Питер Гринуэй цитаты страница 5

„У главной суки Третьего рейха, вероятно, единственного существа, чью любовь и преданность полностью разделял её хозяин, появился щенок, которого назвали Вольф. Гитлер всегда считал своё имя Адольф старой формой немецкого «вольф» (волк). То есть косвенно Гитлер как бы признал своё отцовство и, следовательно, по крайней мере метафорически, своё волчье происхождение.“

„Я люблю кульбиты. А искусство, которое стремится как можно более точно копировать природу, вы сами назвали иллюзионистским. Что хорошего в иллюзиях? Настоящие художники – не иллюзионисты. Иллюзионизм – путь ленивых.“

«Золото»

„Когда человек отчаянно хочет проспать хотя бы ещё одну ночь в стылом бараке, на грязных деревянных нарах, без одеяла, зато с полчищем вшей, из-за которых придётся раздирать себя ногтями до костей, поразительно, на какие чудеса он становится способен.“

„Что мне мешает снимать кино? Сценарий, камера, актёры.“

«Золото»

“Hadrian… as you know an architect of note… put a lot of faith in stones… died peacefully… planning a Temple to Wisdom… still, he's dead. Nero -- best not to talk about him -- burnt Rome, caused untold misery, deserved to die; died screaming in a summerhouse.”

Питер Гринуэй: Цитаты на английском языке

“Book #8: The Vesalius Anatomy of Birth. As it hits the water, it screams and spurts blood like a pierced heart -- as it sinks, there is a suggestion of entrails.”

The Belly of An Architect

“On the same day as I started to keep my own pillow-book -- I met my future husband for the first time. I was six, he was ten. We did not exchange a word. He had been hand-picked by my father's publisher.”

Prospero's Books

“A final word. Drowning by Numbers is a story of three women who murder their husbands -- one in a bath, one in the sea and one in a swimming pool. It is a black and ironic fairy-tale for adults, half invented by children who are innocently obsessed with sex and death -- especially death. It is a poetic, amoral tale told morally to support the belief that the good are seldom rewarded, the bad go largely unpunished and the innocent are always abused.”

Nagiko's journal for Sep 16 1993
The Pillow Book

“We wait -- it seems for minutes -- looking at the night sky. Then, suddenly breaking the silence and making us start with alarm and fear… there is a savage, heart-rending, gurgling scream.”

Fear of Drowning By Numbers

“The Endgame: "The object of this game is to dare to fall with a noose around your neck from a place sufficiently off the ground such that a fall will hang you. The object of the game is to punish those who have caused great unhappiness by their selfish actions. This is the best game of all because the winner is also the loser and the judge's decision is always final."”

Prospero's Books

“… and within five minutes I'd lost interest.”

Drowning By Numbers

“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.”

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

“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!”

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

“Americans don't understand what metaphor in cinema is about. They're extremely good at making straightforward, linear narrative movies, which entertain superbly. But they very rarely do anything else.”

From an interview in Positif, January 1994
Interviews

“Take Mitchel here -- no -- on second thoughts -- don't -- because he's a crude little bugger.”

In an interview in Film Comment, May/June 1990
Interviews

“It's strange. In the last five minutes you have used my Christian name over and over again and never before. People I like learn my name too late.”

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

“It serves the purpose of not serving a purpose, surely quite a valid one.”

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

“Roy, this is my wife, Georgina Spica -- she has a heart of gold and a body to match… and I am Albert Spica and I have a heart of gold and a great deal of money to match.”

In an interview in Artforum, Nov. 83
Interviews

“Imagine a world without a fixed point.”

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

“I never go to the cinema. I can't stand sitting in the dark with strangers -- all of us obliged to share the same emotional experiences -- it's too intimate. I like to be emotional in private.”

8 1/2 Women

“A trembling and some laughter, / a squirt of pee, a spit, / whispers of the heart, / a smell, / the drift to sleep, / pursuit by Gods, / exposure of the bum, / mathematics …”

Philip
8 1/2 Women

“Jerome was dyslexic until he was twelve, before it became fashionable. And he broke every pair of glasses I bought him. He hated wearing glasses. He was good at breaking things. Especially relationships. Just like his father.”

"The Schultz Song"
M is for Man, Music, and Mozart

“No -- it's not necessary for a bookkeeper to read all the stock.”

Jerome's mother
The Pillow Book

“The major sweep of this book's living is too often marred by qualifying. It is hedged about with ifs and buts and if onlys and howevers, excuses for a life that is about to shut its covers for the last time and then crumple into dust in an unseen and never-to-be-remembered library.”

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

“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.”

From the fourth book, "The Book of Impotence"
The Pillow Book

“The word for smoke should look like smoke -- the word for rain should look like rain…”

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

“There is a shy client who uses invisible ink on Nagiko's body to hide his obvious talent. The woman attempts to develop the invisible ink by bathing in warm water, by standing as close as she dare to a hot fire, by washing her body in the juice of onion-skins until the onions make her weep and her tears prove to be the necessary solvent to reveal the writing.”

One of the calligraphers
The Pillow Book

“We went to Kyoto -- back to Japan -- to work in the Matsuo Tiasha shrine which Sei Shonagon had visited regularly. I couldn't give up such an opportunity. I was also a little homesick. We didn't finish walking the cat-walk until midnight when all the audience had gone. I didn't mind -- Sei Shonagon had watched the moon rise in that garden a thousand years ago -- I could have walked up and down that path all night long.”

Section J of 26 Facts About Flesh and Ink
The Pillow Book

“The game of Bees in the Trees is a variant of musical chairs and is best played with funeral music and in the open air. The object of the game is to sit down on a vacant chair when the music stops. If the chair sat in is occupied by bees, it is permissible to arrange a professional foul.”

Nagiko's journal for Nov 9 1997
The Pillow Book

“How can an opera express this complicated question of bedsheets?”

Drowning By Numbers

“Go on. Treat me like the page of a book. Your book.”

Rosa: The Death of a Composer

“Life is full of a thousand red herrings, and it takes the history of a civilisation to work out which are the red herrings and which aren't.”

Jerome, to Nagiko
The Pillow Book

“And I've also written a play called Miranda, about what happens afterwards on the ship on the way home. It's about what happens to innocence and how it has to be destroyed.”

In an interview in Artforum, Nov. 83
Interviews

“The pages are so harmonious in their proportion / disharmony in the contents is impossible.”

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