“It seems to me that the comprehension and enjoyment of the reader, as opposed to the viewer, is best served in printing this version rather than a slavish definitive transcription. Besides, what film is truly definitive? By the time you see the film it may very well be sub-titled, re-edited, shortened, even censored, and every film is viewed at the discretion of the projectionist, the cinema manager, the architect of the cinema, the comfort of your seat and the attention of your neighbour.”

— Peter Greenaway

From the Author's Note to the published script.
A Zed and Two Noughts

Adopted from Wikiquote. Last update June 3, 2021. History

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Peter Greenaway 266

British film director 1942

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“There have been innumerable films about film-making, but Otto e Mezzo was a film about the processes of thinking about making a film -- certainly the most enjoyable part of any cinema creation.”

Peter Greenaway (1942) British film director

From the introduction to 8 1/2 Women
8 1/2 Women

“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.”

Peter Greenaway (1942) British film director

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

“The cinema is not an art which films life: the cinema is something between art and life. Unlike painting and literature, the cinema both gives to life and takes from it, and I try to render this concept in my films. Literature and painting both exist as art from the very start; the cinema doesn’t.”

Jean-Luc Godard (1930) French-Swiss film director, screenwriter and film critic

Quoted in: Richard Roud, Godard, introduction (1970).

“I love the reach of TV as during a serial you reside in so many people's hearts and all the same time. But, in films and theatre your character has a definite graph and it is defined very well. When you choose to do a film or enact a play, from beginning to end you know your part. And as an actor it gives me comfort to know this graph. In television and particularly in some of the serials often this is not defined. Your role can change, which is very unsettling for me. It's one major reason why I am comfy doing theatre and films.”

Mukta Barve (1979) Indian actress

I enjoyed TV, but prefer doing films & theatre: Mukta Barve http://m.timesofindia.com/entertainment/marathi/movies/news/I-enjoyed-TV-but-prefer-doing-films-theatre-Mukta-Barve/articleshow/18969020.cms

“I am not a nationalist, I am a Wolfe Tone Republican. In pursuit of that ideal I have been forced to continually shift positions, much like a man in a cinema who keeps changing his seat, but only so he can get a clean view of the same film. And the title of the film, of which I never tire, is The Future Irish Republic.”

Eoghan Harris (1943) Irish journalist

Contrary to opinion, I am politically consistent, Eoghan Harris, Irish Independent http://www.independent.ie/opinion/analysis/contrary-to-opinion-i-am-politically-consistent-1056982.html,

“Working to timings and synchronising your musical thoughts with the film can be stimulating rather than restrictive. Scoring is a limitation but like any limitation is can be made to work for you. Verdi, except for a handful of pieces, worked best when he was 'turned on' by a libretto. The most difficult problem in music is form, and in a film you already have this problem solved for you. You are presented with a basic structure, a blueprint, and provided the film has been well put together, well edited, it often suggests its own rhythms and tempo. The quality of the music is strictly up to the composer. Many people seem to assume that because film music serves the visual it must be something of secondary value. Well, the function of any art is to serve a purpose in society. For many years, music and painting served religion. The thing to bear in mind is that film is the youngest of the arts, and that scoring is the youngest of the music arts. We have a great deal of development ahead of us.”

Jerry Goldsmith (1929–2004) film composer

ibid., p. 209

“Watch the movie closely, and you’ll see how personal it is. Here’s a film in which cinema brings down the Nazi regime, metaphorically and literally. What could possibly be better than that? In this story, cinema changes the world, and I fucking love that idea!”

Quentin Tarantino (1963) American film director, screenwriter, producer, and actor

Source: Interview with The London Paper about Inglourious Basterds http://www.thelondonpaper.com/going-out/whats-new/quentin-tarantino-the-big-interview

“Mani Kaul was one of the greatest auteurs of New Wave Indian Cinema. His films reflected his personal creative vision. Kaul was a man with a luminous mind who pioneered the parallel cinema movement in India. His films explored a new language and expression. Innovative imagery, vocabulary and experimentation were his forte. His debut film Uski Roti was a landmark film in Indian cinema. He was deeply influenced by Robert Bresson, Andrei Tarkovsky and Ritwik Ghatak, though he made a mark of his own.”

Arin Paul (1980) Indian film director

On Mani Kaul http://cinefreakin.blogspot.com/2011/07/tribute-mani-kaul.html (2011)

“Well, what is a political film? A film about politicians? Or a film about issues — sexism, racism, the environment, nuclear policy? I decided on the broader definition. If I'd limited myself to films about politicians, it would have been a short list: How many characters in any mainstream American movie seem aware of the political process, or belong to a party?”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Ranking "the 20 best political films of the past two decades" in "The Big Picture: Roger Ebert" in MotherJones (May/June 1996) http://www.motherjones.com/arts/film/1996/05/ebert.html

“Earlier the films were given an 'A' certificate simply because they had lots of violence and horror, but nowadays there are a lot of sex and double-meaning dialogues. The themes become so predominantly vulgar and we can't possibly edit out a film's theme. So how do we re-censor these films to make them U or U/A?”

Pahlaj Nihalani

On implementing a new policy under which A-rated film cannot be recut and released for television, as quoted in " Shocker! Adult Films Won't Be Re-Censored For TV! http://www.9xe.com/3574" 9xe (9 July 2015)

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Peter Greenaway 266

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