A Quote by Tilda Swinton
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.
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If I hear that a film of mine is going to be shown on a big screen somewhere and I haven't seen it in a while, I make a point to get to see it. I just want to see it up on the big screen.
I'll remember this to my grave. We all walked into a room to see the screen tests. The first screen test was Marion Hutton's. Then came Janis Paige [who ended up with a part in the film]. Then on the screen came Doris Day. I can only tell you, the screen just exploded. There was absolutely no question. A great star was born and the rest is history.
We want to see women in more power positions, not just in front of the screen but behind the screen as well.
I can see that cinema seems to be finished. Everybody has a bigger screen at home. I'm assuming eventually you won't need a screen at all - these iPhones will just project.
I said the screen will kill the reader, and it has: the movie screen in the beginning, the television screen, and now the coup de grace, the computer screen.
It's more interesting to see new people on the screen when you go to the cinema. I don't want to see the same old faces.
The reason I became an actress is because I wanted my acting to reflect life as it is. I want to put truth on the screen. I want real women to see real women on the screen.
When people see me as Gavaskar on screen, I want them to feel that they are looking at the person that they have known and when I play on screen, it should remind them of how he played.
I think one of the reasons younger people don't like older films, films made say before the '60s, is that they've never seen them on a big screen, ever. If you don't see a film on a big screen, you haven't really seen it. You've seen a version of it, but you haven't seen it. That's my feeling, but I'm old-fashioned.
As the cinema is changing, on-screen kissing, love-making scenes are becoming part of the narrative. I am not saying it is wrong, because it is the reflection of how our society has changed and become comfortable with it. But I am uncomfortable performing it on screen.
'Paranormal Activity' had fifty versions because it was $250 to reshoot. We'd screen it, see one thing wrong, shoot for an hour, fix it, and then screen it again. You don't have to be disciplined about it. On a regular movie, you have to screen it and think of every problem, reshoot for three days and solve every problem, and then you're done.
I always direct next to the camera and watch my actors, and so you can see the small things that you can't see on the small screen but you can definitely see on the big screen.
I love making movies that I want to see made and I want to see on the screen, but I also want to make movies that people enjoy and want to watch.
I feel like my job as a storyteller and director is to create an experience where the audience forgets they're in a cinema and can get lost in the story. Things popping out of the screen call attention to the artifice of what you're doing, so I use 3D as more of a window into a world behind the screen.
It's a very different thing when you're able to read something and see it in your mind, then to imagine it on screen. It's emotional transference that you don't have in literature that you have in movies. People invest in the person they see on the screen and they can't shift gears.
Content is getting its due respect. Our audience wants to see characters on screen and want to see actors play new roles, adapt different body language.
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