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Frasi di Peter Greenaway
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Peter Greenaway è un pittore, regista e sceneggiatore gallese.

È considerato come uno dei più significativi cineasti britannici contemporanei, occupando di diritto un posto centrale nel dibattito sul cinema d'autore.

✵ 5. Aprile 1942
Peter Greenaway photo
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

“Hadrian… as you know an architect of note… put a lot of faith in stones… died peacefully… planning a Temple to Wisdom… still, he's dead. Nero -- best not to talk about him -- burnt Rome, caused untold misery, deserved to die; died screaming in a summerhouse.”

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Peter Greenaway

The Belly of An Architect

“Book #8: The Vesalius Anatomy of Birth. As it hits the water, it screams and spurts blood like a pierced heart -- as it sinks, there is a suggestion of entrails.”

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Peter Greenaway

Prospero's Books

“On the same day as I started to keep my own pillow-book -- I met my future husband for the first time. I was six, he was ten. We did not exchange a word. He had been hand-picked by my father's publisher.”

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Peter Greenaway

Nagiko's journal for Sep 16 1993
The Pillow Book

“A final word. Drowning by Numbers is a story of three women who murder their husbands -- one in a bath, one in the sea and one in a swimming pool. It is a black and ironic fairy-tale for adults, half invented by children who are innocently obsessed with sex and death -- especially death. It is a poetic, amoral tale told morally to support the belief that the good are seldom rewarded, the bad go largely unpunished and the innocent are always abused.”

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Peter Greenaway

Fear of Drowning By Numbers

“We wait -- it seems for minutes -- looking at the night sky. Then, suddenly breaking the silence and making us start with alarm and fear… there is a savage, heart-rending, gurgling scream.”

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Peter Greenaway

Prospero's Books

“The Endgame: "The object of this game is to dare to fall with a noose around your neck from a place sufficiently off the ground such that a fall will hang you. The object of the game is to punish those who have caused great unhappiness by their selfish actions. This is the best game of all because the winner is also the loser and the judge's decision is always final."”

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Peter Greenaway

Drowning By Numbers

“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.”

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Peter Greenaway

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

“Finally we hit upon the old cathedral of Amsterdam, which belongs to the Reformed Church and which we remodeled. The owners gave us permission, on certain financial conditions, to shoot the film there. Before that, we had planned to use the cathedral of Cologne, but two days before we began our preparations, The Cook, the Thief, His Wife, and Her Lover was shown on German television and the archbishop immediately forbade us from entering the cathedral site!”

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Peter Greenaway

From an interview in Positif, January 1994
Interviews

“Americans don't understand what metaphor in cinema is about. They're extremely good at making straightforward, linear narrative movies, which entertain superbly. But they very rarely do anything else.”

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Peter Greenaway

In an interview in Film Comment, May/June 1990
Interviews

“Take Mitchel here -- no -- on second thoughts -- don't -- because he's a crude little bugger.”

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Peter Greenaway

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

“It's strange. In the last five minutes you have used my Christian name over and over again and never before. People I like learn my name too late.”

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Peter Greenaway

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

“It serves the purpose of not serving a purpose, surely quite a valid one.”

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Peter Greenaway

In an interview in Artforum, Nov. 83
Interviews

“Roy, this is my wife, Georgina Spica -- she has a heart of gold and a body to match… and I am Albert Spica and I have a heart of gold and a great deal of money to match.”

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Peter Greenaway

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

“I never go to the cinema. I can't stand sitting in the dark with strangers -- all of us obliged to share the same emotional experiences -- it's too intimate. I like to be emotional in private.”

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Peter Greenaway

Philip
8 1/2 Women

“A trembling and some laughter, / a squirt of pee, a spit, / whispers of the heart, / a smell, / the drift to sleep, / pursuit by Gods, / exposure of the bum, / mathematics …”

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Peter Greenaway

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

“Jerome was dyslexic until he was twelve, before it became fashionable. And he broke every pair of glasses I bought him. He hated wearing glasses. He was good at breaking things. Especially relationships. Just like his father.”

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Peter Greenaway

Jerome's mother
The Pillow Book

“No -- it's not necessary for a bookkeeper to read all the stock.”

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Peter Greenaway

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

“The major sweep of this book's living is too often marred by qualifying. It is hedged about with ifs and buts and if onlys and howevers, excuses for a life that is about to shut its covers for the last time and then crumple into dust in an unseen and never-to-be-remembered library.”

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Peter Greenaway

From the fourth book, "The Book of Impotence"
The Pillow Book

“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.”

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Peter Greenaway

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

“The word for smoke should look like smoke -- the word for rain should look like rain…”

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Peter Greenaway

One of the calligraphers
The Pillow Book

“There is a shy client who uses invisible ink on Nagiko's body to hide his obvious talent. The woman attempts to develop the invisible ink by bathing in warm water, by standing as close as she dare to a hot fire, by washing her body in the juice of onion-skins until the onions make her weep and her tears prove to be the necessary solvent to reveal the writing.”

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Peter Greenaway

Section J of 26 Facts About Flesh and Ink
The Pillow Book

“We went to Kyoto -- back to Japan -- to work in the Matsuo Tiasha shrine which Sei Shonagon had visited regularly. I couldn't give up such an opportunity. I was also a little homesick. We didn't finish walking the cat-walk until midnight when all the audience had gone. I didn't mind -- Sei Shonagon had watched the moon rise in that garden a thousand years ago -- I could have walked up and down that path all night long.”

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Peter Greenaway

Nagiko's journal for Nov 9 1997
The Pillow Book

“The game of Bees in the Trees is a variant of musical chairs and is best played with funeral music and in the open air. The object of the game is to sit down on a vacant chair when the music stops. If the chair sat in is occupied by bees, it is permissible to arrange a professional foul.”

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Peter Greenaway

Drowning By Numbers

“Life is full of a thousand red herrings, and it takes the history of a civilisation to work out which are the red herrings and which aren't.”

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Peter Greenaway

In an interview in Artforum, Nov. 83
Interviews

“And I've also written a play called Miranda, about what happens afterwards on the ship on the way home. It's about what happens to innocence and how it has to be destroyed.”

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Peter Greenaway

During the filming of Prospero's Books, quoted in an interview in American Film, Nov/Dec 1991
Prospero's Books

“The pages are so harmonious in their proportion / disharmony in the contents is impossible.”

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Peter Greenaway

From the sixth book, "The Book of the Lover"
The Pillow Book

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