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I've been on the other side of the table many times, trying to get people to be sympathetic to projects, and I've been the victim of that kind of intense kindness masking extreme stupidity.

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
People
Kindness
Sympathetic
Projects
Extreme
Side
Stupidity
Sides
Extremes
Times
Table
Many
Tables
Trying
Intense
Kind
Victim
Masking

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Most of us live our whole lives without having an adventure to call our own.
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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 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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I'll tell you one thing, and this is banal to say because it just makes it sound like it's all planned, and nothing is planned at all. But one link is with The Deep End, and one link is that I'm making a film later on that revolves around the relationship between an innocent party and a dead body.
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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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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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It's a real comfort zone for me to feel alien.
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I've only ever gone into studio films with people I really like.
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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'm really interested in the idea of long, long life and transformation and immortality.
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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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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'm from the same planet as David Bowie.
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Sexuality is, of course, a great way of having a conversation between people.
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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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How do we identify ourselves, and how do we settle into other people's expectations for our identity?
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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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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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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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One of the wonderful things that I've always loved as an art student, what I always loved about comics, was that they are interpreted differently by different graphic artists all the time, so now film is doing that thanks to Marvel Studios.
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