Tilda Swinton

Birthday: 5 November 1960, London, England, UK

Birth Name: Katherine Matilda Swinton

Height: 179 cm

The iconoclastic gifts of the visually striking and fiercely talented actress Tilda Swinton have been appreciated by a more international audience of late.She was born Katherine Mathilda Swinton on November 5, 1960, in London, England. Her mother, Judith Balfour, Lady Swinton (née Killen), was Australian, and her father, Major-General Sir John Swinton, an army officer, was English-born. Her ancestry is Scottish, Northern Irish, and English, including a long tapestry of prominent Scottish ancestors. Born into a patrician military family, she was educated at an English and a Scottish boarding school. Tilda subsequently studied Social and Political Science at Cambridge University and graduated in 1983 with a degree in English Literature. During her time as a student, she performed countless stage productions and proceeded to work for a season in the Royal Shakespeare Company. A decided rebel when it came to the arts, she left the company after a year as her approach shifted dramatically: With a taste for the unique and bizarre, she found some genuinely interesting gender-bending roles come her way, such as the composer Mozart in Pushkin's "Mozart and Salieri", and as a working class woman impersonating her dead husband during World War II, in Karges' Screenplay: Man to Man: Another Night of Rubbish on the Telly (1992). In 1985 the pale-skinned, carrot-topped actress began a professional association with gay experimental director Derek Jarman. She continued to live and work with Jarman for the next nine years, developing seven critically acclaimed films. Their alliance would produce stark turns, such as turner-prize nominated Caravaggio (1986), The Last of England (1987), The Garden (1990), Edward II (1991), and Wittgenstein (1993). Jarman succumbed to complications from AIDS in 1994. His untimely demise left a devastating void in Tilda's life for quite some time. Her most notable performance of that period however comes from a non-Jarman film: For the title role in Orlando (1992), her nobleman character lives for 400 years while changing sex from man to woman. The film, which Swinton spent years helping writer/director Sally Potter develop and finance, continues to this day to have a worldwide devoted fan following. Over the years she has preferred art to celebrity, opening herself to experimental projects with new and untried directors and mediums, delving into the worlds of installation art and cutting-edge fashion. Consistently off-centered roles in Female Perversions (1996), Love Is the Devil: Study for a Portrait of Francis Bacon (1998), Teknolust (2002), Young Adam (2003), Broken Flowers (2005) and Béla Tarr's A londoni férfi (2007) have only added to her mystique. Hollywood too has picked up on this notoriety and, since the birth of her twins in 1997, she has successfully moved between the deep-left-field art-house and quality Hollywood blockbusters. The thriller The Deep End (2001), earned her a number of critic's awards and her first Golden Globe nomination. Such mainstream U.S. pictures as The Beach (2000) with Leonardo DiCaprio, fantasy epic Constantine (2005) with Keanu Reeves, her Oscar-decorated performance in Michael Clayton (2007) alongside George Clooney and of course her iconic White Witch in The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005) have cemented her place as one of cinema's most outstanding women.She then starred in the crime drama Julia (2008); in David Fincher's The Curious Case of Benjamin Button (2008); learned Italian and Russian for Luca Guadagnino's Io sono l'amore (2009); starred in the psychological thriller We Need to Talk About Kevin (2011); in Wes Anderson's Moonrise Kingdom (2012); in Joon Ho Bong's Snowpiercer (2013) and in Terry Gilliam's The Zero Theorem (2013). Swinton later starred in the dark romantic fantasy drama, Only Lovers Left Alive (2013) directed by Jim Jarmusch and had a small role in Wes Anderson's The Grand Budapest Hotel (2014).In 2015, Swinton starred in Judd Apatow's comedy Trainwreck (2015), and played a Rock star in Luca Guadagnino's A Bigger Splash (2015), starring opposite Matthias Schoenaerts and Ralph Fiennes.In 2016, she starred in Joel & Ethan Coen's Hail, Caesar! (2016).Swinton has been confirmed in Luca Guadagnino's Suspiria (2017), a remake of Dario Argento's 1977 film. Show less «

I think I enjoy my work now even more simply because it's even easier than it was. It sounds sacrile...Show more »

I think I enjoy my work now even more simply because it's even easier than it was. It sounds sacrilegious to say that anything's a delight when you're away from your children, but the truth is that it is refreshing to only have yourself to dress in the morning, and to lie diagonally across the bed. Making films, going round the world on tour all these crazy things that were so difficult before are so mucheasier than breastfeeding twins for 14 months that frankly it is a delight. Show less «

