Tilda Swinton Quotes
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I think that a real film fan experience is about a kind of omnivorous experience.
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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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I was always, and I still am to a certain extent, one of those lazy people who spends a lot of time with Italian friends and yet constantly says I don't speak Italian. Things slow down when I start speaking Italian.
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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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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 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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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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Sexuality is, of course, a great way of having a conversation between people.
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Anybody knows who lives with animals, they teach you more about what it is to be a good human than most people: patience, goodheartedness, enthusiasm, presence, forgiveness, focus, restfulness, honesty.
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I have this very strange relationship with my work, which is that it's like a conversation between me and it.
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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 there's a dishonorable tradition in Hollywood to give the idea, particularly to children, that evil characters are dark.
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We [ with Ewan McGregor] decided exactly what we would do at every moment, what the texture would be.
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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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I'm a huge Marvel fan and the fact that they take the liberties that they do in filmmaking I think, if anything, that it dignifies the comics and it says, "Yeah. This is a strong enough, robust enough source. We can bend it, it's elastic. It's bouncy."
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Even beyond sexuality, I'm generally interested in identity.
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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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It was an amazing performer. Very temperamental, it spent a lot of time in its trailer.
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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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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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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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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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A large part of my filmmaking self has to do with my love of being in the cinema audience, and my relationships to what I want to see on the screen, what I have seen on the screen and what I don't want to see on the screen again.