Tilda Swinton Talks Finding Magic and Experimentation In Big Studio Pictures – Marrakech In Conversation
deadline.comTilda Swinton famously cut her acting teeth on the experimental films of late director Derek Jarman such as Caravaggio and The Garden as well as life-long friend Joanna Hogg’s debut short Caprice and Sally Potter’s Orlando.
Nearly 50 years later, she has continued to work with Hogg as well as in the experimental cinema arena, finding a new Jarman-esque kindred spirit in Thai artist and filmmaker Apichatpong Weerasethakul.
Speaking in an in-conversation event at the Marrakech Film Festival on Monday, the actress revealed how some of the big commercial studio pictures she has worked on across her career have felt personally more experimental to her than her avant-garde work. “I’ve been really fortunate to have some adventures in worlds of filmmaking that I never thought I would be able to go into,” she said. “When Derek died [in 1994], I was a bit high and dry… slowly… invitations came and there were a few that I was able to pick up very happily with people I really wanted to be around.” She suggested that her first studio film, the superhero horror Constantine by Francis Lawrence, as well as David Fincher’s The Curious Case Of Benjamin Button were experimental in their different ways. “He was completely throwing himself out of the window with all this tech, which I’m always really interested in,” Swinton said of Fincher on the latter film.
The actress suggested there had been a experimental vibe when she embarked on The Chronicles Of Narnia: Prince Caspian with Shrek director Andrew Adamson.
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