Movie - 1-100 (1978)

People recommend 1-100 movie

Movie Premier in 1978.

Color Info: Color
Countries: UK
Genres: Short
Languages: English
Runtimes: 4
Sound Mix: Mono

In movie played:

Peter Greenaway (writer)
Articles:"The New York Times" (USA), 2 July 2008, Vol. 157, Iss. 54,359, pg. E5, by: Elisabetta Povoledo, "A Filmmaker Adds a Cinematic Scope to a Storied Painting", "The Independent" (UK), 10 October 2007, Iss. 6547, pg. 3, by: Clifford Coonan, "Greenaway announces the death of cinema - and blames the remote-control zapper", "Sight and Sound" (UK), 1996, Vol. 6, Iss. 11, pg. 14-17, by: Nick James
Pictorials:"Playboy" (USA), November 1991, Vol. 38, Iss. 11, pg. 146, by: Bruce Williamson, "Sex in Cinema 1991"
Trademarks:His films often feature strong, manipulative female characters, The number 92 is prominent in his films: 92 "Falls" in The Falls. 92 languages in The Falls. 92 suitcases belonging to Tulse Luper, a character in The Falls. Cissy Colpits: Not only are all three females leads in Drowning By Numbers named Cissy Colpits, one of the Falls has the name as well., His films usually contain scenes in hospitals, where characters are bedridden and immobile.
Biographical Movies:_Peter Greenaway in Indianapolis (1997) (V)_ (qv)
Interviews:"Film och TV" (Sweden), December 2000, Iss. 4, pg. 56-61, by: Thomas Lunderquist, "Filmen dog den 30 september 1983 - Peter Greenaway frklarar glatt varfr", "Film" (Poland), March 2000, pg. 100-101, by: Elzbieta Ciapara, "Pol na pol", Polish, "Cinema" (Hungary), January 1997, Iss. 62, pg. 64, by: Ralf Blau, "Az irodalom, mint szerelmi jtk", "Premire" (France), 1996, Iss. 238, pg. 65-68, by: Eric Libiot, "Set" (Italy), 1996, Iss. 4, pg. 86-89, by: Oriana Maerini, "Studio" (France), 1996, Iss. 118, pg. 76-81, by: Michel Rebichon, "Dirio de Notcias" (Portugal), 1996, Iss. 231, pg. 66-68, by: Rui Pedro Tendinha, "Expresso, Revista" (Portugal), 1996, Iss. 1251, pg. 122-127, by: Joao Lopes, "Empire" (UK), 1996, Iss. 90, pg. 68-71, by: John Naughton, "Peter's Rabbit", "Expresso - Cartaz" (Portugal), March 1994, Iss. 1116, pg. 16, by: Joo Lopes, "Sonhar o cinema"
'Peter Greenaway' (qv) accustomed using works of a painter and unfurl method as a design editor contained by back aloft of the Central Office of Information in 1965. Shortly anon he started to cause his individual films. He personal produced a affluence of pithy and feature-length films, but also painting, novel and other book. He has held several one-man show and curated exhibition at museums world-wide.
Quotes:"Cinema doesn't part aloft near the item contained by park down of artist related in two thousand years of fine art, using the nude as the federal amount which the accepted desirability give the impression of being to circulate about. I believe it be high-status to by some means bear down on or stretch or make plain up, in as copious ways as I can, the precipitous bulk, appearance, payload, the juice, the actual house of the body. Cinema vitally examine a self introductory and the body afterward.", "Many quite popular films are filled with violence. I think the difference between those and my films is that I show the cause and effect of violent activity. It's not a Donald Duck situation where he get a brick in the back of the head and gets up and walks away in the next frame. Mine have violence which keeps Donald Duck in the hospital for six months and creates a trauma which he will remember for the rest of his life.", "I don't think we've seen any cinema yet. I think we've seen 100 years of illustrated text.", "If you want to tell stories, be a writer, not a filmmaker.", [On working with 'Michael Nyman (I)' (qv)]: "I'm pretty certain Michael and I will never ever work together again.", Creation, to me, is to try to orchestrate the universe to understand what surrounds us. Even if, to accomplish that, we use all sorts of stratagems which in the end prove completely incapable of staving off chaos., "As for critics, one mediocre writer is more valuable than ten good critics. They are like haughty, barren spinsters lodged in a maternity ward.", "Continuity is boring.", "Here was opportunity to make an audience walk and move, be sociable in a way never dreamed of by the rigors of cinema-watching, in circumstances where many different perspectives could be brought to bear on a series of phenomena associated with the topics under consideration. Yet all the time it was a subjective creation under the auspices of light and sound, dealing with a large slice of cinema's vocabulary.", "I think that every artist dreams of renewing the forms which came before, but I think very few can be considered to have achieved that. We are all dwarves standing upon the shoulders of the giants who preceded us, and I think we must never forget that. After all, even iconoclasts only exist with respect to that which they destroy.", "Maybe the next question you ought to ask is: `Under these circumstances: why do I go on making films?' Well, I still would like you to feel the enthusiasm that all those people felt in the twenties and thirties, that indeed we had discovered, with cinema, the great 20th-century, all-embracing medium. There were extraordinary apologists for what it could become, but I feel it hasn't become that. Cinema has been dragged down by mimetic association with all the other art forms, predominantly with the 19th century novel, and because of its distribution situation and its apparent desire to appeal to the lowest common denominator, it has gone in directions which have not fulfilled those extraordinary promises, in general terms. But I still have this sneaking, hopeful suspicion that we can return to