Tilda Swinton Quotes
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As a performer, I'm constantly fascinated with the idea of being able to know what anybody else's experience is, and how misleading all informatives, like appearance, can be.
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This is the launch of the Doctor Strange film interpretation, of - in my view - a classic, which has been interpreted many times by other graphic artists and this is just our graphic interpretation of The Ancient One. I would say the whole approach is about a kind of fluidity.
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Derek Jarman shared the responsibility for making the film. He didn't necessarily know what he wanted - he knew what he didn't want - but you had to keep coming up with stuff.
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I have no problems with the NC-17 rating. I want more NC-17 films. More adult cinema!
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I think that a real film fan experience is about a kind of omnivorous experience.
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If we don't accept loneliness, then capitalism wins hands down. Because capitalism is all about trying to convince people that you can distract yourself, that you can make it better. And it ain't true.
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It was just me, naked as underneath my clothes right now, as all of you are.
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When I say that it's taken us [with Luca Guadagnino ] 11 years to make this film, what I mean is that it was 11 years ago that we started to talk about a kind of cinema that we wanted to make together.
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This self-obsession is a waste of living. It could be spent on surviving things, appreciating nature, nurturing kindness and friendship, and dancing.
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We're filling a big universe [in Doctor Strange], and so the look and the sort of plasticity of us is really important to us when we're striking poses here. It's very important, it's really great.
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Alexander Trocchi was an existentialist. He was looking at an alienated artist in the post-war period. It's modern because it applies now as well.
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I am the only living person in the English speaking world who didn't have the Narnia books as a child.
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Sexuality is, of course, a great way of having a conversation between people.
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We talked [with Scott Derrickson] about making it kind of muscular and practical. Yeah it's a fantasy but what's the difference between fantasy and reality really?
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I remember when I first started to be photographed, people couldn't understand how it was possible to go around with no eyelashes, no eyebrows. Now it's much more accepted for people not to wear eyelashes or lipstick or whatever they do, but then it was quite freaky. Um, a kind of boiled look.
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I'm just really old [in Doctor Strange]. Just really, really old. There is I suppose a sort of theme tune which I'm really interested in.
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We must hang on to the idea that we can actually change things. That's the sort of environment that Joe finds himself in, in Young Adam.
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Eleven years is a great length of time to prepare a movie, it would be wonderful to have 11 years of funded preparation.
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I always think of the word 'abandonment' when I think of the character.
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Well you know, the comic strip [Doctor Strange]... yeah, was an Asian man, in fact, a very ancient Tibetan man living on the top of a mountain. The film script that I was given wasn't an Asian man, so I wasn't asked to play an Asian man - I was asked to play an ancient Celtic person.
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What children, in fact all of us at any age, find frightening is unreliability and emotional coldness. The idea that you can't affect someone, that you can't see where they're coming from and can change tact at any moment.
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When I'm in northern Italy, I walk about feeling slightly less of a freak.
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There's an alarm bell that goes off in my head if I can sense that I'm making a mistake.
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There's no need there to sit with the filmmaker for 11 years to develop the script, or go round the world raising money.
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Faith is in the eye of the beholder.
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It's exotic for me to be given a script that's already written, and be given a pay cheque, and asked to dress up and play, and that's all.
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Daily absorption in the physical actualities of nature is life as I need it to be: it means I am connected to such large things - sky, sea, hill, the vagaries of weather, the undeniable needs of animals - that I can disappear as a subject of interest, I can exist without self-consciousness. The city is a challenge for me, however thrilling a few days prove, for its insatiable overstimulation and the rarity of quiet. The city makes people bigger than they need to be.
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I would say, and this sounds like a rather immodest thing to say, but the truth is it's probably the most amazing thing of all, it's pretty much exactly what I thought we were going to make, what I hoped we'd make.
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One of the things about Derek Jarman was that he was a painter who worked alone when he painted, but I firmly believe that one of the reasons he made films was for the company. He made filmmakers of all of us, that's the truth. I don't mean he necessarily made directors, but he made us filmmakers. Because we lived in a state of mutual responsibility for what we made.
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I've only ever gone into studio films with people I really like.
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