Tilda Swinton thinks ''life is too short'' to work on movies with people she doesn't like very much.
Tilda Swinton only makes movies with people she likes.
The 'Snowpiercer' actress worked on a number of projects with director Derek Jarman - including 'Aria', 'Caravaggio' and 'The Last of England' when she was first beginning her career and the fun she had on set in the early days quickly made her realise work was at its most enjoyable if she got on well with the cast and crew.
She said: ''I first started making films with Derek Jarman in England in the 1980's.. we were very close friends and we made 7 films together over the nine years before he died in 1994. I learned very early on that filmmaking is amongst the most fun things that can be done in a group, in the cold and the rain in the middle of the night when the food has run out.. so ever since then, I have chosen the people first above every other element.. life is too short to be working alongside people you don't like A LOT for years on end..(sic)''
Continue reading: Tilda Swinton Has To Like Collaborators
A previously unseen film by late British director Derek Jarman is to be screened for the first time.
The moviemaker, who died of an AIDS-related illness in 1994, shot the footage at a gay nightclub in east London the same year as part of a project with fellow director Ron Peck.
Peck has now decided to release the feature-length film, titled Will You Dance With Me?, to coincide with an upcoming Jarman retrospective at the British Film Institute (Bfi) commemorating 20 years since the director's death.
Continue reading: Lost Derek Jarman Film To Be Screened
The 'Harry Potter' film franchise will receive the award for Outstanding British Contribution to Cinema at this year's BAFTAs, with prize being accepted by writer JK Rowling and producer David Heyman.
The 'Harry Potter' film franchise will receive the award for Outstanding British Contribution to Cinema at this year's BAFTAs.
Jk Rowling - who wrote the books the movies are based on - and producer David Heyman will accept the prize on behalf of the film series at the star-studded ceremony at London's Royal Opera House on February 13.
Finola Dwyer, chair of the film committee, said: "As this great British film success story draws to a close with this year's eagerly anticipated final instalment, it's fitting that BAFTA honours the Harry Potter films and their contribution to the British film industry."
Continue reading: Harry Potter Movies To Receive Bafta
The pair became friends in 1985 at the casting call for his movie Caravaggio, and the Michael Clayton star is convinced the encounter changed her life.
She says, "If I hadn't met Derek, I wouldn't have carried on performing. I probably would have become a professional gambler.
"At the time, I was working the horses a bit. What he offered me was a home (in film). We didn't fit in. I knew I didn't want to be in a corset in Merchant Ivory Films."
Continue reading: Swinton Thanks Jarman For Career
In the early part of the film, a narrator solemnly intones Eliot-like observations about the decline of England, post-industrial anomie, growing up in the Midland suburbs, or whatever. He rages against the upper class, the bureaucracies, or who knows what. Maybe The Last of England is supposed to be a comment about Thatcher (after decades of socialism, the British Left somehow managed to blame Thatcher for rampant unemployment and poverty). But it's hard to infer anything from endless, out-of-focus looped footage of demolished buildings and dancing drag queens. The title's right, though. If this film is any indication, the country that produced the Industrial Revolution, Newton, Darwin and Shakespeare is barely registering a cultural pulse.
Continue reading: The Last Of England Review
Jarman keeps the language but takes the story out of its 14th-century timeframe, fills it with anachronisms, presents it with minimal sets against a black background, and turns it into a furious rant against the homophobia of the Thatcher-era England of the '80s and early '90s. Though Marlowe wrote a gay subtext into his play, Jarman moves it up front: Edward is gay, he gives too much power to his gay lover, and they both have to be destroyed before things get out of hand.
Continue reading: Edward II Review
The conceit this time: Each director takes a piece of classical music and sets it to film -- mostly without dialogue and invariably without any sense whatsoever.
Continue reading: Aria Review
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