1976
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Peter Greenaway, CBE (born 5 April 1942) is a British film director, screenwriter and artist. His films are noted for the distinct influence of Renaissance and Baroque painting, and Mannerism painting in particular.
Peter Greenaway. Director: The Cook, the Thief, His Wife & Her Lover. Peter Greenaway trained as a painter and began working as a film editor for the Central Office of Information in 1965.
- January 1, 1
- 2 min
- Newport, Gwent, Wales, UK
- The Pillow Book (1996) The Pillow Book takes its name from an ancient diary from Japan and follows a young model, Nagiko, who, obsessed with calligraphy, seeks to find a lover who is skilled at both handwriting, to write on her skin, and pleasuring her.
- Nightwatching (2007) Marking Greenaway’s first major project since the enormous “Tulse Luper” endeavor, Nightwatching is a very personal film, and it shows, forming a much more well thought out film than usual.
- Prospero’s Books (1991) Based on Shakespeare’s play, The Tempest, this experimental treat focuses on the legendary library of the main character Prospero, played by the iconic Shakespearean actor John Gielgud, that he famously saves from the storm and obsesses over.
- The Baby of Macon (1993) The Baby of Macon is a very interesting entry in Greenaway’s filmography. The film concentrates on a play of the same name, set in the 1600s, being performed in front of an audience.
Peter Greenaway. Director: The Cook, the Thief, His Wife & Her Lover. Peter Greenaway trained as a painter and began working as a film editor for the Central Office of Information in 1965.
- April 5, 1942
May 3, 2023 · ‘Drowning by Numbers’ and ‘The Cook, the Thief, His Wife & Her Lover’ director Peter Greenaway reflects on his long career.
May 14, 2022 · Peter Greenaway Reflects on Career While Finishing First Film Since 2015. Right off the bat, Peter Greenaway wants to make clear that he’s never really taken himself seriously as a...
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Sep 6, 2022 · In conjunction with an American Cinematheque tribute in Los Angeles, Peter Greenaway discusses his radical use of music in his films and his ideas about opera.
