{"id":123205,"date":"2025-10-03T11:12:29","date_gmt":"2025-10-03T09:12:29","guid":{"rendered":"https:\/\/www.sleek-mag.com\/?p=123205"},"modified":"2025-10-30T17:02:45","modified_gmt":"2025-10-30T15:02:45","slug":"meeting-tilda-swinton","status":"publish","type":"post","link":"https:\/\/www.sleek-mag.com\/de\/article\/meeting-tilda-swinton\/","title":{"rendered":"Meeting Tilda 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Jarmusch, Zelda Winston, 2018\/2025. 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Tilda Swinton \u2013 Ongoing<\/em> <\/strong>at the EYE Filmmuseum highlights Swinton\u2019s ongoing collaborative relationships and her role as a co-creator across cinema, art, and fashion. Rather than a retrospective, it presents works born from long-term partnerships with filmmakers and artists such as Derek Jarman, Joanna Hogg, Luca Guadagnino, Tim Walker, Olivier Saillard and Pedro Almodo\u0301var. The exhibition celebrates trust, creative exchange, and shared vision, showing how these ongoing collaborations foster experimentation, reflection, and artistic innovation. It is a moment of gathering, celebration, and a milestone in Swinton\u2019s ongoing journey.<\/p>\n

After seeing the exhibition at EYE, I met Tilda at the Rosewood Hotel Amsterdam. She was striking as always, dressed in all black, her blonde hair perfectly styled back. It\u2019s not every day you see a legendary artist laughing, teasing, and quietly enjoying her tea with milk and sugar. Below is our conversation.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n"},{"acf_fc_layout":"images","gallery":[{"ID":123230,"id":123230,"title":"Tilda Swinton-Ongoing, Eye Filmmuseum, \ufffdstudiohanswilschut (1)","filename":"Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-1.jpg","filesize":499642,"url":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-1.jpg","link":"https:\/\/www.sleek-mag.com\/de\/article\/meeting-tilda-swinton\/tilda-swinton-ongoing-eye-filmmuseum-%ef%bf%bdstudiohanswilschut-1\/","alt":"","author":"1","description":"","caption":"","name":"tilda-swinton-ongoing-eye-filmmuseum-%ef%bf%bdstudiohanswilschut-1","status":"inherit","uploaded_to":123205,"date":"2025-10-02 09:21:57","modified":"2025-10-02 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Jarman, Timeslip, 1988\/2025. Super 8 transferred to video, 4 min., 9.07 min. Filmed in Dungeness, Kent. Courtesy of Basilisk Communications Limited, with thanks to the BFI National Archive."}},{"acf_fc_layout":"text_area","text_area":"

We just saw the exhibition, it was kind of a biography. How did you build it, how was it constructed, whose idea was it?\u00a0<\/span><\/p>\n

Tilda Swinton <\/strong>It was not my idea to make a show. But the show that it is, is entirely my idea. Sandra (den Hamer), the previous director of Eye, asked me probably about five years ago if I would consider making a show. And I hesitated, really big time hesitated. I didn\u2019t think it was going to be possible. <\/span>It was 35 years since I\u2019d been making work, and I felt overwhelmed by the amount of work I\u2019d made and the projects I\u2019d made, particularly over the last 20 years, really developing a very sporadic relationship with all kinds of cinema. To make sense of that felt overwhelming. <\/span>It was only after reflecting for a couple of years that I began to think there might be a way if I focused on what really makes me make work, which is fellowship. Then the next animating idea was that I have to make a show that might be useful. I can\u2019t commit myself to making a show that is just kind of retrospective. I didn\u2019t think that it would be useful for anybody who might need a burst of courage to make work themselves. \u00a0<\/span><\/p>\n

What might surprise people in the show is how simplistic it is. It\u2019s quite wide, but also very simple. It\u2019s about simple gestures based on relationships. I hope that will translate into people realizing that they can also make work very simply out of their own connections and relationships. It\u2019s a very personal show. First of all because it is based on these important relationships; but also those relationships and these particular pieces of work in this show are deeply personal.<\/span><\/p>\n

