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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.

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
Everything
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Painted
Life
Else
Dimensions
Light
Heads
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Landscape
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Paint
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Darkness
Nudes
Anything
Greatest
Texture
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More quotes by John Hurt

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I stopped asking a long time ago, why would you want me to play that? I'm an actor. That's what I do.
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I think it's interesting to see how things come into and go out of fashion.
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If you do an interview in 1960, something it's bound to change by the year 2000. And if it doesn't, then there's something drastically wrong.
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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 find it difficult to say, like which child do you prefer the most, and its a sort of surface choice. I've never known how to quite answer that one adequately.
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We're all far too afraid of being so arrogant to say Either you can or you can't.
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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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The truth is rarely true and never simple.
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Very broadly speaking, you can put directors into two areas: One for whom you work, and the other with whom you work. And I prefer the latter, for obvious reasons.
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People are not what they seem to be according to their looks.
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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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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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Life is full of ironies and paradoxes.
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I find myself more interested in producing. Not because I'm interested in the financial side of it, but just getting together the right elements to make a film, that side of production. I would not be good on the financial side. It would be a disaster from the beginning.
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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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Anything which retains interest is optimistic. When the characters become disinterested, it's pessimistic. Does that make sense?
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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 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 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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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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