Tilda Swinton Quotes

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."

The people I'm working with tend to be people I know, who are my friends, and I like hanging out with them. There's nothing better than making a long-term project with your friends. It's just dreamy.

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.

I never quite understand the way society decides who is beautiful and who is not. But an open face and a capacity for kindness always feel like reliable signifiers to me.

About actors' lives... I'm not the person to ask. I don't live an actor's life and I really don't know. I probably read less about actors' lives than you all do. So, I'm in the dark about all of that, sorry.

How do we identify ourselves, and how do we settle into other people's expectations for our identity?

I'm really interested in the idea of long, long life and transformation and immortality.

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.

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.

Sexuality is, of course, a great way of having a conversation between people.

I would say that I think the film [I am love] is absolutely about nature, it recommends human nature. You don't need to recommend change, that's inevitable, it's the only reliable thing we have.

This film [Teknolust] in particular, showing the way in which having a sexual dialogue with someone can be something developing and changeable and maybe uncomfortable and complicated. Just complicated and human, no more and no less.

I have no problems with the NC-17 rating. I want more NC-17 films. More adult cinema!

There are many graphic artists who have interpreted The Ancient One as a Tibetan Buddhist Lama, we're kind of shifting that a bit. We're trying not to be fixed, we're trying not to be fixed to any one thing, any one gender, any one spiritual discipline, and any one race even; we're just trying to wing it beyond that. So it's a new gesture really, just another interpretation.

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.

There's nothing I'm particularly keen to hide about my humanity.

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.

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.

Art is good for my soul precisely because it reminds me that we have souls in the first place.

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.

Well the truth is, everybody, when they die, leaves a void that cannot be filled.

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.

Daily absorption in the physical actualities of nature is life as I need it to be: it means I am connected to such large things - sky, sea, hill, the vagaries of weather, the undeniable needs of animals - that I can disappear as a subject of interest, I can exist without self-consciousness. The city is a challenge for me, however thrilling a few days prove, for its insatiable overstimulation and the rarity of quiet. The city makes people bigger than they need to be.

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?".

The last time I did anything like this [special powers] was with the Narnia film with two swords, the same but different.

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?

It's wonderful to actually have an opportunity to get real and show how complicated and fascinating sex is.

I was not, and am not, officially a producer of that film [I am love] but the work of what a producer does I learned at that stage and to a certain extent I've been a producer ever since.

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.

The work is different in the sense that I haven't had to travel round the world raising money, or work from the genesis of the project. But the collaboration feels clear always, it's sort of my drug, I'm in it for the conversation. The conversation's the most important part of it.

I've been really happy to be in that conversation with Scott [Derrickson] for a few months now. We started chewing this cud a while ago. He is, as you probably know, an extremely erudite thinker in terms of religious philosophy and just thinking about a modern take on something really, really ancient, about how to imagine living beyond any physical bounds, which we're on the verge of now.

Very, very often in movie sex you see this fiction about unity. A union. That somehow these two thinking beings become one, and there's one action and they're sort of perfectly in sync, and the lighting's perfect, and they've got their eyes closed, and they're gone, you know? And then you cut to someone having a cigarette. And it's all so much Novocain. Meanwhile, those of us us watching it are going "I'm never going to tell anybody, but I never have sex like that".

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.

Most of us live our whole lives without having an adventure to call our own.

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.

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.

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.

I have this very strange relationship with my work, which is that it's like a conversation between me and it.

We [ with Ewan McGregor] decided exactly what we would do at every moment, what the texture would be.

I'm interested in that whole question of where we wear our identity and how can we see it.

I would rather be handsome for an hour than pretty for a week.

I think of great masters, like [Alfred] Hitchcock, for example, who works absolutely within this sensational realm. You feel like you can always tell what temperature a room is in a Hitchcock film because the people feel alive, they don't feel like they're just being filmed on a stage.

This film [Doctor Strange] kind of takes that everyday boring reality and really bursts it wide. So we talked a lot about that. In many ways there's something very practical about this world, the Kamar-Taj. It's - You know, we all look like samurai warriors, but actually there are iPads everywhere and there's a feeling that it's a practical possibility for this modern world that the Doctor Strange universe is functioning, and that we know it and it's around the corner for all of us.

In my house, a hot dog is a dog that's really hot.

I am the only living person in the English speaking world who didn't have the Narnia books as a child.

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.

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.

This is the launch of the Doctor Strange film interpretation, of - in my view - a classic, which has been interpreted many times by other graphic artists and this is just our graphic interpretation of The Ancient One. I would say the whole approach is about a kind of fluidity.