Another crucial decision I made, given that I didn\u2019t want to create a retrospective show, was to select a handful of my <\/span>ongoing relationships and make new work with all of them. With the exception of\u00a0 Pedro Almod\u00f3var, who wanted to make a new piece of work but was making a feature and just didn\u2019t have the time. We then placed something complete at the end of the show with the Human Voice (2020)<\/em>. <\/span>Everybody else including Derek Jarman, there is new work, and I am very proud of that. From Derek Jarman there are two fragments at the beginning which have never been seen before.<\/span><\/p>\n"},{"acf_fc_layout":"images","gallery":[{"ID":123232,"id":123232,"title":"Tilda Swinton-Ongoing, Eye Filmmuseum, \ufffdstudiohanswilschut (5)","filename":"Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-5.jpg","filesize":338743,"url":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-5.jpg","link":"https:\/\/www.sleek-mag.com\/de\/article\/meeting-tilda-swinton\/tilda-swinton-ongoing-eye-filmmuseum-%ef%bf%bdstudiohanswilschut-5\/","alt":"","author":"1","description":"","caption":"","name":"tilda-swinton-ongoing-eye-filmmuseum-%ef%bf%bdstudiohanswilschut-5","status":"inherit","uploaded_to":123205,"date":"2025-10-02 09:22:55","modified":"2025-10-02 09:22:55","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.sleek-mag.com\/wp-includes\/images\/media\/default.png","width":1920,"height":1440,"sizes":{"thumbnail":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-5.jpg","thumbnail-width":128,"thumbnail-height":96,"medium":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-5.jpg","medium-width":1920,"medium-height":1440,"medium_large":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-5.jpg","medium_large-width":1920,"medium_large-height":1440,"large":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-5.jpg","large-width":1920,"large-height":1440,"1536x1536":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-5-1536x1152.jpg","1536x1536-width":1536,"1536x1536-height":1152,"2048x2048":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-5.jpg","2048x2048-width":1920,"2048x2048-height":1440,"trp-custom-language-flag":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-5.jpg","trp-custom-language-flag-width":16,"trp-custom-language-flag-height":12,"wpvr_mobile":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-5.jpg","wpvr_mobile-width":1920,"wpvr_mobile-height":1440}}],"settings":{"fit_width":"6","caption":"Apichatpong Weerasethakul, Phantoms, 2025. Double-channel video installation, 16mm film transferred to digital format, 5.1 sound, 9.24 min."}},{"acf_fc_layout":"text_area","text_area":"

Can we think of Derek Jarman as the root of it all? Could you imagine your career without him?<\/span><\/p>\n

TS <\/strong>I don\u2019t think of him as the root, he was the model, the first trunk. The very first relationship in terms of chronology is the one with Joanna Hogg, who I\u2019ve known since I was ten. The very first film I made was her graduation film, even before I met Derek. <\/span>But the thing about Derek is that he was the first practicing artist that I met, who had a working practice that was a regular, societal, collective thing. He formed an example of how one might make work. Working with him for nine years grew my habit. That\u2019s where I learned to do what I do. <\/span>When he departed early, I didn\u2019t know if it was possible to ever work with anyone again, because I knew how unique it was. Those habits nourished other relationships. That sense of joint curiosity and to certain extent shared authorship has really driven my whole story.\u00a0<\/span><\/p>\n

The exhibition seems like an attempt to present an alternative to auteur theory, which sees a singular voice uniting the work. As you revisited your work, were there red lines that you didn\u2019t consciously experience at the time?<\/span><\/p>\n

TS <\/strong>(The alternative to auteur theory) is not even intended as a provocation, it\u2019s intended as a point of accuracy. People who work in this way will attest to the accuracy of the fact that all of us who make films are filmmakers. It\u2019s actually about linguistics. All becomes a bit pyramidical when you start talking about a “director”, the single auteur at the top. Even joint directors, there always seems to be a fetish about <\/span>well, who is the actual leader? <\/span><\/i>For me, that\u2019s inaccurate.<\/span><\/p>\n

