speed dating in omaha nebraska - Who is tilda swinton dating

Absolutely not, she says: "The people who work with me seem to get it and the people who don't get it don't come near." But her intransigence used to drive people crazy; she remembers a casting agent lamenting, "When, oh when, is Tilda Swinton going to do something she doesn't want to do for a change? I can say [its]pretttttty[its] well," she slurs, knowingly, " I've not had one moment to waste since giving birth. Any tendency in me to be judgmental or elitist evaporated instantly. She has had her moments in theatre, including an acclaimed single-hander performance in Manfred Karge's play Man To Man, which she says ruined the theatre for her, as nothing afterwards could match the experience." Her change of direction may be partly to do with being a mother to 11-year-old twins, Xavier and Honor. My children in their tenth year were exposed to both Bela Tarr and Pixar, and they found the Pixar film more boring." Was it WALL•E, by any chance? It was when she met Derek Jarman, in the mid-80s, that Swinton realised that film was her thing.When asked about the relationship among Sandro, John and herself, Tilda said, “We are all the best of pals.” Sounds like another Demi-Ashton-Bruce love triangle!

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She was "high and dry", she remembers, confused about what she was supposed to be doing: Jarman "just allowed me to come and work it out in his soup kitchen - and work it out through silent cinema, through Super-8 autobiographical meanderings.

You can't call it acting, because it isn't, you can barely call it performance, it's just getting used to being filmed and to the possibility of just doing nothing." Jarman cast her in in his 1986 Caravaggio, and Swinton became a fixture in the director's ensemble and social circle, his muse and the best-known torch-bearer for his values.

More recently, she was an archangel in pinstripes in the Hollywood fantasy Constantine. But she can be gritty too: a surly biker dame in Jim Jarmusch's Broken Flowers; a roaring, sewer-mouthed doyenne of London's demi-monde in Love Is the Devil, John Maybury's 1998 portrait of Francis Bacon.

She also, now that she's a Hollywood star of sorts, did what you can't imagine many Hollywood women doing: she appeared in last year's corporate thriller Michael Clayton, with sweaty armpits soaking through her ostensibly ice-cool executive blouse.

Swinton insists she's clowning even in her new film Julia, an emotionally gruelling portrait of a Los Angeles drunk.

Again, she hits the outer edges of earthiness in the title role: she's first seen staggering round a barroom in high heels and glitter eyelashes, then emerging from her car the next morning, sweaty, fleshy, dishevelled and in raucously mean spirits as she discards a used lover.

What interests her in film-making, she tells me when I meet her, "is so much less than acting - it's dressing up and playing and being in communication with the director, and that's it." Recent years have brought ample opportunity to dress up, Swinton's sveltely enigmatic looks making her a fashion muse to designers including Hussein Chalayan and Viktor and Rolf.

Even seated over tea at Claridge's, she could be a living installation piece: pale composed face, short hair swept back in a boyish flop, and wearing a gleaming white Vivienne Westwood blouse that's all angles and flaps, so that she resembles a Vorticist portrait or a complex piece of origami.

But Buster Keaton was very funny, and he didn't laugh much." Maybe, she speculates, it's because her early work with her mentor and discoverer Derek Jarman was seen as terribly serious; but even with him, she did comic parts, she points out.

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