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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.

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
Much
Periods
Always
Films
Time
Longer
Tunnel
Hand
Tunnels
Film
Exhausting
Hands
Entirely
Ends
Period
Light
Spread

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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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[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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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 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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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.
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People are not what they seem to be according to their looks.
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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 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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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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If I hadn't been a part of [Harry Potter] I would have been deeply upset.
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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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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 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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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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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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Society is constantly recalibrating, redefining what it considers to be moral and immoral.
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I have lots of favourite memories but I can't say that I have a favourite film.
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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.
John Hurt