Tilda Swinton Quotes
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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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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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We [ with Ewan McGregor] decided exactly what we would do at every moment, what the texture would be.
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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 live a soldier's life when I'm working. That's how it feels to me, except I've got a slightly greater chance of survival.
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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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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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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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In The Deep End, you have a woman who looks like a J. Crew mother who can manage it all. Then we begin to realize what's going on inside. Every time I see one of those women stuck at a stoplight with the children in the back of her car, I sort of think, "What have you just done? What's going on in your life?".
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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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Sexuality is, of course, a great way of having a conversation between people.
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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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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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I'm from the same planet as David Bowie.
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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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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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It's wonderful to actually have an opportunity to get real and show how complicated and fascinating sex is.
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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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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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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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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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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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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.