Tilda Swinton Quotes
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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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I'm from the same planet as David Bowie.
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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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It's wonderful to actually have an opportunity to get real and show how complicated and fascinating sex is.
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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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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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The whole thing of working in collaboration with filmmakers is the thing that I love the most, and possibly the thing I do the best.
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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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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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Even beyond sexuality, I'm generally interested in identity.
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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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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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I was just talking to Benedict [Cumberbatch] who's got a little baby and knows his father lives in his phone. We as humans are evolving really fast, so everyday we're hit with that.
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Maybe it was my revenge on people who had been unkind to me as a child. But it was very easy and a thrill to freeze up children.
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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.
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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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I think that's true of all cinema, that's why cinema is the great humanistic art form. Whatever the film is, it doesn't matter what the film is about, or even whether it's a narrative or figurative film at all, it's an invitation to step into somebody else's shoes. Even if it's the filmmaker's shoes filming a landscape, you go into somebody else's shoes and you look out of their lens, you look out of their eyes and their imagination. That's what going to the pictures is all about.
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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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[My work] just develops and develops, and I'm very nicely served by the universe: just as I'm ready to take the conversation further with myself, some other individual pops up, like David McKenzie did, with this idea of making this film [Teknolust], and provides exactly the leap to the next adventure.
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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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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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I mean, even in terms of the Marvel universe, this [Ancient One character] is going on a side street into a major piazza that Marvel hasn't even been to before, because it's all about creation and not so much about destruction and forestalling destruction, it's about your mind.
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Art is good for my soul precisely because it reminds me that we have souls in the first place.