「感覺到自己的與眾不同，我才處在真正的舒適圈裡！」仙氣影后蒂妲史雲頓對人生、性別、藝術的10個見解
關於神秘、迷人的英國女星蒂妲史雲頓（Tilda Swinton），不畏挑戰性別和社會框架的人生態度。
現年58歲的時尚仙人蒂妲史雲頓（Tilda Swinton），憑藉著高超的演技，以及精靈般的精緻五官、舉手投足間流露著貴族氣息讓影迷留下深刻印象，自1984年出道以來便不斷挑戰戲路極限，接演多個風格迥異的角色：從納尼亞奇幻世界裡高冷的白女巫、《康斯坦汀：驅魔神探》中雌雄同體的天使「加百列」，到加盟漫威宇宙飾演《奇異博士》的至尊魔法大師「古一」，皆讓她自如地穿梭在各種商業、藝術電影之間。
蒂妲史雲頓除了演員的身份，她同時也是一對龍鳳胎的母親，以前衛思想、中性的外表也跨越刻板的性別限制，究竟是什麼樣的人生哲學讓她如此百變和迷人？
關於生命
「自我迷戀是浪費生命的，那些時間大可以用來拯救事物、欣賞自然、培養善意和友誼，還有跳舞！」
“This self-obsession is a waste of living. It could be spent on surviving things, appreciating nature, nurturing kindness and friendship, and dancing.”
關於藝術
「我相信所有偉大的藝術，都擁有彌平事物的力量：時間、距離、差異、不公、疏離和絕望；我也相信所有偉大的藝術，都擁有融合事物的力量：融入、撫慰、在團體裡激發希望、與自我和解。藝術對我的靈魂特別有幫助，因為它提醒我人類是有靈魂的。」
“I believe that all great art holds the power to dissolve things:time, distance, difference, injustice, alienation, despair. I believe that all great art holds the power to mend things: join, comfort, inspire hope in fellowship, reconcile us to our selves. Art is good for my soul precisely because it reminds me that we have souls in the first place.”
關於成長
「社會規定你必須在19歲前找到你畢生的志業，這是錯誤的！在20幾歲就要處在一段認真的感情關係中，這也是錯誤的！如果要我遵循這些規定，人生會像是不停作響的呼叫器，並讓我無時無刻處於焦慮之中。」
“The rules are you have to have found what you want to do with your life by the time you’re 19. Wrong! Or that you have to be in a significant relationship in your twenties. Wrong!… if I were to play that game, it’s just a beeper constantly. It’s like the vulture gnawing at you.”
關於風格
「當我感覺到自己的與眾不同，我便處在真正的舒適圈裡。」
“It's a real comfort zone for me to feel alien.”
關於人生
「缺乏『懷疑』的人生感覺不太合理，懷疑對我來說，是身而為人可貴的原因。就算是最公正的人，失去懷疑的同時亦會失去對現實以及人性的掌握。」
“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.”
關於電影
「我相信電影的藝術型態之所以最具人性價值，無關乎電影的內容和類型，最重要的是電影宛如一份邀請函，讓你感同身受別人的處境，用這個人的觀點看世界，就算只是一幕風景的畫面，你也是透過別人的鏡頭、視角和想像觀看，這就是電影的本質。」
“I think that's true of all cinema, that's why cinema is the great humanistic art form. Whatever the film is, it doesn't matter what the film is about, or even whether it's a narrative or figurative film at all, it's an invitation to step into somebody else's shoes. Even if it's the filmmaker's shoes filming a landscape, you go into somebody else's shoes and you look out of their lens, you look out of their eyes and their imagination. That's what going to the pictures is all about.”
關於身份認同
「我對身份認同特別感興趣，我一直著迷於一個問題：『我們怎麼定義自己？別人對我們身份的期待又使我們如何自處？』」
“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?”
關於性別
「我經常在機場通關時，被男性工作人員搜身檢查，就像我很常在電梯裡被稱呼為『先生』，我想這可能是因為我的身高、又不擦口紅的關係，一般人可能很難想像，像我這個樣子的人會是一個女人。」
“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.”
關於美
「我從未理解這個社會如何決定什麼是美或不美。一張坦露的臉，和善良的個性，對我來說更有意義。」
“I never quite understand the way society decides who is beautiful and who is not. But an open face and a capacity for kindness always feel like reliable signifiers to me.”
關於生育
「生小孩的場景在電影裡總是美好的，醫院的房間裡擺滿了花，小寶寶被媽媽抱在懷裡。任何有經歷過生產過程的人都知道，這根本是虛構的，事實上，生產是致命的，必須經歷激烈的過程，建立家庭其實就像要做一樁會見血的生意。」
“In the movies where people have babies, they are sitting in a hospital bed with flowers everywhere, beautifully made-up, with a baby in their arms and it is all very lovely. Anyone who has been in that zone will know it’s total fiction. It’s a truly, truly murderous business. Giving birth is a violent thing to go through. It’s a bloody business having a family.”
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