Peter Greenaway: Trending quotes

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“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.”

Peter Greenaway

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

“I've just been reading -- stuff to make your hair curl -- you go in that toilet -- that's the sort of stuff people read -- not this sort of thing -- don't you feel out of touch? Does this stuff make money? I bet you're the only person to have read this book -- but I bet you every man in this restaurant has had a read of that stuff in there… makes you think, doesn't it?”

Peter Greenaway

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

“His writing -- in so many languages -- made me a sign-post pointing east, west, north and south. I had shoes in German, stockings in French, gloves in Hebrew, a hat with a veil in Italian. He only kept me naked where I was most accustomed to wearing clothes.”

Peter Greenaway

Nagiko
The Pillow Book

“Four handsome, naked, female dancers separate themselves from the crowd in Prospero's cloak… and they dance. From now on -- they become Prospero's dancers -- they mark out a four-figured symmetrical space around him -- dancing in perfect unison -- a strange, prancing, high-stepping, complicated, frankly sensuous dance -- danced with great firmness and confidence -- their eroticism is aimed only at themselves -- no mincing or quarter given -- their erotic confidence is demonstrative and challenging.”

Peter Greenaway

Prospero's Books

“If every man is supposed to think of sex once every nine minutes, what on earth does he think of in the other eight?”

Peter Greenaway

Introductory quotation from the published script.
8 1/2 Women

“It is the trajectory of a thrown stone. It follows the hump of a humped-back whale from nose to tail. It's bounded like a smooth, sheep-cropped, grassy hill. It is a graph-line through a grey, blue, and then a grey again, sky.”

Peter Greenaway

Flying Out of This World

“That's all. Thank you. You may go.”

Peter Greenaway

The Belly of An Architect

“You should be allowed to rub out and start again, it means that you are human. The purists are tedious, they tell you a mistake is like an enduring black mark. Nonsense -- better to be human than some infernal machine never going wrong.”

Peter Greenaway

One of the calligraphers
The Pillow Book

“Two children die. An accident and a suicide amongst so many murders. A chance death and a death of self-recrimination. Smut and the Skipping Girl have been aping their parents and elders -- perhaps they could now teach them a lesson -- all the machinations and game-playing and adjusting for sexual and emotional positioning is not worth the effort.”

Peter Greenaway

Fear of Drowning By Numbers

“I was continually connected with the whole world and never got any rest. At the moment, I spend only a few hours weekly on the net, that's just better for me.”

Peter Greenaway

In an interview in Page, May 1999
Interviews

“The whole of this studio is bonded; that is to say, we are not officially in Japan per se, but rather, in what is considered for these purposes an adjunct of the customs shed at Narita airport. Officially, we are not here because we are pornographic. It's a rather curious situation.”

Peter Greenaway

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

“Dots […]: Small marks variously made to indicate infinity, hesitation, duplication, or lack of imagination.”

Peter Greenaway

Rosa: The Death of a Composer

“In the film The Belly of an Architect, an architect from Chicago organizes an exhibition of his favourite architect Etienne-Lous Boullée (1728-1799). I wrote an account of this hypothetical exhibition as though it had been seen by an unlikely Boullée contemporary -- Jane Austen (1775-1817). She made a prim but perceptive account of her progress through the corridors and halls of the Vittoriano in the centre of Rome -- a building constructed long after both of these eminent personages were dead.”

Peter Greenaway

Watching Water

“A woman materialises behind Prospero -- leaning lightly on the back of his chair -- she is alternately a Titianesque nude and then the Vesalius figure -- flayed … she leans lightly over and kisses Prospero on the cheek. The kiss leaves a blood-red mark on his withered cheek. Prospero shivers.”

Peter Greenaway

Prospero's Books

“One [film] 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.”

Peter Greenaway

In an interview in Film Quarterly, Winter 1991-92
Interviews

“Prospero wears a large, heavy, dark-blue cloak or gown that enfolds him like a quilted blanket… it is darkly embroidered with small wine-coloured beads and swirls of black vegetation… it has long strings and ornate tassels that trail to the ground… it is a garment that has often been worn… a little frayed and scuffed. Later it will be seen to be capable of changing colour… in seven stages comparable to the power of Prospero's magic… black, brown, dark blue, light blue, purple, dark red and fiery red… and to have a vivid lining embroidered with dazzling stars -- a lining that is only revealed in flashes as when a dark butterfly momentarily uncovers coloured underwings.”

Peter Greenaway

Prospero's Books

“As author in control of the plot I can choose and dictate the fall-out of events from any number of infinite possibilities -- which is a very volatile state of affairs, suggesting the ephemerality of fictional narrative. I can choose to have seven characters and kill six of them off in the first five minutes. I can have seventy characters and squash them under a fallen rock, make them copulate with beasts, sit them on the moon or turn their hair white. This casual condition of authorship is irresponsible.”

Peter Greenaway

Watching Water

“Now you've opened your mouth, do you expect me to lose interest?”

Peter Greenaway

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

“It's sort of cathartic -- the naked exposure -- don't you think? You couldn't do it voluntarily -- could you? It's under duress -- so somehow legitimate. Circumstances beyond our control. I think I enjoyed that.”

Peter Greenaway

Philip
8 1/2 Women