S<\/span>o is this an alternate model that you suggest? Co-authorship?<\/span><\/p>\n

TS <\/strong>Yes, it\u2019s a different angle, a shift of perspective. In terms of myself, I\u2019ve worked in so many ways in filmmaking, but I\u2019m known as an actor, and yet, this is not a word I find comfortable to describe myself as. Because it doesn\u2019t feel properly accurate. I do know when I\u2019m in front of a camera, especially in a situation where I\u2019m not a co-author, learning lines I didn\u2019t write myself, dressing up, and not looking like myself, people in that position very often would say that their working life is completely different from mine. They don\u2019t feel like co-authors, they don\u2019t want to be co-authors, and they don\u2019t feel like they\u2019re working in a collective, nor do they want to. <\/span>I\u2019m aware there are many different ways of working, but I don\u2019t think this way of working (co-authorship) is properly represented. I don\u2019t think it\u2019s as rare as people might think it is. I would like to think, especially for people who have not started their working practice yet, that it might be encouraging to see that. That\u2019s all.<\/span><\/p>\n

Are there any thematic things that attract you to certain roles, or resonances you notice when you look at your work as a whole?<\/p>\n

Even if it\u2019s within a narrative that\u2019s quite naturalistic and vernacular, not fantastical or esoteric, I love the idea of people reaching a kind of precipice and facing the necessity of change. It could be something really naturalistic, like a Hollywood film such as <\/span>Michael Clayton<\/span><\/i> (2007), where this woman is falling apart. That moment of falling apart is what I\u2019m really interested in. <\/span>But it\u2019s also <\/span>Orlando<\/span><\/i> (1992), who is endlessly transforming, and the woman I play in <\/span>Memoria<\/span><\/i> (2021) by Apichatpong, who is on the tightrope of not really existing at all. She hasn\u2019t fully formed. So that, I suppose, is an ongoing theme.<\/span><\/p>\n"},{"acf_fc_layout":"images","gallery":[{"ID":123234,"id":123234,"title":"Tilda Swinton-Ongoing, Eye Filmmuseum, \ufffdstudiohanswilschut (12)","filename":"Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-12.jpg","filesize":353840,"url":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-12.jpg","link":"https:\/\/www.sleek-mag.com\/de\/article\/meeting-tilda-swinton\/tilda-swinton-ongoing-eye-filmmuseum-%ef%bf%bdstudiohanswilschut-12\/","alt":"","author":"1","description":"","caption":"","name":"tilda-swinton-ongoing-eye-filmmuseum-%ef%bf%bdstudiohanswilschut-12","status":"inherit","uploaded_to":123205,"date":"2025-10-02 09:25:20","modified":"2025-10-02 09:25:20","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.sleek-mag.com\/wp-includes\/images\/media\/default.png","width":1920,"height":1440,"sizes":{"thumbnail":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-12.jpg","thumbnail-width":128,"thumbnail-height":96,"medium":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-12.jpg","medium-width":1920,"medium-height":1440,"medium_large":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-12.jpg","medium_large-width":1920,"medium_large-height":1440,"large":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-12.jpg","large-width":1920,"large-height":1440,"1536x1536":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-12-1536x1152.jpg","1536x1536-width":1536,"1536x1536-height":1152,"2048x2048":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-12.jpg","2048x2048-width":1920,"2048x2048-height":1440,"trp-custom-language-flag":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-12.jpg","trp-custom-language-flag-width":16,"trp-custom-language-flag-height":12,"wpvr_mobile":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-12.jpg","wpvr_mobile-width":1920,"wpvr_mobile-height":1440}}],"settings":{"fit_width":"6","caption":"Tim Walker, The Tree, 2023, 2025. Colour photography. Courtesy of Tim Walker."}},{"acf_fc_layout":"text_area","text_area":"

If every creative project is ultimately collaborative, can art ever be the product of solitude?<\/p>\n

