Peter Greenaway Quotes

Jean Renoir once suggested that most true creators have only one idea and spend their lives reworking it, but then very rapidly he added that most people don't have any ideas at all, so one idea is pretty amazing.

These ideas are present in all sorts of unrelated cultures -- the Easter Islands, Celtic mythology, Plato's Symposium with its notion that we are all originally hermaphrodite. We became too arrogant and so the gods split us down the middle, forcing us to spend our lives chasing our other half. If we start being arrogant all over again, God will come down and split each half in half, and it will take four people to assemble a fifth, making our lives peculiarly, desperately difficult.

As you probably know, I'm often accused of intellectual exhibitionism and all forms of elitism. Although I can understand this point of view, it's a rather wasted argument because, if we regard areas of information as being elite and therefore somehow not usable, it means our centre-ground of activity becomes very, very impoverished.

On the other hand, I view the whole matter from a cosmic perspective. I don't take a position. I believe that there are no more positions to take, no certainties, no facts. Many people find this confusing about my films; they say I am hiding out behind irony. But from a cosmic viewpoint, it is eternally unimportant whether one lives or not.

That comes from most people having an American film model in their heads which is nothing but a total illusionary masturbatory massage.

Only cinema narrows its concern down to its content, that is to its story. It should, instead, concern itself with its form, its structure.

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.

It's precisely on the Internet that the majority of the writing is terribly bad and uninteresting.

It's so miserable and so easy to keep slamming Titanic -- I'll shut up.

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!

Film is such an extraordinary rich medium which can handle so many different modes of operation, combining together in the same place all these extraordinary disciplines which may be executed in their own right -- music, writing, picture making of all kinds, and I often feel that some filmmakers make films with one eye closed and two hands tied behind their backs.

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.

I made, for a London television company a programme called 26 Bathrooms … which was about the ways in which people behaved in their bathrooms. It was about where people put the soap on one level, or the colour of the bathroom curtains, the acoustics, about whether you sang in the bath, and it was structured very simply on the alphabet. We had a man and a woman who arrived one by bus, one by bike, to come and demonstrate for me, in front of the camera, how a jacuzzi operated. I asked both of them to take their clothes off because obviously you don't get into a bath with your clothes on. They hesitate, but eventually their dressing gowns came off and they got into the bath. They had never met one another before. Six weeks later I got an invitation from these people that I had brought together so peculiarly in this jacuzzi -- they were planning to get married! I understand that now they have three children.

I think it is really important to be in some way provocative -- either intellectually or viscerally -- in the films one makes.

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.