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I remember noticing, when I had my babies, how much I liked them, and not just loved them, but I was really into them. I knew I was going to be curious about them, and up for the mayhem ahead.

Tilda Swinton

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Tilda Swinton
Age: 64
Born: 1960
Born: November 4
Actor
Actress
Film Actor
Film Director
Stage Actor
Voice Actor
London
England
Katherine Mathilda Swinton
Katherine Matilda Tilda Swinton
Katherine Matilda Swinton
Going
Motherhood
Much
Curious
Really
Ahead
Liked
Baby
Loved
Mayhem
Knew
Noticing
Remember
Babies

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What very often happens when people make films about rich people, the camera is quite mesmerised by the opulence and quite theatrical in fact.
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We must hang on to the idea that we can actually change things. That's the sort of environment that Joe finds himself in, in Young Adam.
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Eleven years is a great length of time to prepare a movie, it would be wonderful to have 11 years of funded preparation.
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I have this very strange relationship with my work, which is that it's like a conversation between me and it.
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I mean, even in terms of the Marvel universe, this [Ancient One character] is going on a side street into a major piazza that Marvel hasn't even been to before, because it's all about creation and not so much about destruction and forestalling destruction, it's about your mind.
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I was just talking to Benedict [Cumberbatch] who's got a little baby and knows his father lives in his phone. We as humans are evolving really fast, so everyday we're hit with that.
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I'm from the same planet as David Bowie.
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I think of great masters, like [Alfred] Hitchcock, for example, who works absolutely within this sensational realm. You feel like you can always tell what temperature a room is in a Hitchcock film because the people feel alive, they don't feel like they're just being filmed on a stage.
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Art is good for my soul precisely because it reminds me that we have souls in the first place.
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For me, sex is a refraction of the thing about identity. In the sexual contact, which is usually - but not exclusively - between two people, you do retain separate people.
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In The Deep End, you have a woman who looks like a J. Crew mother who can manage it all. Then we begin to realize what's going on inside. Every time I see one of those women stuck at a stoplight with the children in the back of her car, I sort of think, What have you just done? What's going on in your life?.
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A large part of my filmmaking self has to do with my love of being in the cinema audience, and my relationships to what I want to see on the screen, what I have seen on the screen and what I don't want to see on the screen again.
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We're living in a new Beat time, in my view. And it's very difficult for us to hang on.
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As a performer, I'm constantly fascinated with the idea of being able to know what anybody else's experience is, and how misleading all informatives, like appearance, can be.
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Archetypes are always [in my film-making]. It's sometimes interesting to just flip them a little bit and see the underside.
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I always think of the word 'abandonment' when I think of the character.
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This is the launch of the Doctor Strange film interpretation, of - in my view - a classic, which has been interpreted many times by other graphic artists and this is just our graphic interpretation of The Ancient One. I would say the whole approach is about a kind of fluidity.
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I would say, and this sounds like a rather immodest thing to say, but the truth is it's probably the most amazing thing of all, it's pretty much exactly what I thought we were going to make, what I hoped we'd make.
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I think there's a dishonorable tradition in Hollywood to give the idea, particularly to children, that evil characters are dark.
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It's wonderful to actually have an opportunity to get real and show how complicated and fascinating sex is.
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