TS <\/strong>I think it absolutely can be the product of solitude. Not everybody wants to work in a great, noisy mass. Most of the people that I work with, even in the collective, within the \u201crelatively noisy mass\u201d, most of them are also artists who work in a solitary way, as well. \u00a0<\/span>I noticed this a while ago, that for the first few years, the filmmakers I worked with were all either painters or writers or musicians. And then most of them would say that they made films for the company and for the collective gesture. But they know what it is to work in a solitary way. I also know what it is to work in a solitary way as a writer. \u00a0<\/span>But I think even those people who only produce work in a solitary way have families, have influences, have friendships, have animals, have influences that they draw on. And that is a sort of spiritual collective, even if they\u2019re not in the room with you when you\u2019re bashing out your piece. I mean, of course there are going to be rare exceptions.<\/span><\/p>\n

You describe your work with the filmmakers included in the exhibition as a collaboration, not simply as them directing you. Is this something you consciously choose, to work with people where you can have an impact on the final work of art?<\/span><\/p>\n

TS <\/strong>My beginnings with Derek Jarman were a very particular experience, and a spoiling one. Because my first experience of making work was with someone I really trusted, who also trusted me. He wanted me to bring myself to the table, even at 24, when I had never made a feature film before. He did this with all of us. He did it with Sandy Powell, my colleague, an incredible costume designer, who has since worked with Martin Scorsese and won multiple Oscars. Caravaggio was her first film too, and he told her, “Just make the costume. Do it, you\u2019ll be all right.” He gave us responsibility and shared authorship with us, even when we were very young. <\/span>I am very spoiled by that, and I do look for that in my collaborators. Very occasionally, I will meet someone I want to work with who doesn\u2019t work in that way, but I am so interested in them, and we have such a communication that I will take the journey.\u00a0<\/span><\/p>\n

One such person is Pedro Almod\u00f3var. He has been making films for nearly 50 years, and I know them inside out. He is the latest in my collaborations; I only started working with him in 2020, when we made the film Human Voice (2020) which is in the exhibition. He doesn’t work in that way at all. That in itself was fascinating for me. We have a close relationship, we have plans for the future, and we’ve already made another future film. So he is one of my ongoing collaborators, but he is somebody who does have the film in his head. He comes in in the morning and literally pulls it out of his ear telling you what happens in the film that he saw last night in his head. Then it’s your task to make it so. <\/span>But he needs us. He needs all of us. He needs his designers, his camera people, his performers. He needs us in a different way. He doesn’t need us to create the text or even to drive the energy. He needs us to incarnate something that he’s actually visualized himself. And I understand that it is not an unusual way of working, but it’s unusual for me.\u00a0<\/span><\/p>\n

As an actor, you do have an impact on a Pedro Almod\u00f3var film. He’s so interested in everybody he’s working with. It’s in his interest to make you have an impact. So he’s not going to suppress you, but he’s asking different things from me. In this particular film that I chose for the exhibition, it’s quite a strange bedfellow with the other pieces in the exhibition, not only because it was already made when we made the exhibition, but because I am literally acting. I am enacting someone very unlike myself. I don’t look like myself. I walk differently, I have a different body, I have very different expressions, and it’s, for him, quite a natural thing to ask somebody to behave that way. For me, it’s very exotic. So for me, it was a transport.<\/span><\/p>\n"},{"acf_fc_layout":"images","gallery":[{"ID":123236,"id":123236,"title":"Tilda Swinton-Ongoing, Eye Filmmuseum, \ufffdstudiohanswilschut (16)","filename":"Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-16.jpg","filesize":541702,"url":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-16.jpg","link":"https:\/\/www.sleek-mag.com\/de\/article\/meeting-tilda-swinton\/tilda-swinton-ongoing-eye-filmmuseum-%ef%bf%bdstudiohanswilschut-16\/","alt":"","author":"1","description":"","caption":"","name":"tilda-swinton-ongoing-eye-filmmuseum-%ef%bf%bdstudiohanswilschut-16","status":"inherit","uploaded_to":123205,"date":"2025-10-02 09:27:46","modified":"2025-10-02 09:27:46","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.sleek-mag.com\/wp-includes\/images\/media\/default.png","width":1440,"height":1920,"sizes":{"thumbnail":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-16.jpg","thumbnail-width":72,"thumbnail-height":96,"medium":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-16.jpg","medium-width":1440,"medium-height":1920,"medium_large":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-16.jpg","medium_large-width":1440,"medium_large-height":1920,"large":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-16.jpg","large-width":1440,"large-height":1920,"1536x1536":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-16-1152x1536.jpg","1536x1536-width":1152,"1536x1536-height":1536,"2048x2048":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-16.jpg","2048x2048-width":1440,"2048x2048-height":1920,"trp-custom-language-flag":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-16.jpg","trp-custom-language-flag-width":9,"trp-custom-language-flag-height":12,"wpvr_mobile":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-16.jpg","wpvr_mobile-width":1440,"wpvr_mobile-height":1920}}],"settings":{"fit_width":"4","caption":"Joanna Hogg, Flat 19, 2025. Film set with multi-channel audio, loop. Courtesy of Joanna Hogg."}},{"acf_fc_layout":"text_area","text_area":"

