About me:
This is not the real Peter Greenaway, I am merely a big fan of its films, This is simply a fan page... Thanks everybody !
for more of information.
Peter Greenaway official site
Peter Greenaway is a filmmaker trained as a painter. He has long been sceptical about the restrictive boundaries of cinema, and you could not say that his films were obsessive about the traditional characteristics of cinema. His films are very distinctive and stray well off the beaten path. Some commentators have said that his films are anti-cinematic and that he is not a filmmaker at all. He might not disagree with that. He is disquieted by the inability of the cinema that we now have, to give us all the rich potential excitements of the early 21st century world. No touch, no smell, no temperature, short duration. Passive, sedentary audiences, no real audience dialogue, overloaded technical specifications in set piece High Street architecture, limited to a single frame at a time, visible from only one direction. Excessive desire for reality, temporary sets, actors trained to pretend, flat illusions, little comprehension of a screen as a screen. Omnipotent financial vested interests, and the tyrannies of the frame, the actor and the text. And most disturbing of all, subject to the tyranny of the camera.
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The list of disenchantments is long. He's far from being alone in holding these views. His present particular strategy to investigate and change these short comings, as he sees them, is to invest much time in extra cinema activities, if only in the hope of bringing those activities back in to cinema to find ways to reinvent it. For reinvention in the cinema is surely long overdue and very, very necessary. A medium without constant reinvention is doomed to perish. Many say now that there are no great inventors working in cinema any more. They have gone elsewhere. Perhaps they are right. Even though Peter Greenaway is an Englishman, he was actually born in Newport in Wales (his mother is Welsh) on April 5th, 1942. The family left Wales when Greenaway was three years-old and moved to Essex, England. At an early age he decided he wanted to be a painter. He developed an interest in European cinema, focusing on the films of Antonioni, Bergman, Godard, Pasolini and Resnais. In 1962 he started studying at the Walthamstow College of Art, where amongst his fellow students was musician Ian Dury (who Greenaway would later cast in The Cook, The Thief, His Wife & Her Lover). Greenaway would spend the next three years there, and at the time of arriving there he made his first film, Death of Sentiment. It was about church yard furniture, crosses, flying angels, typography on grave stones, and was filmed in four large London cemeteries.
In 1965 he joined the Central Office of Information (COI), where he remained for the next eleven years as a film editor and then a director. In 1966 he made a film called Train, composed of footage of the last steam train arriving at Waterloo Station (directly behind the COI), structured into an abstract Man Ray ballet mécanique, all cut to a musique concrete track. He also made a film called Tree in 1966, the tree in question was surrounded by concrete outside the Royal Festival Hall on the South Bank in London.
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The 1970s would see Greenaway getting much more serious with his filmmaking. In 1978 he made Vertical Features Remake and A Walk Through H. The former is an examination of arithmetical structure and the latter a journey through various maps. In 1980 Greenaway delivered his most ambitious and extraordinary film of his career, The Falls - a mammoth, fantastical, absurdist encyclopedia of flight-associated material all relating to 92 victims of the Violent Unknown Event (VUE). The 1980s would see some of Greenaway's best films, The Draughtsman's Contract in 1982, A Zed & Two Noughts in 1985, The Belly of an Architect in 1987, Drowning by Numbers in 1988, and his most successful (in the mainstream) film in 1989, The Cook, The Thief, His Wife & Her Lover. The 1990s brought the visually spectacular Prospero's Books in 1991, the controversial The Baby of Mâcon in 1993, The Pillow Book in 1996, and 8 1/2 Women in 1999. In 2004 Greenaway completed the trilogy of films in his ambitious project, The Tulse Luper Suitcases, a multimedia extravaganza featuring innovative film techniques. His current project is Nightwatching, a film about Dutch painter Rembrandt and his painting Nightwatch. On the future agenda is 55 Men on Horseback, a late eighteenth century tale of a man who tries to bed a woman by sending her 55 paintings of horses; and the Russian epic Augsbergenfeld. In Greenaway's mind we haven't seen any cinema yet. His ambition (as stated above) is to try and reinvent it. The world of cinema would be a duller place without him.
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Joseph saith:- I do magnify the experience according to the mighty speech of paradoxal, for the work is improved thereby. The insight is inspissated, and it is also made thin; it grows warm and becomes cold. The inspissation thereof takes place when it is divided in heaven by the elongation of the Sun; its rarefaction is when, by the exaltation of the Sun in heaven, the air becomes warm and is rarefied. It is comparable with the complexion of Spring, in the distinction of time, which is neither warm nor cold. For according to the mutation of the constituted disposition with the altering distinctions of the soul, so is Winter altered. The insight, therefore, is inspissated when the logical is removed from it, and then surprise supervenes upon men.
Joseph saith:- I testify that the beginning of all things is a certain nature, which is perpetual, coequalling all things, and that the visible natures, with their births and decay, are times wherein the ends to which that nature brings them are beheld and summoned. Now, I instruct you that the stars are igneous, and are kept within bounds by the air. If the humidity and density of the air did not exist to separate the flames of the sun from living things, then the sun would consume all creatures. All this, however, is disposed in such manner by the will of imagination, and a coruscation appears when the heat of the sun touches and breaks up a dream.
hello peter! the marriage is a great new for the cinema!!! i was at the mostra del cinema in venice and i help you for the mike and the lights in sala perla. i'm very glad to be whit you in this occasion. thank you for the autograph. if you want listen my music. i love your movies
THERE be none of Beauty's daughters With a magic like Thee; And like music on the waters Is thy sweet voice to me: When, as if its sound were causing The charméd ocean's pausing, The waves lie still and gleaming, And the lull'd winds seem dreaming: And the midnight moon is weaving Her bright chain o'er the deep, Whose breast is gently heaving As an infant's asleep: So the spirit bows before thee To listen and adore thee; With a full but soft emotion, Like the swell of Summer's ocean...BRYON
It's a real pleasure to have You among our group of friends ! Please support the Love Agents by downloading our music on ITUNES and check our other art projects on www.m-mission.com. Michael - CLA
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