Peter Greenaway in conversation | BFI Q&A
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- Опубліковано 15 січ 2023
- Peter Greenaway, the filmmaker behind The Cook, the Thief, His Wife & Her Lover; The Draughtsman's Contract and The Pillow Book visits the BFI Southbank to talk about his career on- and off-camera.
Peter Greenaway’s career as an artist, writer and filmmaker has spanned six decades. Throughout, he has consistently challenged established forms of narrative filmmaking, never compromising, while also embracing new technologies.
This Q&A was hosted by BFI Southbank lead programmer Justin Johnson and was part of the BFI season Frames of Mind: The Films of Peter Greenaway.
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I've had the pleasure of working with Peter; he is a lovely man!
Great in-depth conversation, great artist, incredibly interesting, thank you very much for sharing.
god, i love peter. he runs laps around the moderator and his regurgitated arguments. film is such a dismal art form these days and I’m glad that someone like greenaway has the intellect and frustration to see that
Long Live Peter!
I’ve always thought a big curled handlebar mustache wouldnt be inappropriate on Greenaway. Fits his personality
I agreee!!
"We give Artists the permission, for them to make the journey on our behalf." That is the heart of my journey with H.
Was fortunate enough to see 3 films in this fantastic season. Was sad to have missed this talk, until now! Thanks
I absolutely adore Baby of Mâcon
One of my favourite films of all time
He has one of the greatest abilities to make a point toward truth via art, a bit less so by word or interview. Prospero's books in conjunction with Nyman goes beyond Shakespeare's words, talk about ending a collaboration on a high note! It's the ultimate art of the deepest human logic and the deepest human feeling I have ever had the pleasure of... ❤ He is as good a writer as a painter. He is not Sergio Leone, he is Peter Greenaway, I just like putting them in the same sentence...
I hear deep echoes here of a certain Mr Terence McKenna 🍄
Great interviewer too under great time pressure... 😕
Cant wait for Walking to paris. Also, for cinema, how about screens all around audience, as in being inside a box of film. And with different footage on each. It would be a challenge for a director, i.e. on front screen, the restaurant conversation, whilst on back screen, silently, another couple, perhaps Ms restaurants husband, and his lover, make love....
Indeed there are not many films where the text serves the images rather than the images serving the text. It's too bad that the interviewer didn't mention to Peter Greenaway films like Loving Vincent, Shirley: Visions of Reality or Russian Ark. I would love to hear his opinion on those.
Legend. Great upload
I would make the argument that film is an extension of theatre, which has in fact, been around for thousands of years.
How we miss his madness.
Legend
He made a string of experimental films as self-reflexive artifice - film is afterall a film, but then he made Belly of an Architect, which I thought was a key film and was the most traditional film he made in that it used the conventions of cinema to tell the film story. Why? I was hoping the interview would arrive at a discussion of Belly but unfortunately it crossed quickly to Pillow Book and Prospero. Maybe next time! Britain’s most brilliant film director. I’m looking forward to a hugely successful new Greenaway film on par with The Cook.. and The Belly.
Belly is certainly one of his best, I agree.
I let painting slip out of my life thanks to a really shitty relationship, in favor of photography, and haven't felt even remotely as alive without it, so I can relate.
must be weird veing interviewed by 2 people
I still think that Peter Greenaway was far more ahead of his time and Inventive than the overrated Stanley Kubrick. Just my take.
We can live without all of it.
"Actor"! In what?
His wife's film THE GREENAWAY ALPHABET
@@zippymufo9765 Ah! So playing himself.
I don’t know why people like his movies. A couple of them are good due to historical reenactment but mostly his movies are trashy movies that rely on shocking the audience.
That's an extremely simplistic take. Then again, it's almost a blessing that so many people aren't attuned to his work.
Shocking? You must either be a member of the ruling class or a firs-year movie student.