How is it when you wear clothes from your ancestry, your mother\u2019s, your father\u2019s, your grandfather\u2019s, in the performance during the exhibition?<\/span><\/p>\n

TS <\/strong>This performance that we’re making as part of the exhibition with Olivier Saillard is based on my biographical wardrobe, which doesn’t necessarily mean all my clothes. It means the influences on me of the clothes I was brought up among, the clothes of my mother, the clothes of my father, the clothes of my grandfather, my grandmother. The performance, which we are literally creating at the moment, is more interested in the roots of my life, my family, and where my eye and my sort of predilections were grown. It’s more about that than it is about anything that you’ve seen me necessarily wearing in public. I think, after seeing the performance, it will be possible to trace why I tend to choose certain attitudes, certain silhouettes, because they are reminiscent of, very often, my father’s clothes, particularly the uniforms of my father, more than my mother’s clothes. <\/span>I would like to think that anybody watching this performance that I make with Olivier will go, “What if it was my wardrobe? What if my grandmother’s jersey was there? What would my father\u2026 how was I influenced by what my father wore?” That’s the kind of suggestion we’re making.<\/span><\/p>\n

You often play mothers, sisters, daughters. Is this a way of collaborating with yourself and working out family relationships?<\/span><\/p>\n

TS <\/strong>There was a whole patch of time when I realised I was really noodling away at my interest in mothers. I mean, I was playing mothers for several years, whether it was <\/span>I Am Love<\/span><\/i> (2009), <\/span>We Need to Talk About Kevin<\/span><\/i> (2011), or <\/span>Julia<\/span><\/i> (2008), which is actually about motherhood from a completely different angle. And then many mother\u2013son relationships. <\/span>I suppose that is one of the simplest attractions of playing things out, putting oneself in other people’s shoes is always a useful thing.<\/span><\/p>\n

Do you think society recognizes cinema\u2019s full expressive potential, or is it confined to entertainment?<\/span><\/p>\n

TS <\/strong>I’m not somebody who is concerned about the future of cinema. Short answer: I don’t think so yet. I think there’s a slight lull in a real appreciation of the power and necessity of cinema. We have to be a little patient, but I have no doubts that cinema will reassert itself as an incredibly important humanist tool. The more we need humanism, and clearly, we need it now, the more cinema is going to come to our aid. <\/span>First of all, the experience of sitting in a big room with a bunch of strangers in the dark is incredibly significant, healing, and enlightening. Beyond that, putting oneself in other people’s shoes, looking, being quiet for two hours, three hours, or however long it is, it’s such a therapeutic practice to experience it in the cinema.<\/span><\/p>\n

Parallel to the exhibition, Eye Filmmuseum will feature an extensive film programme in order to highlight the breadth of your body of work in cinema. Is there any film in particular you\u2019re excited to see again on the big screen?<\/p>\n

