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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.

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
Constantly
Anybody
Idea
Misleading
Experience
Mislead
Else
Performer
Able
Performers
Ideas
Fascinated
Like
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More quotes by Tilda Swinton

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We talked [with Scott Derrickson] about making it kind of muscular and practical. Yeah it's a fantasy but what's the difference between fantasy and reality really?
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About actors' lives... I'm not the person to ask. I don't live an actor's life and I really don't know. I probably read less about actors' lives than you all do. So, I'm in the dark about all of that, sorry.
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I always think of the word 'abandonment' when I think of the character.
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I think that a real film fan experience is about a kind of omnivorous experience.
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Sexuality is, of course, a great way of having a conversation between people.
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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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Most of us live our whole lives without having an adventure to call our own.
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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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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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Art is good for my soul precisely because it reminds me that we have souls in the first place.
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I've only ever gone into studio films with people I really like.
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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 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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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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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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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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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'm from the same planet as David Bowie.
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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.
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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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