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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.

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
School
Straight
Might
Drama
Paid
Week
Went
Left
Money
Film
Heck

More quotes by John Hurt

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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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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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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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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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We shot ['Sailcloth'] five days down in Cornwall, and you couldn't have asked for a more beautiful place. It was a couple of tough days at sea, but when I say tough it was still enjoyable.
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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'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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I've done lots of films with first directors, so it's not unusual for me.
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I'm besotted by [Kirsten Dunst] now. I think she's just wonderful. I can't think for a second that however much she'd worked in America, she would never have had the chance to play [a role in Lars Von Trier's 'Melancholia' ] like that. You have to get outside of the States to do something like that.
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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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I'm very director oriented.
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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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Anything which retains interest is optimistic. When the characters become disinterested, it's pessimistic. Does that make sense?
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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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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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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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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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My parents felt that acting was far too insecure. Don't ask me what made them think that painting would be more secure.
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I have lots of favourite memories but I can't say that I have a favourite film.
John Hurt
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Society is constantly recalibrating, redefining what it considers to be moral and immoral.
John Hurt