Peter Greenaway idézet

oldal 4

“Have you read all of them?”

“No Albert -- it's not God -- it's Michael. My lover. You vowed you would kill him -- and you did. And you vowed you would eat him. Now eat him.”

“The floorboards point in parallel lines to a vanishing point that does not concern us -- somewhere beyond the opera house, across the streets, across the houses of the suburbs, all the way to a hypothetical single dot… on the sea's horizon. Far from this sour drama.”

“This book has neither the virtue of irony nor deserves the sympathy reserved for the truly mad.”

“There is no obligation for the author of a film to believe in, or to sympathise with, the moral behaviour of his characters. Nor is he necessarily to be accredited with the same opinions as his characters. Nor is it necessary or obligatory for him to believe in the tenet of his construction -- all of which is a disclaimer to the notion that the author of Drowning by Numbers believes that all men are weak, enfeebled, loutish, boorish and generally inadequate and incompetent as partners for women. But it's a thought.”

“Titus… he started well… soon became greedy… disembowelled on the Tiber steps… he's dead, died screaming…”

“Jerome never liked me -- preferred my sister who was a little fool excited by modern literature -- all swear-words and scatology -- before it became fashionable.”

“Rubbish -- absolute rubbish!”

“Each word is pumped up with consonant cholesterol. It's full of fat words. The pages cream with subcutaneous fat. New letters are gilded like showy teeth, making comprehension constipated and exorbitantly metalled.”

“In practically every film you experience, you can see the director following the text. Illustrating the words first, making the pictures after, and, alas, so often not making pictures at all, but holding up the camera to do its mimetic worst.”

“Cleverness: A predisposition to irritate excessively.”

“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.”

“Naked! So I can see no pranks and ruses.”

“What initially attracted me to The Seventh Seal was that it had values and characteristics which I was familiar with in other art forms, most notably, the European novel and certain forms on English drama, and indeed, in relation to my rather academic interest in history -- not "history" in the normal sense, but history as a form of entertainment. It might be a very unfashionable view but I believe that history is an amazing bank or reserve area of plots, characterisations, extraordinary events, etc.”

“… Sir Isaac Newton, the subject of this cake, is in every Englishman's wallet… he's on the English one-pound note. I always carry one on me for good luck. A man who discovered gravity and thus successfully secured our feet on the ground is a good companion. In fixing us to the earth, he enabled us -- with equanimity -- to permit our heads to remain in the clouds.”

“You know to make his rigid, tedious, boring paintings seem at least a little human, the Mondrian enthusiasts keep insisting that Mondrian was a great tango dancer.”

“Four soiled bedsheets sewn together to make a screen. One for spittle. One for urine. One for semen. One for blood. All for tears.”

“I am certain that there are two things in life which are dependable -- the delights of the flesh and the delights of literature. I have had the good fortune to bring them together and enjoy them together in full quantity.”

“These buildings are just right for the excesses of post-modernism -- decorative, frivolous -- serving to obviously excite and attract -- every feature using the architectural vocabulary freely without too much regard for serious function -- open glass atriums and shining metals and expensive and artificial marbles, zany letterings and excess neon.”

“I once saw a film where the main character didn't speak for the first half hour.”

“Gonzalo threw many books into the bottom of the leaky vessel that took Prospero out on to the sea away from Italy and Europe into exile. Shakespeare does not, of course, elaborate what these volumes were. Prospero's Books speculates. There would need perhaps to be books on navigation and survival, there would need to be books for an elderly scholar to learn how to rear and educate a young daughter, how to colonise an island, farm it, subjugate its inhabitants, identify its plants and husband its wild beasts. There would need to be books to offer solace and advise patience and put past glory and present despondency into perspective. There would need to be books to encourage revenge.”

“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.”

“Too many stupid people have it.”

“You can't write. That's not writing. It's scribbling. Distasteful scribbling. Why can't you write properly?”

“Georgie doesn't like babies do you Georgie? Some days, Georgie, I think you behave like a bloke.”

“Prospero's power is held in his relationship to his books, and The Tempest is witness to more than a few apparently conflicting facets of his personality -- not all of them particularly praiseworthy. What was it, in those books, that made Prospero not only powerful but also a moralising schold and a petty revenger, a benevolent despote, a jealous father and also a master designer of song and dance? Are we truly the product of what we read?”

“Sappho was a worshipper of the Aphrodite cult and on the island of Lesbos there were many cliff-jumpers. They all jumped. Some may say they flew in ecstasy. If only for nine seconds -- one second for each string of the lyre.”

“All this could be enough -- we would leave an Impressionist painting at this stage -- probably much earlier -- and leave it possibly with great satisfaction.”

“All the material is fictional and develops its own eight and a half private, coelesced journeys, where, perhaps not unexpectedly, the females can run faster than the men and trade their freedoms by exhausting the male sexual fantasies and replacing them by some of their own.”