Quotes of All Topics . Occasions . Authors
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.
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.
I'm just really old [in Doctor Strange]. Just really, really old. There is I suppose a sort of theme tune which I'm really interested in.
It's exotic for me to be given a script that's already written, and be given a pay cheque, and asked to dress up and play, and that's all.
What very often happens when people make films about rich people, the camera is quite mesmerised by the opulence and quite theatrical in fact.
Alexander Trocchi was an existentialist. He was looking at an alienated artist in the post-war period. It's modern because it applies now as well.
This self-obsession is a waste of living. It could be spent on surviving things, appreciating nature, nurturing kindness and friendship, and dancing.
More and more, there are things in my life that I find hard to say. Like, 'David Bowie and Lorde were at my birthday party.' She's a phenomenal spirit.
The thing that keeps me being a performer is my interest in society's obsession with identity, because I'm not sure that I really believe identity exists.
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.
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?
We were very clear that this film's [Young Adam] so much about a relationship that's borne out through the sexual contact, and that that's the way they communicate.
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.
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.
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.
The problem for me is that I look like so many people in my family, so I can't really see anything. Except I could say that I look rather like my father without his mustache.
Derek Jarman shared the responsibility for making the film. He didn't necessarily know what he wanted - he knew what he didn't want - but you had to keep coming up with stuff.
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.
I was not, and am not, officially a producer of that film [I am love] but the work of what a producer does I learned at that stage and to a certain extent I've been a producer ever since.
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 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.
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.
We're filling a big universe [in Doctor Strange], and so the look and the sort of plasticity of us is really important to us when we're striking poses here. It's very important, it's really great.
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.
There is something insane about a lack of doubt. Doubt - to me, anyway - is what makes you human, and without doubt, even the righteous lose their grip, not only on reality but also on their humanity.
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'm very often referred to as 'Sir' in elevators and such. I think it has to do with being this tall and not wearing much lipstick. I think people just can't imagine I'd be a woman if I look like this.
If we don't accept loneliness, then capitalism wins hands down. Because capitalism is all about trying to convince people that you can distract yourself, that you can make it better. And it ain't true.
Anybody knows who lives with animals, they teach you more about what it is to be a good human than most people: patience, goodheartedness, enthusiasm, presence, forgiveness, focus, restfulness, honesty.
I find myself apologising for not being a proper actor. I never intended to be involved in the film industry and still do feel that, with the exception of a couple of brief skirmishes with the film industry.
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.
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.
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.
I was always, and I still am to a certain extent, one of those lazy people who spends a lot of time with Italian friends and yet constantly says I don't speak Italian. Things slow down when I start speaking Italian.
What children, in fact all of us at any age, find frightening is unreliability and emotional coldness. The idea that you can't affect someone, that you can't see where they're coming from and can change tact at any moment.
We never know about anybody else's relationship and how they work - particularly the ones that work for a really, really long time. I was going to say only the people in it, but often, not even they understand how it works.
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.
I sometimes think I was always left-wing. I know that sounds completely crazy, but I do know that I asked questions when I was about four, and I remember noticing that I wasn't getting an answer, and I remember it annoying me.
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.
What bothers me is that the cinema - what Fox News calls the "wholesome cinema that our children are supposed to be able to see" - is so violent. I'm not even talking about the content. I'm talking about the way in which it's cut.
This film [Teknolust] in particular, showing the way in which having a sexual dialogue with someone can be something developing and changeable and maybe uncomfortable and complicated. Just complicated and human, no more and no less.
Oh, man, you won't hear me talking about the drudgery of making movies. I don't buy any of that. All those guys who made 'The Revenant,' they loved it. They wanted to make a film, and they were the happiest people around to be doing so.
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.
I'm a huge Marvel fan and the fact that they take the liberties that they do in filmmaking I think, if anything, that it dignifies the comics and it says, "Yeah. This is a strong enough, robust enough source. We can bend it, it's elastic. It's bouncy."
I'm a huge Marvel fan, and the fact that they take the liberties that they do in filmmaking - I think, if anything, that it dignifies the comics, and it says, 'Yeah. This is a strong enough, robust enough source. We can bend it; it's elastic. It's bouncy.'
My understanding is that it's quite difficult for actors in the theater to know anybody but actors in the theater. It's the whole concept of the amniotic fluid surrounding one industry, holding people in place. I've never had a season ticket. I'm always a tourist.
The story, it's really important to The Ancient One that Doctor Strange does cut it because The Ancient One needs a successor, or certainly needs - you could say - a son. So The Ancient One is really invested in Doctor Strange, it's a very kind of primal relationship.
This is the launch of the Doctor Strange film interpretation, of - in my view - a classic, which has been interpreted many times by other graphic artists and this is just our graphic interpretation of The Ancient One. I would say the whole approach is about a kind of fluidity.
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.
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.