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It's quite a dangerous career move to go wilfully on making films that may not find a distributor.

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
Moving
Distributor
Making
Distributors
Film
Films
May
Career
Find
Careers
Move
Dangerous
Quite
Wilfully

More quotes by John Hurt

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Often I don't read novels. The script is more important, that's the springboard to your imagination, really. Peripheral information can be interesting to read but you can't use it when it's not in the script.
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Lotte Lenya was all emotion. She wasn't anything but emotion. She was not an intellectual.
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I think [ Lars Von Trier] is a fantastic filmmaker. No question. You've got to be ready for him. He's sharp and he's got a sharp tongue and I love that. He doesn't mind it back.
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I never quite understand why we watch the news. There doesn't really seem much point watching somebody tell you what the news is when you could quite easily listen to it on the radio...
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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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I have lots of favourite memories but I can't say that I have a favourite film.
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I never had any ambition to be a star, or whatever it is called, and I'm still embarrassed at the word.
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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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On the other hand, you get other films that are spread over a much longer period of time and it's entirely exhausting. But there's always light at the end of the tunnel with a film.
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Pretending to be other people is my game and that to me is the essence of the whole business of acting.
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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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You can see areas where maybe you got a bit lazy, perhaps, or you see when you were really on form. I think an actor is very like a sportsman in that respect. You have periods where you're in terrific form.
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The British tradition, basically, is to go to the character. And the Hollywood tradition, shall we say, is basically to take the character to the performer.
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[Bong Joon-ho'] is quite different but technically, he is as clever as [Alfred] Hitchcock. That's saying something. In humanitarian terms, I think he is much cleverer. He is one of the best directors I've worked with. I absolutely adore working with him.
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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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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.
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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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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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I've done lots of films with first directors, so it's not unusual for me.
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