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I turn up in Los Angeles every now and then, so I can get some big money films in order to finance my smaller money films.

John Hurt

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John Hurt
Age: 77 †
Born: 1940
Born: January 22
Died: 2017
Died: January 27
Actor
Character Actor
Explorer
Film Actor
Stage Actor
Television Actor
Voice Actor
John Vincent Hurt
Sir John Vincent Hurt
Sir John Hurt
Every
Finance
Films
Turn
Turns
Bigs
Money
Order
Angeles
Film
Smaller

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I've done lots of films with first directors, so it's not unusual for me.
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My mother's father drank and her mother was an unhappy, neurotic woman, and I think she has lived all her life afraid of anyone who drinks for fear something like that might happen to her.
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If you put on an Oscar Wilde [play], it will interest those who are interested in Oscar Wilde. But it won't interest anybody else, because they won't get that wit.
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The first film is everything you want to say and how you want to say it. Lots of directors will do that and do it really well, but the second film is not so easy.
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My fathers a clergyman, and he was in the mission field for a certain amount of time in British Honduras, which is now Belize.
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Anything which retains interest is optimistic. When the characters become disinterested, it's pessimistic. Does that make sense?
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I put everything I can into the mulberry of my mind and hope that it is going to ferment and make a decent wine. How that process happens, I'm sorry to tell you I can't describe.
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I love working with Lars [von Trier]! I've worked with him three times. I did the narration of Dogville and Manderlay.
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It's quite interesting, looking back at the first one [film about Harry Potter], nobody knew whether or not it was going to be successful as a film. The books were of course already very successful, but that's happened before, where the books were successful and the films weren't at all. But it turned out that they were.
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Acting is an imaginative leap, really, isn't it? And imaginations prosper in different circumstances. And it's being able - I can't tell you how one does, but one tries to read those circumstances correctly.
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It would be difficult to have any unfulfilled ambitions because I don't have any ambitions. I've never been that kind of performer.
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I left drama school and went straight into a 10-week film for which I was paid £75 I might say, which for 1962 was one heck of a lot of money.
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I was keen on sports-that's how my nose got this way. It's not actually broken the nose was just pushed up a little bit and moved over. It's an aquiline nose, quite Irish.
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I'm very director oriented.
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I think it would be very difficult to play somebody if they didn't think they had any virtues or redeeming characteristics.
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I've got plenty of train memories. I was sent to school when I was eight years old in 1948 in Kent. So I had to go through London in 1948, just after the war. Many ,many strange experiences.
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Be true to what you want to say, or whatever style it is that you've chosen or genre you've chosen. Do it well! My criteria always has been that the piece must stand the chance of succeeding on the level it's intended to succeed on.
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Nudes are the greatest to paint. Everything you can find in a landscape or a still life or anything else is there: darkness and light, character dimension, texture. I painted heads too, of course.
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In anything really, it's finding the reality. You can't be 'real,' but you can create a reality. And that created reality is what the audience believes in. And that's essential. Because if the audience doesn't believe that, they're never going to trust you. And if they don't trust you, you can't lead them up the mountain.
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My springboard is always the script. Even if the script is taken from a novel, I often haven't read the novel...
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