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I always think of the word 'abandonment' when I think of the character.

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
Abandonment
Word
Character
Always
Think
Thinking

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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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The whole thing of working in collaboration with filmmakers is the thing that I love the most, and possibly the thing I do the best.
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How do we identify ourselves, and how do we settle into other people's expectations for our identity?
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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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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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I think that a real film fan experience is about a kind of omnivorous experience.
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The work is different in the sense that I haven't had to travel round the world raising money, or work from the genesis of the project. But the collaboration feels clear always, it's sort of my drug, I'm in it for the conversation. The conversation's the most important part of it.
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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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[My work] just develops and develops, and I'm very nicely served by the universe: just as I'm ready to take the conversation further with myself, some other individual pops up, like David McKenzie did, with this idea of making this film [Teknolust], and provides exactly the leap to the next adventure.
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I think that film festivals, we're very often given to understand, are about filmmakers and about films and about the industry of filmmaking. I don't believe that they are, I believe that film festivals are about film audiences, and about giving an audience the encouragement to feel really empowered and to stretch the elastic of their taste.
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I'm really interested in the idea of long, long life and transformation and immortality.
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Maybe it was my revenge on people who had been unkind to me as a child. But it was very easy and a thrill to freeze up children.
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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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I would say that I think the film [I am love] is absolutely about nature, it recommends human nature. You don't need to recommend change, that's inevitable, it's the only reliable thing we have.
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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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When I say that it's taken us [with Luca Guadagnino ] 11 years to make this film, what I mean is that it was 11 years ago that we started to talk about a kind of cinema that we wanted to make together.
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I'm very much drawn to these stories. This is a huge, great story [in Doctor Strange] about the possibility of living beyond everything, living beyond mortality, living beyond all the immortal confines, living beyond the planet as we know it. It's mind-blowingly no limits, and I think this is going to be something else.
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The only real struggle [in Doctor Strange] was casting spells - learning all these amazing things with fingers, and then remembering what to say at the same time. They would say, 'So you have to put your hands there, not there because the light is going to go [MAKES SOUND] so that kind of masks... but it was all good.
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I've only ever gone into studio films with people I really like.
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It's a real comfort zone for me to feel alien.
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