Tilda Swinton Quotes
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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'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 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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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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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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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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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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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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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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Even beyond sexuality, I'm generally interested in identity.
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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 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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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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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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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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Art is good for my soul precisely because it reminds me that we have souls in the first place.
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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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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'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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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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It was an amazing performer. Very temperamental, it spent a lot of time in its trailer.
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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.
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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.
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When I'm in northern Italy, I walk about feeling slightly less of a freak.