FW: [kino] Peter Greenaway report

[Ignati Piterski]

>From what I heard scenes with Litvinova and Orbakaite were shot but not 
included in the final cut. I don't remember exactly why - something 
about being too long and not long enough at the same time :)

I saw one of the "Suitcases" on sale in Saint Patersburg but missed the
chance to buy it.

Ignati

--- Dmitry Karpeev <karpeev at mcs.anl.gov> wrote:

> 
> 
> I saw 3 movies.  In fact it's just 3 parts of a single movie -- the
> whole
> would be too long for one sitting.  
> 
> 92 DVDs is something else -- either a future or an ongoing project.  He
> mentioned something about perhaps giving them away at screenings etc.,
> since
> he's not sure how to distribute them.  I'm not even sure it is
> happening, or
> will happen, fully or partially.
> 
> The last 20-30 minutes of part 3 were made in Russia.  According to the
> titles, Renata Litvinova and Kristina Orbakaite  were in it.  But as
> hard as
> I tried, I didn't find Litvinova (maybe she didn't look like herself),
> and I
> only have a guess as to whom Orbakaite might have played.  As with many
> of
> his movies, it was hard to capture exactly what was going on, so I
> missed
> some characters that were in the titles. In particular, the Litvinova
> character.
> 
> Dima
> 
> PS The Russian part might not have been made in Russia, since the action
> there takes place "on the bridge", which is actually a metaphor for a
> chessboard.  Or maybe on a chessboard, that is a metaphor for a bridge
> between the East and the West, where prisoner exchanges take place.  In
> any
> event, it was on a set.  Russian studio A12 (or 12A?) was involved,
> according to the titles.  Now, Isabella Rossellini had a much more
> prominent
> role, but that was in part 2.  I think.  If I remember it right.  It all
> sort of runs together in my head. 
> 
> -----Original Message-----
> From: Dmitri Krioukov [mailto:dima at caida.org] 
> Sent: Saturday, November 13, 2004 8:50 PM
> To: Dmitry Karpeev
> Cc: kino at caida.org
> Subject: RE: [kino] Peter Greenaway report
> 
> dimas,
> 
> 92 dvds with luper's suitcases arrest
> me with surprise. on imdb, i can find
> only three. can you clarify? how many
> did you see? one? also, which one was
> made in russia?
> 
> i understand greenaway's obsession with
> numbers, but 92 dvds... how much each?
> --
> dima.
> http://www.caida.org/~dima/
> 
> -----Original Message-----
> From: kino-bounces at caida.org [mailto:kino-bounces at caida.org]On Behalf Of
> Dmitry Karpeev
> Sent: Saturday, November 13, 2004 6:13 PM
> To: kino at caida.org
> Subject: [kino] Peter Greenaway report
> 
> 
> Last Wed. Peter Greenaway himself made an appearance at Chicago’s Facets
> Multimedia to introduce one of his latest movies “Tulse Luper’s
> Suitcases”.
> He struck me as extremely gracious and sharp.  He said a few words
> before
> and answered questions after the movie.
> In his opinion, there is a revolution afoot in the cinema – the digital
> revolution.  It has the potential to reinvent the cinema, which, in Mr.
> Greenaway’s view, has been stuck in the “animated novel” paradigm nearly
> since its invention.  He himself thinks that the two cliché words,
> “interactive” and “multimedia”, encode the future of the cinema,
> although it
> is hard, if at all possible, to implement them in the setting of a
> traditional movie cinema.   For now, his movies seem to seek to explode
> the
> linear narrative structure of a movie, which ordinarily makes it akin to
> a
> text, and bring forward the image.  Many images.  Multiple images.  At
> once.
> And music.  Et cetera.
> It makes for difficult watching in some instances.  But extremely
> beautiful
> too.  His favorite director is S. Esenstein, followed by Godard at some
> distance.  Of the contemporary there are Lynch and Cronenberg that he
> feels
> conceptual closeness to.  Here’s something interesting, I think: Peter
> Greenaway use of nudes in his movies is both a reflection of his
> esthetic
> origins as a painter, and a challenge, to some extent, to the puritan
> sentiment as well as the stereotype that only attractive women in their
> 20s
> and 30s appear naked on film, primarily before a sex scene.  He gives a
> chance for all kinds of people to be naked on the screen and for all
> sorts
> of reasons.
> 
> It turns out that Mr. Greenaway has had 2 painting exhibits, has written
> several books, directed (?) an opera (with more in the works) and is
> planning to put out 92 DVDs, one for each of Tulse Luper’s suitcases,
> apparently.
> There is a dude in Montreal that has constructed an interactive trailer,
> in
> which all or part of “Tulse Luper’s Suitcases” can be experience
> interactively, in any order: any scene (or scene inside a scene, of
> which
> there are many), any piece of music (mostly electronically recycled
> Prokofiev), any subtle political, geographical, literary or historic
> reference examined (he’s worse than Godard in this respect, his ideal
> audience requiring many years of rigorous schooling, it seems), et
> cetera.
> Now, this is both interactive and multimedia!  But is it cinema?
> 
> Dima.
> 
> Guy Muddin is visiting Facets next Wed., so stay tuned.
> 
> 
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> 



		
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