SELECT FILMOGRAPHY Goltzius And The Pelican Company
2012
Peopling The Palaces At Venaria Reale
2007
Nightwatching
2007
A Life In Suitcases
2005
The Tulse Luper Suitcases
The Baby Of Mâcon (1993)
2001 – 2004
The Death Of A Composer: Rosa, A Horse Drama
1999
8 1/2 Women
1999
The Pillow Book
1996 1993
Darwin
1992
Prospero’s Books
1991
The Cook, The Thief, His Wife And Her Lover
1989
Drowning By Numbers
1988
The Belly Of An Architect
1987
A Zed & Two Noughts
1986
1980
T O C I N E M A
“Journalists say you’re only allowed to make three good films. I hope I have a bit more time to make those three good films.”
C O N T R I B U T I O N
86
1982
The Falls
B R I T I S H
The Draughtsman’s Contract
“Our ability now to make and manipulate images is much more profound,” he says. “I don’t think it belongs in dark cinemas anymore. Man’s not a nocturnal animal. The developments outside of cinema are far more exciting than those in it. If you think, as many do, that cinema is the seventh art – that comes with a responsibility. Most films stay within the aegis of simply being a fi lm. But we’re moving into new ground now – our grandchildren will say, ‘Cinema? What on earth was that?’” Greenaway is, as he says, “busier than I’ve ever been,” and it’s not coming from established cinema either. “It’s from institutions all over the world that view the moving image as an extraordinary tool,” he explains. “There are certain freedoms and opportunities – multiple screens, technology associated with the theatre and opera house – that I’m making use of. We’re producing a lot more entertaining, exciting and cutting edge work than when I was associated with orthodox cinema.” But that doesn’t mean Greenaway has left cinema behind – if anything he’s looking back at its past through the prism of modern technology. He has three new fi lms planned, including his current project, which he’s working on in Mexico. This fi lm is about the pioneering Russian director and fi lm theorist Sergei Eisenstein, which he describes as being “about understanding the end, understanding notions of mortality. I’ve put my own doubts in Eisenstein’s mind, with a certain sense of circumspection and an amount of arrogance.”
O U T S T A N D I N G
The Baby Of Mâcon