Peter Greenaway on his long career spent treasuring artificiality, avoiding Hollywood, and playing games.
The Cook, the Thief, His Wife & Her LoverIs there something in film culture that has changed, so that people are appreciating your films a bit more now?
On my big revisit of this film, after such a long gap of time, I was actually surprised at how beautiful some of those landscapes were. Let me be indulgent. There is a scene where Madgett and his son, Smut, are sitting up against an oak tree eating blackberries. There’s a beautiful and really artificial-looking landscape, sunset behind them, rather like copying Caravaggio. The sun is going down, and the light is. That’s really rather strange.
I’ve always been interested in something we could call a nonnarrative cinema. I don’t really believe that cinema needs to tell you a story. I’m trained as a painter, and the very best paintings, I sincerely believe, are nonnarrative. They are about statements, about ideas. And I took this particular viewpoint into the manufacture of cinema. The idea of narrative concerns, I’m sure, is very much essential to all conventional filmgoers and filmmakers.
I was very much a stickler for getting the compositions that I wanted. This sounds a rather strange thing, but we deliberately used artificial light in God-given light. There was sort of a game between God and our artificial lights. I tried very hard to do as much filming as we could at magic hour. Those are very brief periods. It was meant to be a summer film. But we were filming in late summer — so September, October — and the leaves had already begun to fall off the trees.
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