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

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I think it's interesting to see how things come into and go out of fashion.
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The truth is rarely true and never simple.
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We all have our limitations.
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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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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 think you can get better in mathematics on a school level, but when you're talking about being a mathematician, I think that's definitely a gift of genes or whatever.
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Films don't take as long as people think. 'Harry Potter,' people always used to say, 'Well, my God, do you ever get any time to yourself?' I think I did, in 'Harry Potter,' over a 12 year period I did five days. So it's not exactly exhausting.
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I loathed school. I don't have an academic mind, and besides I was so bored by my teachers! How teachers can take a child's inventiveness and say yes, yes, in that pontifical way of theirs, and smother everything!
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You have to learn to cut your cloth accordingly. But it seems to be a human weakness. Once you start making a lot of money, you just join in with everyone else. It's like the banks, and we've seen what happens there.
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The clergy is in the same business as actors, just a different department.
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I am not an enormous believer in research being the be-all and end-all. I get suspicious when I read about actors spending six months in a clinic, say, in order to play someone who is sick.
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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 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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You collect as much information as you can and then you put it into the mulberry of your mind and hope that you come up with a decent wine. Sometimes you do sometimes you don't.
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In the States it's more and more difficult to get an independent film off the ground, and you certainly wont get the opportunity to play something like that in a studio movie.
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It's a great relief to feel that you're working with someone rather than for someone. You don't feel that you're being tested, as it were.
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If it's a low-brow bawdy comedy, it's got to stand the chance of succeeding as such. If it's an intellectual piece, a drama, and so forth. And of course, once you've determined the level of the piece, do it the best you know how. And then don't make concessions. To audiences, or to pursestrings, or whatever.
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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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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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Elephant Man [movie] was much more difficult physically. This had a couple of days. It was quite tricky. I had my leg strapped up behind me and I am a little older now. It was all marvelous, though. He [Bong Joon-ho] is one of the most fabulous directors in the world.
John Hurt