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 would rather be handsome for an hour than pretty for a week.
I'm from the same planet as David Bowie.
What very often happens when people make films about rich people, the camera is quite mesmerised by the opulence and quite theatrical in fact.
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.
I live a soldier's life when I'm working. That's how it feels to me, except I've got a slightly greater chance of survival.
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.
Faith is in the eye of the beholder.
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.
George [Clooney] and I do have the aim one day to be in a film where we say one nice thing to each other. Hopefully one day.
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.
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've only ever gone into studio films with people I really like.
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.
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.