A Quote by Chiwetel Ejiofor

I still have to say that I did 'Dirty Pretty Things' 11 years ago. That was a very sudden shift in my life and my relationship to my work, and it didn't feel it was impossible to make a film like that.
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 started off in theater; I did exclusively theater for four or five years. In the last few years, television has come along but I can still make film. I feel very privileged that I can move between them.
Tradition does not mean a dead town; it does not mean that the living are dead but that the dead are alive. It means that it still matters what Penn did two hundred years ago or what Franklin did a hundred years ago; I never could feel in New York that it mattered what anybody did an hour ago.
I've done movies that I've been advised not to do. 'Dog Soldiers,' the movie I did 11 years ago now, I remember my agent at the time was like, 'You shouldn't do that. It's a weird film about werewolves,' and it became a cult hit.
Those are the ladies sitting in church. And in the same way that they might feel a joy and release on Sunday, they are still going to work on Monday. And that's who I was listening to during this process. And if at the end of my presidency they feel like I did a pretty good job, then I'll feel pretty good.
I do the same exercises I did 50 years ago and they still work. I eat the same food I ate 50 years ago and it still works.
I have information about things that our government has lied to us about. I know. For example, to say that since the fall of the Soviet Union we ceased all of our intimate relationship with Bin Laden and the Taliban - those things can be proven as lies, very easily, based on the information they classified in my case, because we did carry very intimate relationship with these people, and it involves Central Asia, all the way up to September 11.
Ten years ago in Antarctica shooting "Encounters at the End of the World," I met a very fine volcanologist from Cambridge University [Clive Oppenheimer] and we kept talking about doing a film and all of a sudden it became serious when he hinted at the possibility to film in North Korea.
There's a film I did years ago, 'Love Serenade,' that I still really love. It's such an oddball sense of humor. It was a really special film for me when I did it.
I find that male directors are more interested in what the film looks like as opposed to what the film is about emotionally. My job is not to make the film look pretty, and I don't feel drawn to making myself look pretty within the film.
From the very beginning, all of my films have divided the critics. Some have thought them wonderful, and others have found very little good to say. But subsequent critical opinion has always resulted in a very remarkable shift to the favorable. In one instance, the same critic who originally rapped the film has several years later put it on an all-time best list. But of course, the lasting and ultimately most important reputation of a film is not based on reviews, but on what, if anything, people say about it over the years, and on how much affection for it they have.
I've changed my whole life around, I've devoted my life for tennis instead of partying. I'm very happy, you know, I'm 27, I really feel like I have another 5 years left in me, and I still, honestly feel like I have still got the best tennis, best things ahead of me.
All of my plays have puzzled some people, and I'm happy to say delighted a few, but a lot of people have just not seen how quite to look at them. And this film... if you like my writing, you'll like this film. If you don't, you won't like the film. It's pretty faithful to - it's a pretty uncompromising presentation of my way of seeing things, I suppose.
When people are still getting pleasure from something that you did 30 years ago, it makes you feel good. I always say it makes an old man happy.
I think it's very touching to see young people interested in what we did a long time ago. They don't say, 'Well, I saw this old film with you.' They say: 'I saw this wonderful film. I really love it.'
I still have the same hunger like I did 20 years ago but it's a different sort of reflection when you lose. It doesn't hurt you as much because I feel like I've had a good career.
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