TS <\/strong>Pretty much all of them. I haven\u2019t seen Caravaggio<\/i> on the big screen for years. I\u2019m tempted to go. I\u2019d rather see films on the big screen. I\u2019m fond of them all, they represent memories and life.<\/p>\n"},{"acf_fc_layout":"images","gallery":[{"ID":123231,"id":123231,"title":"Tilda Swinton-Ongoing, Eye Filmmuseum, \ufffdstudiohanswilschut (3)","filename":"Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-3.jpg","filesize":441687,"url":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-3.jpg","link":"https:\/\/www.sleek-mag.com\/de\/article\/meeting-tilda-swinton\/tilda-swinton-ongoing-eye-filmmuseum-%ef%bf%bdstudiohanswilschut-3\/","alt":"","author":"1","description":"","caption":"","name":"tilda-swinton-ongoing-eye-filmmuseum-%ef%bf%bdstudiohanswilschut-3","status":"inherit","uploaded_to":123205,"date":"2025-10-02 09:22:14","modified":"2025-10-02 09:22:14","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.sleek-mag.com\/wp-includes\/images\/media\/default.png","width":1920,"height":1440,"sizes":{"thumbnail":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-3.jpg","thumbnail-width":128,"thumbnail-height":96,"medium":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-3.jpg","medium-width":1920,"medium-height":1440,"medium_large":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-3.jpg","medium_large-width":1920,"medium_large-height":1440,"large":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-3.jpg","large-width":1920,"large-height":1440,"1536x1536":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-3-1536x1152.jpg","1536x1536-width":1536,"1536x1536-height":1152,"2048x2048":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-3.jpg","2048x2048-width":1920,"2048x2048-height":1440,"trp-custom-language-flag":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-3.jpg","trp-custom-language-flag-width":16,"trp-custom-language-flag-height":12,"wpvr_mobile":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-3.jpg","wpvr_mobile-width":1920,"wpvr_mobile-height":1440}}],"settings":{"fit_width":"6","caption":"Olivier Saillard, A Biographical Wardrobe, 2025. Installation. Courtesy of Olivier Saillard and Tilda Swinton."}},{"acf_fc_layout":"text_area","text_area":"

In the exhibition, there\u2019s a part where you go back to your childhood home and to your student flat. How was that?<\/p>\n

TS <\/strong>I wanted it to be as vulnerable and as hands up, disarmed as possible. <\/span>Can you imagine going to your first flat, the first flat you had as an adult, when you’re just getting used to being an adult? For me, this was after I left university. I was in London for the first time alone, and it is that strange feeling of being in a chrysalis. <\/span>During the time I lived in that flat, I met Derek Jarman, I started my working practice, and I lived there for 14 years. I left with twins and went to Scotland, thinking I would never go back. <\/span>Last week, when I walked in that part of the exhibition, I was back in that flat. It is so beautifully done. They have not made a set of a flat. They have actually made the flat I was in.\u00a0<\/span><\/p>\n"},{"acf_fc_layout":"images","gallery":[{"ID":123233,"id":123233,"title":"Tilda Swinton-Ongoing, Eye Filmmuseum, \ufffdstudiohanswilschut (10)","filename":"Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-10.jpg","filesize":316558,"url":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-10.jpg","link":"https:\/\/www.sleek-mag.com\/de\/article\/meeting-tilda-swinton\/tilda-swinton-ongoing-eye-filmmuseum-%ef%bf%bdstudiohanswilschut-10\/","alt":"","author":"1","description":"","caption":"","name":"tilda-swinton-ongoing-eye-filmmuseum-%ef%bf%bdstudiohanswilschut-10","status":"inherit","uploaded_to":123205,"date":"2025-10-02 09:24:26","modified":"2025-10-02 09:24:26","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.sleek-mag.com\/wp-includes\/images\/media\/default.png","width":1920,"height":1440,"sizes":{"thumbnail":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-10.jpg","thumbnail-width":128,"thumbnail-height":96,"medium":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-10.jpg","medium-width":1920,"medium-height":1440,"medium_large":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-10.jpg","medium_large-width":1920,"medium_large-height":1440,"large":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-10.jpg","large-width":1920,"large-height":1440,"1536x1536":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-10-1536x1152.jpg","1536x1536-width":1536,"1536x1536-height":1152,"2048x2048":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-10.jpg","2048x2048-width":1920,"2048x2048-height":1440,"trp-custom-language-flag":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-10.jpg","trp-custom-language-flag-width":16,"trp-custom-language-flag-height":12,"wpvr_mobile":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2025\/10\/Tilda-Swinton-Ongoing-Eye-Filmmuseum-\ufffdstudiohanswilschut-10.jpg","wpvr_mobile-width":1920,"wpvr_mobile-height":1440}}],"settings":{"fit_width":"6","caption":"Pedro Almod\u00f3var, The Human Voice, 2020. 30 min., sound. Courtesy of El Deseo and Cineart."}},{"acf_fc_layout":"text_area","text_area":"

