Peter Greenaway on Life

"Blood: A red substance believed to be capable of supporting life but which in a theatrical drama invariably indicates death."

"Titus... he started well... soon became greedy... disembowelled on the Tiber steps... he's dead, died screaming..."

"Why illustrate a great piece of writing whose very advocacy and evocation and efficacy lies within its very existence as writing?"

"If Good approved of his creature's creation, He breathed the painted clay-model into life by signing His name."

"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."

"Nun 2: Sir, be grateful for the music. Most of us die in silence."

"Lincoln: A politician who enjoyed the theatre and died because of its convenient darknesses. A celebrated make of car. A town in Lincolnshire, England. A certain colour green."

"Cinema is dead. I can give you a date - it died on the 31st of September, 1983, when the zapper or the remote control was introduced to the livings rooms of the world. Bang! That's the end."

"Two lifetimes -- yours and mine."

"Galba... a miserable sort of man... bisexual... fancied mature slaves, especially if they had been a little mutilated... all his freed men had no fingers on the left hands... he's dead -- died screaming... in a cellar."

"One is based on the Medea myth about a woman who kills her own child -- The Love of Ruins. It is almost a technical exercise to see if I can convince an audience or make an audience sympathetic to a woman who kills her own child."

"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."

"It tells you how to boil water. What expression to wear when you are eating eggs. How to starve. When to eat. What your first meal should be. What your last meal should be. It says more about death than eating and more about living than cooking."

"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."

"A thrown-stone trajectory is a good metaphor for so many phenomena: the curve of an event, any event; the curve of a life, any life; the curve of a hypothesis; the curve experienced in the manufacture of a work of art; the curve of interest experienced in the manufacture of a catalogue."

"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."

"... launting their erudition and relishing overt staginess, Peter Greenaway's films divide audiences. There are those who are prepared to entertain his conceits and play the game, and others for whom a Greenaway film is about as exciting as a guided tour through an ancient museum where the catalogue has been lost."

"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."

"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."

"The film has written and spoken dialogue in twenty-five languages-English, French, Japanese, Mandarin, Cantonese, Vietnamese, Latin, Hebrew, necrotic Egyptian … and it has written calligraphic text on paper, wood, and flesh, on flat and curved surfaces, vertically and horizontally, on both living and dead flesh, in neon, on screens, in projection, as sub-title, inter-title, and sur-title, as High Art and low art, as advertisement and banker's check and registration plate, on photograph, on blackboard, as letter correspondence, as photocopy facsimile, and spoken, chanted, and sung, with and without music … a mocking challenge. You want text? Cinema wants text? Cinema pretends to eschew text? Then we can give you text to mock that smug suggestion that cinema thinks it is pictures."