo Galimberti, Distributore, 1982

“Molti di quelli che vanno al cinema, dopo 105 anni di produzione cinematografica, si aspettano che venga loro raccontata una storia. Non credo che il cinema sia un mezzo adatto alla narrazione. Se vuoi raccontare una storia, è meglio che tu faccia il romanziere. Il fatto che il cinema migliore non sia narrativo porta a paradossi e contraddizioni di cui mi sono occupato negli ultimi 15 anni. Ma c'è un problema: se si cerca di minimizzare o eliminare la narrazione, va trovato un altro modo di organizzare il materiale, altrimenti ci si trova nell'incoerenza e nel caos. Ho iniziato come pittore, mi interessavano molto i metodi e le classificazioni. Per questo ho usato spesso sistemi diversi dalla narrazione per organizzare il materiale cinematografico. Utilizzo le classificazioni numeriche, il simbolismo e la codificazione dei colori, e sicuramente anche i sistemi alfabetici.”

Peter Greenaway

Origine: Dal documentario di Massimo Galimberti, L'aleph e l'occhio. Documentario su Giochi nell'acqua (1982).

“Credo che la fine del XX secolo sia un momento di rinegoziazione sulla procreazione sulla nascita e sul sesso. La politica sessuale ci ha dato libertà più ampie, il concetto di contraccezione… L'approccio alla sessualità e alla castità ha aperto molte possibilità. È la morte a rimanere non negoziabile. È l'ultima frontiera. Sicuramente non sorprende il fatto che io parli di chiusura, perdita, morte e fine. Ritroviamo questi concetti anche nelle grandi tragedie.”

Peter Greenaway

“È vero che sono interessato alla classificazione perché credo che la civilizzazione funzioni così. Cerchiamo di organizzarci sulla base di teorie e di ipotesi per cercare di capire il complesso e straordinario mondo intorno a noi. I nostri sistemi di organizzazione sono molteplici: la religione è un sistema organizzativo, la politica è un sistema organizzativo. La nostra vita accademica, il modo di usare testi e linguaggio sono tutti mezzi per cercare di capire l'universo apparentemente caotico che ci circonda e per scendere a patti con esso.”

Peter Greenaway

dal documentario L'aleph e l'occhio. Documentario su Giochi nell'acqua Massimo Galimberti, Distributore, 1982

“Ricordate che parlo sempre di sesso e non di amore. Io sono un buon darwiniano e, dato il pensiero comune sull'evoluzionismo e sulle teorie comportamentali dico che siamo come delle valigie che servono a continuare il passaggio di geni.”

Peter Greenaway

dal documentario L'aleph e l'occhio. Documentario su Giochi nell'acqua Massimo Galimberti, Distributore, 1982

“Voglio riuscire a usare il cinema come un mezzo di discussione di idee, su tutto, ma soprattutto sulla rappresentazione, sull'estetica e su tutta l'industria cinematografica. Mi avvicinai alle nozioni hitchcockiane e del potere, ma penso che il cinema sia molto più di questo e che abbia molte altre possibilità. Una volta ho pericolosamente affermato che il cinema è un mezzo troppo ricco per essere lasciato ai cantastorie.”

Peter Greenaway

dal documentario L'aleph e l'occhio. Documentario su Giochi nell'acqua Massimo Galimberti, Distributore, 1982

Peter Greenaway: Frasi in inglese

“A great many things are dying very violently all the time. The best days for violent deaths are Tuesdays. They are the yellow-paint days. Saturdays are second best -- or worst. Saturdays are red-paint days. The Great Death Game is therefore a contest between red-paint days and yellow-paint days. So far yellow-paint days are winning by thirty-one corpses to twenty-nine. Whatever the colour, a violent death is always celebrated by a firework.”

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Peter Greenaway

Drowning By Numbers

“Itch to read, scratch to understand.”

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Peter Greenaway

From the ninth book, "The Book of Secrets"
The Pillow Book

“If a player in the game of Deadman's Catch drops a skittle, he is obliged to suffer a succession of handicaps. First to catch using one hand, then to catch kneeling on one knee, then on two knees, then with one eye closed. If a player finally drops a catch with both eyes closed, then he is out and must take his place in the winding-sheet.”

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Peter Greenaway

Drowning By Numbers

“Grief: An emotional experience often brought about by a great sense of loss. The subject of this loss is completely immaterial.”

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Peter Greenaway

Rosa: The Death of a Composer

“Get the Titanic sailing correctly before you worry about the deck chairs.”

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Peter Greenaway

"105 Years of Illustrated Text" in the Zoetrope All-Story, Vol. 5 No. 1.
105 Years of Illustrated Text

“The penis -- if you think about it -- is the most enterprising engineering feat imaginable -- a cantilevered structure, hydraulics, propulsion, pistons, compression, inflation, heat sensitive -- practically every engineering characteristic -- towers, draw-bridges, rocket-ships -- no man-made engineering structure to match it.”

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Peter Greenaway

Philip
8 1/2 Women

“… [I] would certainly like to work with Dennehy again. When he was presented with the script he didn't know me from Adam, and why should he, small-time eccentric, esoteric Englishman that I am?”

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Peter Greenaway

In an interview in Sight and Sound, Summer 1987
Interviews

“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.”

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Peter Greenaway

Watching Water

“Secret: A private matter whispered abroad and never kept to oneself. By naming it a secret, we immediately indicate its presence. If we really wanted to keep secrets, we would not have a name for them.”

