Tilda Swinton
Tilda Swinton
Katherine Matilda "Tilda" Swinton of Kimmerghameis a British actress, performance artist, model, and fashion muse, known for both arthouse, independent and mainstream films. She began her career in films directed by Derek Jarman, starting with Caravaggio in 1985. In 1991, Swinton won the Volpi Cup for Best Actress at the Venice Film Festival for her performance as Isabella of France in Edward II. She next starred in Sally Potter's Orlando in 1992 and was nominated for the European Film Award...
NationalityEnglish
ProfessionMovie Actress
Date of Birth5 November 1960
CityLondon, England
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.
There's a thing I really mind hearing, when someone says: "That's not my kind of film, I don't want to go and see that..." I don't believe that, I don't believe that it's possible to write off a whole genre of filmmaking - "oh I don't like subtitled films", or "I don't like black and white films", or I don't like films made before or after, a certain date" - I don't believe that.
I believe that all great art holds the power to dissolve things: time, distance, difference, injustice, alienation, despair. I believe that all great art holds the power to mend things: join, comfort, inspire hope in fellowship, reconcile us to our selves. Art is good for my soul precisely because it reminds me that we have souls in the first place.
There's something radical about a coming-of-age story that's about everyone trying to come of age at the same time, ... It's not so much about growing up as growing on. There's something compassionate about parents not knowing what they're doing.
Don't you think... the festival has, I don't know, gone a little funny this year?
Well, it's kind of what I do, to be honest with you,
I was one of the very few people brought up on these islands who hadn't been given the books along with my mother's milk. So I came to it with a beginner's mind. I still haven't read them all, but I thought it was a good read, and I thought it would make a good film. So I was very happy to do it. When I met with Andrew Adamson I just thought he was the right person for the job.
till I was about 17. I can't remember why I stopped. I've tried (to suck my thumb) since, but it doesn't work anymore.
She's not a talker, or an intellectual, and she's a woman at a certain stage of her life who's already made a certain amount of choices.
She's not a 'normal' mom, but who knows what that is anymore? ... But she learns I think the most important lesson of parenting. You have to tell your kids, 'I'm watching you.'
I felt clearly that the atmosphere of the film is about loneliness, and existentialist loneliness - in all the characters, including my own.
It's pretty much the best original screenplay I've ever read, for a start. Then there's the team - they're a fantastic group of people.
What he's done is recognise the cinematic nature of the book. It's beautifully realised - it's a beat film.
Nic's Charlie is something very particular. You can't really put them together. It's a phantasm.