Tilda Swinton Quotes
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I was not, and am not, officially a producer of that film [I am love] but the work of what a producer does I learned at that stage and to a certain extent I've been a producer ever since.
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Faith is in the eye of the beholder.
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It's a real comfort zone for me to feel alien.
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I'm very much drawn to these stories. This is a huge, great story [in Doctor Strange] about the possibility of living beyond everything, living beyond mortality, living beyond all the immortal confines, living beyond the planet as we know it. It's mind-blowingly no limits, and I think this is going to be something else.
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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'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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How do we identify ourselves, and how do we settle into other people's expectations for our identity?
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The problem for me is that I look like so many people in my family, so I can't really see anything. Except I could say that I look rather like my father without his mustache.
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Archetypes are always [in my film-making]. It's sometimes interesting to just flip them a little bit and see the underside.
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I'm interested in that whole question of where we wear our identity and how can we see it.
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For me, sex is a refraction of the thing about identity. In the sexual contact, which is usually - but not exclusively - between two people, you do retain separate people.
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The last time I did anything like this [special powers] was with the Narnia film with two swords, the same but different.
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I would say that I think the film "I am love" is absolutely about nature, it recommends human nature. You don't need to recommend change, that's inevitable, it's the only reliable thing we have.
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Very, very often in movie sex you see this fiction about unity. A union. That somehow these two thinking beings become one, and there's one action and they're sort of perfectly in sync, and the lighting's perfect, and they've got their eyes closed, and they're gone, you know? And then you cut to someone having a cigarette. And it's all so much Novocain. Meanwhile, those of us us watching it are going "I'm never going to tell anybody, but I never have sex like that".
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I don't love the theatre. I'm just not one of them.
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In my house, a hot dog is a dog that's really hot.
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Well the truth is, everybody, when they die, leaves a void that cannot be filled.
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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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There's a thing I really mind hearing, when someone says: "That's not my kind of film, I don't want to go and see that..." I don't believe that, I don't believe that it's possible to write off a whole genre of filmmaking - "oh I don't like subtitled films", or "I don't like black and white films", or I don't like films made before or after, a certain date" - I don't believe that.
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This film [Doctor Strange] kind of takes that everyday boring reality and really bursts it wide. So we talked a lot about that. In many ways there's something very practical about this world, the Kamar-Taj. It's - You know, we all look like samurai warriors, but actually there are iPads everywhere and there's a feeling that it's a practical possibility for this modern world that the Doctor Strange universe is functioning, and that we know it and it's around the corner for all of us.
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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 follow my nose. It’s as simple as that.
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Working with the editor on the set means that it is possible to keep track, at every moment, of the exact temperature of the trajectory of the scene - and know precisely what is required to continue, or precede, the action already shot. Like building a giant jigsaw puzzle. This is a freeing procedure because one is divested of all the options that might otherwise hamper one's choices. Clarity is possible. And that means one can relax into each shot, knowing the clear boundaries of where it might end or begin. And with relaxation, comes play.
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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.