What does the future look like, more exhibitions, more focus on art?<\/p>\n

TS <\/strong>I don’t know, which is a nice answer. I like not knowing. This show is a punctuation for me. It will travel for the next few years.<\/span> I’m developing work in a different way, I’m not going to be appearing in films as much as I have been, but I’m going to be doing other things, and it’s too early to say yet what they are.\u00a0<\/span>I have loved making this exhibition. It’s been incredibly reflective.\u00a0<\/span><\/p>\n

You said you are not going to be making films as much. Is there one filmmaker you\u2019ve never worked with, that you\u2019d immediately say yes to?<\/p>\n

TS <\/strong>There are several, but I\u2019m going to be discreet. If somebody comes forward with a new road, fresh snow, something, an opportunity to make new shapes that interests me, I\u2019m up for it, absolutely open.<\/p>\n

How important was it for you to always say something about society, stereotypes, gender?<\/p>\n

TS <\/strong>I do find it difficult to imagine any gesture, particularly gesture in art, not being political. I\u2019m interested in difference and making space for difference. I think the more open and personal the work is, the more relatable and universal it becomes.\u00a0<\/span><\/p>\n

Your acceptance speech at Berlinale has caused a lot of discussions, which was very good. How was it for you?<\/p>\n

TS <\/strong>All any of us can do is to speak honestly, and what others make of that is up to them. Then we have to deal with our own responses to that. I was honored to have the opportunity to speak honestly on that night.<\/p>\n

Is freedom of speech total for you? It is tricky, once you restrict it, who dictates on what to restrict?<\/p>\n

TS <\/strong>It is the subject, isn\u2019t it? It never occurred to me that we would have to examine freedom of speech in the way that we are now. What we do have to. We have to be clever about finding ways of making it inviolable. But we have to be clever about it. What can I say? I’ll leave it there. We have to be clever. We have to be cleverer than we’re being right now, that’s for sure.\u00a0<\/span><\/p>\n

Thank you so much.<\/p>\n

TS<\/strong> Thank you.<\/span><\/p>\n"}]},"yoast_head":"\nMeeting Tilda Swinton Meeting Tilda Swinton<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sleek-mag.com\/de\/article\/meeting-tilda-swinton\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Meeting Tilda Swinton Meeting Tilda Swinton\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sleek-mag.com\/de\/article\/meeting-tilda-swinton\/\" \/>\n<meta property=\"og:site_name\" content=\"Sleek Magazine\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/sleekmag\/\" \/>\n<meta property=\"article:published_time\" content=\"2025-10-03T09:12:29+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-10-30T15:02:45+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@sleekmag\" \/>\n<meta name=\"twitter:site\" content=\"@sleekmag\" \/>\n<meta name=\"twitter:label1\" content=\"Verfasst von\" \/>\n\t<meta name=\"twitter:data1\" content=\"Burcu Beaufort\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.sleek-mag.com\/#website\",\"url\":\"https:\/\/www.sleek-mag.com\/\",\"name\":\"Sleek Magazine\",\"description\":\"Sleek is Germany\u2019s leading independent media house\/brand for creativity and innovation located in Berlin the creative capital of the world. 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