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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.

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
Well
Lots
First
Directors
Really
Second
Easy
Film
Wells
Firsts
Everything

More quotes by John Hurt

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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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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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I don't like no confusion.
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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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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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I'm very director oriented.
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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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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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When you're really working well with a director then you can be as outrageous as you like and so can he. And there's no worry about it.
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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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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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Society is constantly recalibrating, redefining what it considers to be moral and immoral.
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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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[Alfred] Hitchcock was very interested in the image on the screen.As is any good cinema director. That is the language they speak. It is not literature, it is images on screen.
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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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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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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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[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 think particularly Daniel [Radcliffe], he knows what he's doing. I'm sure he'll finish up a producer. He really realized what it was, knew the size of it. And it was gigantic, the biggest franchise [Harry Potter] in history.
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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