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Tilda Swinton Quotes

Tilda Swinton Quotes: 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.
There's no need there to sit with the filmmaker for 11 years to develop the script, or go round the world raising money.
It's a real comfort zone for me to feel alien.
Years ago, when James Bulger was murdered, every newspaper front page was talking about evil. At that point, having suppressed it for years, I remembered when I was four or five, I tried to kill my own brother.
The people I'm working with tend to be people I know, who are my friends, and I like hanging out with them. There's nothing better than making a long-term project with your friends. It's just dreamy.
Most of us live our whole lives without having an adventure to call our own. What is any life without the pursuit of a dream?
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.
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.
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.
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.
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.
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.
Eleven years is a great length of time to prepare a movie, it would be wonderful to have 11 years of funded preparation.
I think that both Luca [ Guadagnino]and I have a kind of resistance to the idea of a film holding a moral message because that would exclude so many people from feeling that it was their film and it's important for a piece of work to feel owned by every member of the audience.
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.
I follow my nose. It's as simple as that.
To be honest the work that a producer does is work that I've done for most of my working life. It's work that I started to do, for example, when I worked with Sally Potter on Orlando. We developed it together over five years.