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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.

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
Wit
Anybody
Interested
Interest
Else
Play
Wilde
Oscar
Oscars

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The truth is rarely true and never simple.
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People are not what they seem to be according to their looks.
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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 love working with Lars [von Trier]! I've worked with him three times. I did the narration of Dogville and Manderlay.
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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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The clergy is in the same business as actors, just a different department.
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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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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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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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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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I've spent a great deal of my life doing independent film, and that is partly because the subject matter interests me and partly because that is the basis of the film industry. That's where the film-makers come from, it's where they start and sometimes its where they should have stayed.
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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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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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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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Anything which retains interest is optimistic. When the characters become disinterested, it's pessimistic. Does that make sense?
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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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As Beckett said, it's not enough to die, one has to be forgotten as well.
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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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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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It's quite a dangerous career move to go wilfully on making films that may not find a distributor.
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