A Quote by Peter Greenaway

I always think that if you deal with extremely emotional, even melodramatic, subject matter, as I constantly do, the best way to handle those situations is at a sufficient remove. It's like a doctor and a nurse and a casualty situation. You can't help the patient and you can't help yourself by emoting. And I don't think cinema is intended for therapy, so I object also to that huge, massive manipulation which is perpetrated on the public.
I'm sure as an infant, no matter what I looked like, I felt like the most loved kid getting those massages. So I really think that was a big part of my growing and my brain developing. Most of all however, I think it was the love that was given to me unconditionally and I felt that my whole life. It certainly wasn't that my parents always liked what I was doing, even my becoming a doctor, my father preferred I went into business so he could help me, but I wanted to be a doctor.
You wanted to become a doctor to help people and feel better at the end of your job, I think, watching them, as the nurse takes my hand. But I don't think you do feel better at the end of the day. You look like humans have constantly disappointed you.
I deal with emotional pain through therapy, writing, therapy in music. I think emotional pain is best dealt with when you use art to express it.
I think if the doctor is a good doctor and has a patient's best interest in mind then he's not going to allow anything to compromise that patient's care. The bottom line is the doctor has to care for his patient. You have to have that overwhelming sense of welfare for your patient.
The best way to alleviate the obesity "public health" crisis is to remove obesity from the realm of public health. It doesn't belong there. It's difficult to think of anything more private and of less public concern than what we choose to put into our bodies. It only becomes a public matter when we force the public to pay for the consequences of those choices.
For me, the best journalism is usually the best storytelling, and the best stories are those of real people. Sometimes those real people are people in positions of great prominence or power or adverse situations, and sometimes it's just normal folks who help illuminate a situation, a place, a culture. And for me, that's always been the best way of telling a story.
Physician, help yourself: thus help your patient too. Let this be his best help: that he may behold with his eyes the man who heals himself.
I think all those years that I spent as a nurse, from the age of seventeen, just allowed me an insight into human emotion at those times of life when it's so important. And to see and witness those times of grief and love and loss and all those things was such a huge privilege, both in my own personal life, but it also, I think, spills over into my writing. I think the one thing that most novelists have is some degree of emotional intelligence, and if you don't have that, then perhaps you might struggle to be a novelist, because that has to come out somewhere.
An object of art creates a public capable of finding pleasure in its beauty. Production, therefore, not only produces an object for the subject, but also a subject for the object.
I was a very emotional teenager. But I wish that I could tell myself that I matter more than I think. Things are a bigger deal than I think they are, but they're also not as big a deal as I think they are. My mistakes are not the end of the world.
I think poetry can help children deal with the other subjects on the curriculum by enabling them to see a subject in a new way.
There are those who think that Zeffirelli's Hamlet is the way to treat Shakespeare. I think that cinema can handle much more. We somehow expect cinema to provide us with meaning, to console us. But that's not the purpose of art.
I think we need to reckon in a very serious way with the emotional content of news and the way that people perceive facts and their perception of their situation and to me I think the tabloid is like fundamentally an emotional form of journalism and that kind of emotional valence is what distinguishes it from the broad sheet.
The myth of the self-sufficient individual and of the self-sufficient, protected, and protective familytells us that those who need help are ultimately inadequate. And it tells us that for a family to need help--or at least to admit it publicly--is to confess failure. Similarly, to give help, however generously, is to acknowledge the inadequacy of the recipients and indirectly to condemn them, to stigmatize them, and even to weaken what impulse they have toward self-sufficiency.
I always love it best when you have a project where there is this commingling of the subject matter and the way in which you're recording that subject matter.
The French announced today that they would not help us remove Saddam from Iraq. Well Duh! They didn't even help us remove Hitler from France.
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