[on what cinema means to her as an art form] My guides in this inquiry are my children who are now 1...Show more »

[on what cinema means to her as an art form] My guides in this inquiry are my children who are now 16 -- they're twins. They're like lab rats really, they're very grateful. When I first started thinking about cinema for them, I started to really examine my own desires about cinema for myself... It was really to do with the children and seeing their eyes opening. And I started thinking about why cinema is good for the soul, and what it gives us. In a nutshell, what it is for me is this amazingly humane opportunity to put yourselves in the shoes of someone else. It's no more complicated and no less powerful than that. You go in, it all goes dark, and you put yourself in someone else's shoes and see through their eyes. That's just mega, it's so powerful. Even a painter, who can do it, only can do less. A painter at one time is showing you one frame, but a filmmaker can take you into an experience and an existential atmosphere that may be a trip for you. It's like a magic carpet. This is how I feel about cinema. Show less «

I don't think I'm courageous. One man's courage is another man's comfort zone. We Need to Talk About...Show more »

I don't think I'm courageous. One man's courage is another man's comfort zone. We Need to Talk About Kevin (2011) explored a taboo subject: the idea of a less than perfect mother. I knew that, when an audience watched the film, there would be a gag reflex at some point. But I was fascinated by the subject - it scared me, and that interested me. Show less «

[on not taking her personal nor her professional life too seriously] I'm playful at heart. And myth-...Show more »

[on not taking her personal nor her professional life too seriously] I'm playful at heart. And myth-making is always fun. Show less «

True, there is all sorts of religious extremism all over the place, but the reason for this partly h...Show more »

True, there is all sorts of religious extremism all over the place, but the reason for this partly has to do with the fascist attitudes and language of absolutism coming from Washington. It's challenging for people outside of America that Bush was re-elected. It means we're all going to have to work a lot harder to understand what so many more Americans than we thought really want. It's an identity shift in our minds about America and maybe for many Americans as well. Show less «

There is something insane about a lack of doubt. Doubt, to me anyway, is what makes you human, and w...Show more »

There is something insane about a lack of doubt. Doubt, to me anyway, is what makes you human, and without doubt even the righteous lose their grip not only on reality but also on their humanity. Show less «

I don't work the future - I don't want to know what's coming. I don't feel I need any guarantees.

[on Delphine Seyrig] The most important thing to strive for is to never look like an actress. Just a...Show more »

[on Delphine Seyrig] The most important thing to strive for is to never look like an actress. Just always look like a person. And that's exactly what Delphine achieved. Show less «

I'm not one of those performers who says the theatre is my great love. It really isn't. I'm not real...Show more »

I'm not one of those performers who says the theatre is my great love. It really isn't. I'm not really interested in the theatre at all to be honest. I don't go to it. I find it really boring. Show less «

When people ask about how I approach a character - well, I wouldn't know how to approach a character...Show more »

When people ask about how I approach a character - well, I wouldn't know how to approach a character if I tried. People will ask about choosing a role; I don't choose roles. People will talk to me about preparation. Aside from putting together a disguise, I'm not aware of any preparation at all. Show less «

I don't love the theatre. I'm just not one of them.

The other day, I was going through the airport security and I was searched by a male security guard....Show more »

The other day, I was going through the airport security and I was searched by a male security guard. I'm very often referred to as "Sir" in elevators and such. I think it has to do with being this tall and not wearing much lipstick. I think people just can't imagine I'd be a woman if I look like this. Show less «

When we were trying to finance We Need to Talk About Kevin (2011), we would reference Rosemary's Bab...Show more »

When we were trying to finance We Need to Talk About Kevin (2011), we would reference Rosemary's Baby (1968). It's every pregnant woman's nightmare to give birth to the devil. And every mother worries that she won't connect with her children. When I had my children, my manager asked me what project I wanted to work on next. I said, "Something Greek, perhaps Medea." Nobody quite understood what I meant, what I was feeling. Show less «

[on the Oscar statuette] I have an American agent who is the spitting image of this. Really truly, t...Show more »

[on the Oscar statuette] I have an American agent who is the spitting image of this. Really truly, the same shape head and, it has to be said, the buttocks. Show less «

In order for the story to move forward, the character has to do certain things. You don't have to be...Show more »

In order for the story to move forward, the character has to do certain things. You don't have to be anything but interested in telling the story. Show less «

[on meeting Delphine Seyrig] She was so beautiful, but that wasn't the most important thing about he...Show more »

