Tilda Swinton Quotes
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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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The story, it's really important to The Ancient One that Doctor Strange does cut it because The Ancient One needs a successor, or certainly needs - you could say - a son. So The Ancient One is really invested in Doctor Strange, it's a very kind of primal relationship.
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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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I think that both Luca [ Guadagnino]and I have a kind of resistance to the idea of a film holding a moral message because that would exclude so many people from feeling that it was their film and it's important for a piece of work to feel owned by every member of the audience.
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One of the wonderful things that I've always loved as an art student, what I always loved about comics, was that they are interpreted differently by different graphic artists all the time, so now film is doing that thanks to Marvel Studios.
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Do you want a list of what my dogs taught me? Patience, perspective, joy, loyalty, the simplicity and presence of their joy. That's a really great daily reminder, bad stuff happens, difficult stuff happens and you take them out onto the beach and you go "OK, now I see". You tell them the current political situation in the world and they go "should we go for a walk?" And you go, right, that's the correct answer.
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It's wonderful to actually have an opportunity to get real and show how complicated and fascinating sex is.
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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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You can sit next to somebody on the underground, and you can look at them quite intensely, but you can never, ever know what they're wearing under their clothes.
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To be honest the work that a producer does is work that I've done for most of my working life. It's work that I started to do, for example, when I worked with Sally Potter on Orlando. We developed it together over five years.
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What bothers me is that the cinema - what Fox News calls the "wholesome cinema that our children are supposed to be able to see" - is so violent. I'm not even talking about the content. I'm talking about the way in which it's cut.
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Most of us live our whole lives without having an adventure to call our own.
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I believe that all great art holds the power to dissolve things: time, distance, difference, injustice, alienation, despair. I believe that all great art holds the power to mend things: join, comfort, inspire hope in fellowship, reconcile us to our selves. Art is good for my soul precisely because it reminds me that we have souls in the first place.
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I've been on the other side of the table many times, trying to get people to be sympathetic to projects, and I've been the victim of that kind of intense kindness masking extreme stupidity.
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I think that film festivals, we're very often given to understand, are about filmmakers and about films and about the industry of filmmaking. I don't believe that they are, I believe that film festivals are about film audiences, and about giving an audience the encouragement to feel really empowered and to stretch the elastic of their taste.
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We were very clear that this film's [Young Adam] so much about a relationship that's borne out through the sexual contact, and that that's the way they communicate.
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I'm from the same planet as David Bowie.
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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 think of great masters, like [Alfred] Hitchcock, for example, who works absolutely within this sensational realm. You feel like you can always tell what temperature a room is in a Hitchcock film because the people feel alive, they don't feel like they're just being filmed on a stage.
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The great news is that that sort of group of people and that sort of sensibility is beginning to become more active again. And I think partly it just has to do with the time. It has to do with the culture of resistance. The necessity is for us to pull together and to speak up and to make work and be visible.
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The Ancient One, as you know, is the master, is the Sorcerer Supreme, and [Doctor] Strange comes to learn how to heal himself and The Ancient One has got the knowledge. And so what you're seeing today is a part of the whole training section when he's learning the moves and digging deep. So it's all about that, it's all about trying to push him to get there.
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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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Years ago, when James Bulger was murdered, every newspaper front page was talking about evil. At that point, having suppressed it for years, I remembered when I was four or five, I tried to kill my own brother.
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What very often happens when people make films about rich people, the camera is quite mesmerised by the opulence and quite theatrical in fact.