Tilda Swinton Quotes
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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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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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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 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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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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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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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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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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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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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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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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It's wonderful to actually have an opportunity to get real and show how complicated and fascinating sex is.
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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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I'm from the same planet as David Bowie.
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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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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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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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When I'm in northern Italy, I walk about feeling slightly less of a freak.
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There's nothing I'm particularly keen to hide about my humanity.
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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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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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Art is good for my soul precisely because it reminds me that we have souls in the first place.
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We're living in a new Beat time, in my view. And it's very difficult for us to hang on.