[on meeting Delphine Seyrig] She was so beautiful, but that wasn't the most important thing about her. She knew she was beautiful, and she'd stare at you as if to say, 'alright, have a look,' but then she drew you in much, much deeper. Show less «

You're always playing yourself. It's all autobiography, whatever you're doing. It's using them as a ...Show more »

You're always playing yourself. It's all autobiography, whatever you're doing. It's using them as a kind of prism through which to throw something real about yourself, or something relaxed at least. Because the last thing you want is to look like you're acting. Show less «

I am a soldier. I live a soldier's life when I'm working. That's how it feels to me, except I've got...Show more »

I am a soldier. 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. Show less «

[on not considering herself an actor] I don't know what it would take for me to feel like one. I und...Show more »

[on not considering herself an actor] I don't know what it would take for me to feel like one. I understand it's a strange thing to say because I do keep saying, 'Yes, I'll dress up and be in your film.' But when I hear proper actors talking about their lives and how they approach their work, I feel like I'm up another tree. Show less «

[on her character in A Bigger Splash (2015)] At a moment in my own life when I was all out of words ...Show more »

[on her character in A Bigger Splash (2015)] At a moment in my own life when I was all out of words [the death of her mother], I proposed the idea of this woman unable to speak into the established story of ancient histories and new lives thrown into relief by one another. Not only as a twist to ramp up the tensions between the characters, but also as a way of exploring the possibilities of silence in a portrait of a character surrounded by the noise of others and the legacy of the noise she had herself made in the past. Show less «

I really just had a reverse Zoolander (2001) moment when I think I heard someone else's name and sud...Show more »

I really just had a reverse Zoolander (2001) moment when I think I heard someone else's name and suddenly slowly heard my own. I'm still recovering from that moment, and I have absolutely no idea what happened after that. So, you know, you can tell me my dress fell off and I'd believe you, so don't be cruel. - on winning the Best Supporting Actress Academy Award. Show less «

[asked about some actress performances that inspired her] One's always downloading one's heroes, I s...Show more »

[asked about some actress performances that inspired her] One's always downloading one's heroes, I suppose, all the time. We're not referencing any particular, current pieces of work. I remember being asked whether I thought about Gena Rowlands for Julia (2008) and thinking 'well, I think about Gena Rowlands all the time!' Not just for Julia. Of course, we thought about [John] Cassavetes a lot for Julia. For this film [Io sono l'amore (2009)] we thought about Catherine Deneuve in Belle de jour (1967). I thought about -and again, I always think about- Delphine Seyrig in Last Year at Marienbad. But again, it's not just sampling these performances, but being inspired by them all the time. I could say that I'm just as inspired by Delphine Seyrig when I'm making Julia as when I [am] doing I Am Love. Who else? Let me think...Carole Lombard in To Be or Not to Be (1942). Those are the people that kind of spring to my mind. So does Ingrid Bergman. Show less «

It's a real comfort zone for me to feel alien.

[on how she believes Derek Jarman would have reacted to her winning an Oscar] I think he would have ...Show more »

[on how she believes Derek Jarman would have reacted to her winning an Oscar] I think he would have laughed and laughed and laughed and laughed and laughed... And then, he would ask me for the thing to melt it down into an artwork. Show less «

I sometimes think I was always left-wing. I know that sounds completely crazy, but I do know that I ...Show more »

I sometimes think I was always left-wing. I know that sounds completely crazy, but I do know that I asked questions when I was about four, and I remember noticing that I wasn't getting an answer, and I remember it annoying me. Like why when we went to church on Sunday were we sitting upstairs and the people we'd been playing with the day before were sitting downstairs. And I noticed that my brothers were not asking these questions. I was aware that I was being embarrassing. Show less «

I'm basically interested in identity, and I still find fascinating the question, "How do we identify...Show more »

I'm basically interested in identity, and I still find fascinating the question, "How do we identify ourselves, and how do we settle into other people's expectations for our identity?" Show less «

There's such an effort to try and explain people.

[on We Need to Talk About Kevin (2011)] I call this the feel-good film of the year, because parents ...Show more »

[on We Need to Talk About Kevin (2011)] I call this the feel-good film of the year, because parents will leave the cinema going, 'There but for the grace of God go I'. And people who don't have children will leave the cinema going, 'There but for the grace of God go I!. So it's a win-win situation, I reckon. Show less «

Tilda Swinton

Tilda Swinton's FILMOGRAPHY

Tilda Swinton'S roles

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