Tilda Swinton Quotes

That whole Deep End experience of finding yourself with the dead body: you know you didn't kill it, but you know if you're found with it, you're gonna be done for it, so you have to get rid of it. And that's a really important nub of Young Adam — Joe knows for absolute certain that if someone comes around the corner, that's it. Nobody's ever going to believe what happened. So that has nothing to do with identity or sexuality, but that is a link. I'm just fascinated by it.

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.

Working with the editor on the set means that it is possible to keep track, at every moment, of the exact temperature of the trajectory of the scene - and know precisely what is required to continue, or precede, the action already shot. Like building a giant jigsaw puzzle. This is a freeing procedure because one is divested of all the options that might otherwise hamper one's choices. Clarity is possible. And that means one can relax into each shot, knowing the clear boundaries of where it might end or begin. And with relaxation, comes play.

We're living in a new Beat time, in my view. And it's very difficult for us to hang on.

I think that a real film fan experience is about a kind of omnivorous experience.

I remember noticing, when I had my babies, how much I liked them, and not just loved them, but I was really into them. I knew I was going to be curious about them, and up for the mayhem ahead.

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.

George [Clooney] and I do have the aim one day to be in a film where we say one nice thing to each other. Hopefully one day.

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.

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.

We're like the raw food movement in cinema - so determined to give people things that do some good, that they recognize as real.

There's no need there to sit with the filmmaker for 11 years to develop the script, or go round the world raising money.

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.

I'm from the same planet as David Bowie.

I've only ever gone into studio films with people I really like.

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.

What very often happens when people make films about rich people, the camera is quite mesmerised by the opulence and quite theatrical in fact.

Faith is in the eye of the beholder.

When I'm in northern Italy, I walk about feeling slightly less of a freak.

The only real struggle [in Doctor Strange] was casting spells - learning all these amazing things with fingers, and then remembering what to say at the same time. They would say, 'So you have to put your hands there, not there because the light is going to go [MAKES SOUND] so that kind of masks... but it was all good.

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.

We also knew [ me and Ewan McGregor] that, on a practical level, if there was going to be that much sex in the film [Young Adam] - which there clearly had to be because sex is the meat and potatoes of the thing - it had to be varied for the audience, because it's important to keep the audience living in it.

This self-obsession is a waste of living. It could be spent on surviving things, appreciating nature, nurturing kindness and friendship, and dancing.

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.

If I'd been asked to play an Asian man [in Doctor Strange] I would've shown them Benedict Wong.

I'll tell you one thing, and this is banal to say because it just makes it sound like it's all planned, and nothing is planned at all. But one link is with The Deep End, and one link is that I'm making a film later on that revolves around the relationship between an innocent party and a dead body.

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.

There's an alarm bell that goes off in my head if I can sense that I'm making a mistake.

Even beyond sexuality, I'm generally interested in identity.

I'm very much drawn to these stories. This is a huge, great story [in Doctor Strange] about the possibility of living beyond everything, living beyond mortality, living beyond all the immortal confines, living beyond the planet as we know it. It's mind-blowingly no limits, and I think this is going to be something else.

I think there's a dishonorable tradition in Hollywood to give the idea, particularly to children, that evil characters are dark.

One of the wonderful things that I've always loved as an art student, what I always loved about comics, was that they are interpreted differently by different graphic artists all the time, so now film is doing that thanks to Marvel Studios.

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.

It was an amazing performer. Very temperamental, it spent a lot of time in its trailer.

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.

I always think of the word 'abandonment' when I think of the character.

As a performer, I'm constantly fascinated with the idea of being able to know what anybody else's experience is, and how misleading all informatives, like appearance, can be.

It's a real comfort zone for me to feel alien.

It's exotic for me to be given a script that's already written, and be given a pay cheque, and asked to dress up and play, and that's all.

We're filling a big universe [in Doctor Strange], and so the look and the sort of plasticity of us is really important to us when we're striking poses here. It's very important, it's really great.

I follow my nose. It’s as simple as that.

Years ago, when James Bulger was murdered, every newspaper front page was talking about evil. At that point, having suppressed it for years, I remembered when I was four or five, I tried to kill my own brother.

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.

For me, sex is a refraction of the thing about identity. In the sexual contact, which is usually - but not exclusively - between two people, you do retain separate people.

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.

There's a thing I really mind hearing, when someone says: "That's not my kind of film, I don't want to go and see that..." I don't believe that, I don't believe that it's possible to write off a whole genre of filmmaking - "oh I don't like subtitled films", or "I don't like black and white films", or I don't like films made before or after, a certain date" - I don't believe that.

I made The War Zone when I had just given birth to twins, and my post-partum frame was very much on display there.

Archetypes are always [in my film-making]. It's sometimes interesting to just flip them a little bit and see the underside.