Tilda Swinton (as Martha)

And it's about the interest of life and an interest in life and about someone who, by the way, sets her cap at investing her last months, her last weeks in the three things that I've always thought were the things that we'll always see us through, friendship, art and nature. And so it is so full of, packed with energy and you referenced the colours which are always there in Pedro's work

And it's about the interest of life and an interest in life and about someone who, by the way, sets her cap at investing her last months, her last weeks in the three things that I've always thought were the things that we'll always see us through, friendship, art and nature. And so it is so full of, packed with energy and you referenced the colours which are always there in Pedro's work

The colours also bring it energy. The way in which someone who is mortally ill is choosing the brightest and most beautiful jerseys she can find to go out in and end up in, you know, a kind of Mishima pose in the most beautiful yellow suit and bright red lipstick. There's that feeling of an investment in energy, which I think is really, really profound and worth...

The colours also bring it energy. The way in which someone who is mortally ill is choosing the brightest and most beautiful jerseys she can find to go out in and end up in, you know, a kind of Mishima pose in the most beautiful yellow suit and bright red lipstick. There's that feeling of an investment in energy, which I think is really, really profound and worth...

The colours also bring it energy. The way in which someone who is mortally ill is choosing the brightest and most beautiful jerseys she can find to go out in and end up in, you know, a kind of Mishima pose in the most beautiful yellow suit and bright red lipstick. There's that feeling of an investment in energy, which I think is really, really profound and worth...

reflecting on i think you know a life spent considering how we're going to spend our end is not wasted time you know it's a really important thing to think about she says i think i deserve a good death i think she's right i think we all do

reflecting on i think you know a life spent considering how we're going to spend our end is not wasted time you know it's a really important thing to think about she says i think i deserve a good death i think she's right i think we all do

reflecting on i think you know a life spent considering how we're going to spend our end is not wasted time you know it's a really important thing to think about she says i think i deserve a good death i think she's right i think we all do

We worked – I worked with my great friend and comrade Morag Ross, who's the first makeup artist I ever worked with. I worked with her with Derek Jarman. Caravaggio was the first film we both made. And we worked very closely together on creating this feeling that Martha is – both here and not here all the time. And of course, there's a sort of graduation in her pallor.

We worked – I worked with my great friend and comrade Morag Ross, who's the first makeup artist I ever worked with. I worked with her with Derek Jarman. Caravaggio was the first film we both made. And we worked very closely together on creating this feeling that Martha is – both here and not here all the time. And of course, there's a sort of graduation in her pallor.

We worked – I worked with my great friend and comrade Morag Ross, who's the first makeup artist I ever worked with. I worked with her with Derek Jarman. Caravaggio was the first film we both made. And we worked very closely together on creating this feeling that Martha is – both here and not here all the time. And of course, there's a sort of graduation in her pallor.

There's a graduation in her presence. So I take care of the spiritual presence, if you like. And she was very attendant with the way in which Martha moves through the spaces, as you say, in a slightly removed phantom-like way. But that's what the film is doing. If someone is... And I've been privileged to be alongside people who have planned to leave.

There's a graduation in her presence. So I take care of the spiritual presence, if you like. And she was very attendant with the way in which Martha moves through the spaces, as you say, in a slightly removed phantom-like way. But that's what the film is doing. If someone is... And I've been privileged to be alongside people who have planned to leave.

There's a graduation in her presence. So I take care of the spiritual presence, if you like. And she was very attendant with the way in which Martha moves through the spaces, as you say, in a slightly removed phantom-like way. But that's what the film is doing. If someone is... And I've been privileged to be alongside people who have planned to leave.

They know that they're going to go and they've even set a date. And they are at that point in such an interesting state because they are half in, half out, on a tightrope, which is so tangential and so delicate and actually really exquisite. And she's there. She's on that tightrope. So she isn't fully present. And her body is definitely... on the decline. It's shutting down.

They know that they're going to go and they've even set a date. And they are at that point in such an interesting state because they are half in, half out, on a tightrope, which is so tangential and so delicate and actually really exquisite. And she's there. She's on that tightrope. So she isn't fully present. And her body is definitely... on the decline. It's shutting down.

They know that they're going to go and they've even set a date. And they are at that point in such an interesting state because they are half in, half out, on a tightrope, which is so tangential and so delicate and actually really exquisite. And she's there. She's on that tightrope. So she isn't fully present. And her body is definitely... on the decline. It's shutting down.

And she talks about that very touchingly, I think, about how difficult and painful it is to feel your brain, which you've relied on, she has relied on all her life. She's had a very, very sharp brain all her life. And to feel it failing her, shutting down and struggling with her cognizance is super, super painful for her. And it's that, of course, that drives her further out into the ocean.

And she talks about that very touchingly, I think, about how difficult and painful it is to feel your brain, which you've relied on, she has relied on all her life. She's had a very, very sharp brain all her life. And to feel it failing her, shutting down and struggling with her cognizance is super, super painful for her. And it's that, of course, that drives her further out into the ocean.

And she talks about that very touchingly, I think, about how difficult and painful it is to feel your brain, which you've relied on, she has relied on all her life. She's had a very, very sharp brain all her life. And to feel it failing her, shutting down and struggling with her cognizance is super, super painful for her. And it's that, of course, that drives her further out into the ocean.