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An eye for optical theory

Legendary film director Peter Greenaway spoke to The St. Petersburg Times during his visit to the city.

Published: June 21, 2012 (Issue # 1713)



  • Peter Greenaway shown during the filming of his documentary Rembrandts JAccuse (2008).
    Photo:

Handsome, dapper, erudite and charming, you would never know to look at him that Peter Greenaway is one of the most polarizing figures in world cinema.

Mischievous? Yes. Affected? Sometimes. But at 70 years old, the great British director is nothing if not a supreme gentleman.

Watch the films, however, and you might be forgiven for thinking him a nasty piece of work all gnashing teeth and flying fur with a nose for the louche. But that would be missing the point slightly. A master of the dramatic moment, he is naturally drawn to extremes.

Greenaway is constantly engaged in a diversity of simultaneous undertakings: Writing, directing, VJ-ing, painting, creating multimedia installations and conducting research into arcane bits of knowledge, his hyperactive intellect synthesizing the varied strands into a cohesive constellation that is as fascinating as it is complex.

This week and last, the director was in St. Petersburg to attend a retrospective of his film work, while also participating in a charity auction of his paintings at the Kempinski Hotel Moika 22 to benefit the Pantelemonovsky Medical Foundation. As if that werent plenty, he was also here looking for an actor to play the lead role in a project about the Russian filmmaker Sergei Eisensteins time in Mexico, Eisensteinin Guanajuato.

Greenaway, who considers Eisenstein the supreme filmmaker, found it difficult to identify a Russian actor able to play the part.

Although our film is about a Russian subject, we might very well in the end choose a character who is not Russian at all. But I think the great problem is, the character has a huge demand because the dialogue that I write is hardly, Pass me the salt, darling. Its full of English wordplay, alliteration, punning and complications of understanding, which I think only prime English speakers would completely understand.

Curious words for an extremely vocal critic of films that sacrifice visual acuity to the service of text a practice he disparagingly calls bookshop cinema. His films nonetheless fetishize the written word to the point that some might question the sincerity of his pronouncements on the vices of text.

Its an ironic contradiction. I thoroughly enjoy text, and I write novels, and Im reasonably well published. So Im all for text. But in context, if you like. And I think that there are so many ways in which text can hand down its meaning, not only contemporary forms, but ancient forms of lyric poetry, etc. Why cant we allow cinema to get on with its own business? Which I think is really about imagery and not about text.

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ALL ABOUT TOWN

Monday, Oct. 20


Amateur pictures from World War I are on display for only one more day at Rosphotos exhibition On Both Sides, chronicling the conflict through the eyes of observers on both sides of the trenches. The price of entrance to the exhibition is 100 rubles ($2.50).



Tuesday, Oct. 21


The Environment, Health and Safety Committee of AmCham convenes this morning at 9 a.m. in the organizations office.


Take the chance to pick the brains of Dmitry V. Krivenok, the deputy director of the Economic Development Agency of the Leningrad region, and Mikhail D. Sergeev, the head of the Investment Projects Department, during the meeting with them this morning hosted by SPIBA. RSVP for the event by emailing office@spiba.ru before Oct. 17 if you wish to attend.


Improve your English at Interactive English, the British Book Centers series of lessons on vocabulary and grammar in an informal atmosphere. Starting at 6 p.m., each month draws attention to different topics in English, with the topic for this months lessons being visual arts.



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