FW: [kino] Peter Greenaway report

Mon Nov 15 00:09:45 PST 2004

i'm now confused. is everything shot in russia
(he made a special trip there, remember?!) got
removed? or only litvinova w/orbakaite?
--
dima.
http://www.caida.org/~dima/

> -----Original Message-----
> From: kino-bounces at caida.org [mailto:kino-bounces at caida.org]On Behalf Of
> Ignati Piterski
> Sent: Saturday, November 13, 2004 7:47 PM
> To: kino at caida.org
> Subject: Re: FW: [kino] Peter Greenaway report
>
>
> >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 Chicagos Facets
> > Multimedia to introduce one of his latest movies Tulse Lupers
> > 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.
> > Greenaways view, has been stuck in the animated novel paradigm nearly
> > since its invention.  He himself thinks that the two clichi 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.  Heres 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 Lupers suitcases,
> > apparently.
> > There is a dude in Montreal that has constructed an interactive trailer,
> > in
> > which all or part of Tulse Lupers 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 (hes 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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> > kino at caida.org
> > http://rommie.caida.org/mailman/listinfo/kino
> >
>
>
>
>
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