those optimistic, ambitious days and make something of what could be a most extraordinary medium.", "My favourite film-maker west of the English Channel is not English - but to me doesn't seem American either - David Lynch - a curious American-European film-maker. He has - against odds - achieved what we want to achieve here. He takes great risks with a strong personal voice and adequate funds and space to exercise it. I thought Blue Velvet and Eraserhead were masterpieces.", "There are basically only two subject matters in all Western culture: sex and death. We do have some ability to manipulate sex nowadays. We have no ability, and never will have, to manipulate death.", "To be an atheist you have to have ten thousand times more imagination than if you are a religious fundamentalist. You must take the responsibility to acquire information, digest and use it to understand what you can.", "Works of art are never finished, just stopped.", "But thinking of cinema being a dinosaur, you know what they say about dinosaurs: the brain dies but it takes maybe several weeks before that message gets to the tail. So if we're lucky, maybe, the notion of conventional celluloid cinema has perhaps one or two generations to run. But then I'm sure, quite happily, we'll see the end of it. I would cry no tears for it because I'm quite convinced, and there's no reason not to think this, that all the new languages will certainly be soon giving us, I won't say cinema because I think we have to find a new name for it, but cinematic experiences, which is going to make Star Wars look like an early sixteenth century lantern-slide lecture.", [The Pillow Book] The film has written and spoken dialogue in twenty-five languages - English, French, Japanese, Mandarin, Cantonese, Vietnamese, Latin, Hebrew, necrotic Egyptian ... and it has written calligraphic text on paper, wood, and flesh, on flat and curved surfaces, vertically and horizontally, on both living and dead flesh, in neon, on screens, in projection, as sub-title, inter-title, and sur-title, as High Art and low art, as advertisement and banker's check and registration plate, on photograph, on blackboard, as letter correspondence, as photocopy facsimile, and spoken, chanted, and sung, with and without music ... a mocking challenge. You want text? Cinema wants text? Cinema pretends to eschew text? Then we can give you text to mock that smug suggestion that cinema thinks it is pictures., Every medium has to be redeveloped, otherwise we would still be looking at cave paintings ... My desire to tell you stories is very strong but it's difficult because I am looking for cinema that is non-narrative., Thirty-five years of silent cinema is gone, no one looks at it anymore. This will happen to the rest of cinema. Cinema is dead, Cinema's death date was 31 September 1983, when the remote-control zapper was introduced to the living room, because now cinema has to be interactive, multi-media art.
Birth Notes:Newport, Gwent, Wales, UK
Books:Amy Lawrence. _The Films of Peter Greenaway._ Cambridge University Press, 1997. ISBN 0521479193, Paula Willoquet-Maricondi and Mary Alemany-Galway (editors). _Peter Greenaway's Postmodern/Poststructuralist Cinema._ Lanham, MD: Scarecrow Press, 2001. ISBN 0810838923, Jorge Gorostiza. _Peter Greenaway._ Madrid, Spain: Editorial Ctedra, 1995., Daniel Caux, Michel Field, Florence de Meredieu, Philippe Pilard, Michael Nyman. _Peter Greenaway._ Paris, France: Editions Des Voir, 1997., Laura Denham. _The Films of Peter Greenaway._ London, Engand: Minerva Press, 1993. ISBN 1858630118, Peter Greenaway, w/Leon Steinmetz. _The World of Peter Greenaway._ Boston: Journey Editions, 1995., Carsten Thau, Anders Troelson. _Filmen som verdensteater - omkring Peter Greenaway._ Klim, Denmark: Aarhus, 1995., Douglas Keesey. _The Films of Peter Greenaway: Sex, Death and Provocation._ Jefferson, NC: McFarland & Company, 2006. ISBN 0786425172
Other Works:Greenaway, Peter. Papers - Papiers. Paris: Editions Dis Voir,, 1990,127pp. ISBN 2906571202, Greenaway, Peter. Rosa. Paris: Editions Dis Voir, 1993,127pp. ISBN 290657130X, Flying Out of this World - art book/Greenaway as curator, The Physical Self - art book/Greenaway as curator, (Autumn 2000-14 January 2001) Art exhibition "Flying over water" at Malm, Art Hall in Malm, Sweden., Wrote the libretto for and directed the opera 'Rosa; a horse drama' for De Nederlandse Opera (The Dutch opera company) in 1995. The score was composed by 'Louis Andriessen' (qv)., In 1999 he returned to DNO, writing the libretto for the opera 'Writing to Vermeer', also composed by 'Louis Andriessen' (qv), but this time directed by Saskia Boddeke., Feature audio commentary for _The Draughtsman's Contract (1982)_ (qv)., Feature audio commentary for _A Zed & Two Noughts (1985)_ (qv)., Filmed introduction for _The Draughtsman's Contract (1982)_ (qv)., Filmed introduction for _A Zed & Two Noughts (1985)_ (qv)., Novel: Gold
Where Now:(June 2008) Netherlands
When he saw 'Ingmar Bergman' (qv)'s _Det sjunde inseglet (1957)_ (qv) at age 16 he decided he wanted to be a film maker., When actors on the set of _The Baby of Mcon (1993)_ (qv) pointed out that he was introducing continuity errors, Peter replied that 'Continuity is boring.', In 1999, Greenaway divorced his wife, sold the family home in Wales, and resettled permanently in the Netherlands., His movies contain very long tracking shots usually in one long take., Uncle of David Greenaway, He was awarded the C.B.E. (Commander of the Order of the British Empire) in the 2007 Queen's New Years Honors List for his services to film., Uncle of David Greenaway., Trained as a painter.
Birth Date:5 April 1942

