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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
Sides
Extremes
Times
Table
Many
Tables
Trying
Intense
Kind
Victim
Masking
People
Kindness
Sympathetic
Projects
Extreme
Side
Stupidity
More quotes by Tilda Swinton
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Most of us live our whole lives without having an adventure to call our own.
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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 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.
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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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It was just me, naked as underneath my clothes right now, as all of you are.
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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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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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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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Sexuality is, of course, a great way of having a conversation between people.
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You can sit next to somebody on the underground, and you can look at them quite intensely, but you can never, ever know what they're wearing under their clothes.
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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'm really interested in the idea of long, long life and transformation and immortality.
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I think that a real film fan experience is about a kind of omnivorous experience.
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I never quite understand the way society decides who is beautiful and who is not. But an open face and a capacity for kindness always feel like reliable signifiers to me.
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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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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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This self-obsession is a waste of living. It could be spent on surviving things, appreciating nature, nurturing kindness and friendship, and dancing.
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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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[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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