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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.

John Hurt

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John Hurt
Age: 77 †
Born: 1940
Born: January 22
Died: 2017
Died: January 27
Actor
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Film Actor
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John Vincent Hurt
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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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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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[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'm very director oriented.
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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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The common misconception is that we create films for ourselves. And I really don't do it for myself. I get stopped in the street by people saying, Do you mind if I say this about your work? Do I mind? I'm delighted. I do it for you. It's not for me. It's my living, yes, sure.
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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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As Beckett said, it's not enough to die, one has to be forgotten as well.
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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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Life is full of ironies and paradoxes.
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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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Be true to what you want to say, or whatever style it is that you've chosen or genre you've chosen. Do it well! My criteria always has been that the piece must stand the chance of succeeding on the level it's intended to succeed on.
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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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It's quite a dangerous career move to go wilfully on making films that may not find a distributor.
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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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I got used to [ Lars Von Trier] doing the narration for 'Dogville' and 'Manderley.' And I said to him I do these narrations for you but you never put me in a film! So he called my bluff and put me in 'Melancholia' and I was thrilled about that.
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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 first decided that I wanted to act when I was 9. And I was at a very bizarre prep school at the time, to say high Anglo-Catholic would be a real English understatement.
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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.
John Hurt