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Peter Greenaway

Rosa: The Death of a Composer

“Where is a book before it is born? Does a book grow like a tree? Who are a book's parents? Does a book need two parents -- a mother and a father? Can a book be born inside another book? And where is the parent book of books?”

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Peter Greenaway

From the seventh book, "The Book of Youth"
The Pillow Book

“John Cage, composer, painter, and all-round thinker and cultural catalyst, said that if you introduce twenty percent of novelty into any artwork, watch out -- you are going to lose eighty percent of your audience at once. He said you would lose them for fifteen years. Cage was interested in fifteen-year cycles. But he was hopelessly optimistic. The general appreciation, for example, of Western painting has got stuck around Impressionism, and that was 130 years ago, not fifteen years ago.”

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Peter Greenaway

"105 Years of Illustrated Text" in the Zoetrope All-Story, Vol. 5 No. 1.
105 Years of Illustrated Text

“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.”

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Peter Greenaway

In an interview in the Washington DC City Paper, 6 Apr 1990
Interviews

“A series of ever-decreasing splashes drip and plop into black water… thus the beginning of the film is reprised.”

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Peter Greenaway

Prospero's Books

“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.”

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Peter Greenaway

From an interview in Art and Design, no. 49
Interviews

“… there are tens of thousands of photographs taken here, all taken very patiently, because decay can be very slow.. Ten months for a human body… they say…”

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Peter Greenaway

A Zed and Two Noughts

“Sheep are especially sensitive to the exact moment of the turn of the tide. In this game, nine tethered sheep react, pull on the stakes, jolt the chairs and rattle the tea-cups. Bets are taken on the combined sensitivity of any three lines of sheep -- read vertically, horizontally, or diagonally. Since there are normally three tide-turns every twenty-four hours, it is normal practice to take the best of three results. Reliable clocks, calendars, and time-tables are used to determine the accuracy of the sheep's forecast.”

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Peter Greenaway

Drowning By Numbers

“Look, it was an accident. Five thousand accidents happen every day -- bizarre, tragic, farcical… they're Acts of God fit only to amaze the survivors and irritate the Insurance Company…”

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Peter Greenaway

A Zed and Two Noughts

“Book #10: A Book of Travellers' Tales. As it hits the water its pages detach themselves from the covers, which sink… and the pages form themselves into small paper boats that float away on the tide.”

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Peter Greenaway

Prospero's Books

“Counting makes even hideous events bearable as simply more of the same -- the counting of wedding-rings, spectacles, teeth and bodies disassociates them from their context -- to make the ultimate obscene blasphemy of bureaucratic insensitivity. Engage the mind with numbing recitation to make it empty of reaction.”

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Peter Greenaway

Fear of Drowning By Numbers

“Twenty-four pulleys, one hundred counterweights / two lenses, dark shadows…”

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Peter Greenaway

"The Vesalius Song"
M is for Man, Music, and Mozart

“Human relationships are patterned and cross-patterned and restricted and limited and de-limited and caged and freed again by the elaborate conventions, rules, and games we call Civilisation … the rules and the games are often absurd and farcical -- sometimes they are tragic -- yet we tacitly acknowledge that they are necessary.”

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Peter Greenaway

Fear of Drowning By Numbers

“This book is gaudy like a gilded cauliflower which smells so bad after a good hot water soaking, like hot chocolate sweetened with sugar beet / incompatibles blended incongruously to no purpose.”

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Peter Greenaway

From the fifth book, "The Book of the Exhibitionist"
The Pillow Book

“1, 2, 3, 4, 5, 5, 6, 7, 8, 10, 10, 11, 12, 14, 15, 16, 17, 18, 19, 20, 20, 22, 23, 24, 25, 26, 28, 29, 30, 30, 31, 32, 34, 35, 37…”

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Peter Greenaway

Kito counting
8 1/2 Women

“It is an awesome sight, repeatedly drawn and painted. How long did it last, this Fall of Angels? Was it all over in an hour? Or did it take days, weeks, years? Is it still going on?”

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Peter Greenaway

Flying Out of This World

“A man bringing himself, melody and mathematics into perfect and enviable proportions. / only more so, much more so.”

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Peter Greenaway

"The Eisenstein Song"
M is for Man, Music, and Mozart

“Imagine you are sucking the little fingers of a lady… or… no, you wouldn't understand that -- since you'd never get that close to a lady -- who'd want to get that close to you for God's sake?”

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Peter Greenaway

The Cook, The Thief, His Wife, and Her Lover

“If you were not to be its victim, this book and body would amuse you with its arrogance. It would make you laugh. Because you were not its victim, you could feel no pain of betrayal.”

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Peter Greenaway

From the eighth book, "The Book of the Seducer"
The Pillow Book

“Death is not necessarily an old and withered book with dry pages. It can be a thousand leaves of strong and shining text on a powerful body, held erect on the vertebrae of a strong spine. The heart hardly breathes because quietus has been reached, the torso is like a rock, the legs are rooted, the ink is dependable. If the words of death should be considered faded and sere -- where could be the dignity in dying?”

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Peter Greenaway

From the thirteenth book, "The Book of the Dead"
The Pillow Book

“What's so special about it?”

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Peter Greenaway

The Cook, The Thief, His Wife, and Her Lover

“There are only two subjects that matters, one is sex and the other is death, what else we could talk about it. And most the cinema talks all the time about sex and death. And my cinema deals with sex and death so… ¿what's the problem?”

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Peter Greenaway

Interview with El Tiempo in Bogotá, Colombia. October 2008 http://www.eltiempo.com/media/produccion/greenaway/#4
Interviews

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