It's like Shelley. Like Werther. Like a Japanese Ophelia. Like a beautiful Oriental Lady in the Lake. - Peter Greenaway

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

I invariably, after great familiarity with a film, concoct a personal way of reading it that relies entirely on information which a public audience would, I feel, have scant interest. I might travel from a casual unrehearsed glance of a minor character to a detail of folded cloth, from a rhyme in the dialogue to an over-excited high note in the music, from a misplaced shadow to a patch of rogue colour, from a shine on a furniture leg to a curious accidental photographic haze around a street lamp, from the examination of a cloud that looks like a snail to the discomfort of an actress who I know is stifling a sneeze.

"There are only two subjects that matters, one is sex and the other is death, what else we could talk about it. And most the cinema talks all the time about sex and death. And my cinema deals with sex and death so... ¿what's the problem?".