Michael Nyman (composer)
Articles:"Cinema" (Hungary), April 1998, Iss. 77, pg. 106, by: Sven Ahnert, "Knnyek sorozatban", "NME" (UK), 7 June 1997, pg. 9, "Divine Comedy make overtures to composer"
Unused score: _Practical Magic (1998)_ (qv), Unused score: _The Hours (2002)_ (qv), Father of 'Molly Nyman' (qv)., He was awarded the CBE (Commander of the Order of the British Empire) in the 2008 Queen's Birthday Honors List for his services to music.
Interviews:"Vimagazino" (Greece), 7 May 2006, Iss. 290, pg. 24-32, by: Thanassis Lalas, "Michael Nyman", "Film" (Poland), January 2000, pg. 94-95, by: Aleksander Pawlak, "Po rozwodzie z Greenawayem", Polish, "Dirio de Notcias" (Portugal), 8 November 1997, pg. 40, by: Cristina Margato, "O Expresso - Cartaz" (Portugal), November 1997, Iss. 1307, pg. 32/33, by: Joo Lopes, "Msica de desassossego", "Premiere" (UK), 1997, Vol. 5, Iss. 2, pg. 32-33, by: Demetrios Matheou, "Millennium Film Journal" (USA), 1981, Iss. 10/11, pg. 223-234, by: Larry Simon, "Music and Film: An Interview with Michael Nyman"
'Michael Nyman (I)' (qv) studied perpendicular, harpsichord and music earlier occurrence near Alan Bush at the Royal Academy of Music, and musicology with Thurston Dart at King's College, London. Between 1968 and 1978 he work via technique of a music commentator and enclosed by 1977 he found the Campiello Band, latter renamed the Michael Nyman Band. Many of his filmscores be collected in siding with of the films of 'Peter Greenaway' (qv). He clasp also documentary several operas, tango music and a considerable cipher of chamber and concert piece.
Birth Notes:London, England, UK
Other Works:Nyman, Michael. Experimental Music: Cage and Beyond. London: Studio, Vista, 1974. ISBN 0289701821
Birth Name:Nyman, Michael Laurence
Spouse:'Aet Nyman' (qv) (? - ?)
Birth Date:23 March 1944

Peter Greenaway (director)
Articles:"The New York Times" (USA), 2 July 2008, Vol. 157, Iss. 54,359, pg. E5, by: Elisabetta Povoledo, "A Filmmaker Adds a Cinematic Scope to a Storied Painting", "The Independent" (UK), 10 October 2007, Iss. 6547, pg. 3, by: Clifford Coonan, "Greenaway announces the death of cinema - and blames the remote-control zapper", "Sight and Sound" (UK), 1996, Vol. 6, Iss. 11, pg. 14-17, by: Nick James
Pictorials:"Playboy" (USA), November 1991, Vol. 38, Iss. 11, pg. 146, by: Bruce Williamson, "Sex in Cinema 1991"
Trademarks:His films often feature strong, manipulative female characters, The number 92 is prominent in his films: 92 "Falls" in The Falls. 92 languages in The Falls. 92 suitcases belonging to Tulse Luper, a character in The Falls. Cissy Colpits: Not only are all three females leads in Drowning By Numbers named Cissy Colpits, one of the Falls has the name as well., His films usually contain scenes in hospitals, where characters are bedridden and immobile.
Biographical Movies:_Peter Greenaway in Indianapolis (1997) (V)_ (qv)
Interviews:"Film och TV" (Sweden), December 2000, Iss. 4, pg. 56-61, by: Thomas Lunderquist, "Filmen dog den 30 september 1983 - Peter Greenaway frklarar glatt varfr"

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