Mike Leigh Quotes
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I've long since stopped worrying about how I'm portrayed in the press because ultimately it's not that important. Everyone who knows me knows I do what I do with the greatest integrity.
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I think it’s important that nobody forgets that although Hollywood commercially dominates the world cinema, in fact what comes out of the filmmaking here is only a tiny slice out of the massive amount of operation that goes on around the world.
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When I was young I used to sit in the cinema thinking wouldn't it be great if you could have a film in which the characters were like real people instead of being like actors.
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You will find hardly any improvising on camera anywhere in my films. It's very structured, but it's all worked out from elaborate improvisations over a long period, as you know.
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My work is about life as you and I experience it. You're either lucky or you're not lucky; either your relationship works or it doesn't.
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I can't really see how anybody could be particularly optimistic about the future in general because we are destroying the planet.
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The whole thing about making films in an organic film on location is that it's not all about characters, relationships and themes, it's also about place and the poetry of place. It's about the spirit of what you find, the accidents of what you stumble across.
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It's an unhealthy habit to say that life is what you make of it, and if you want to be happy, then you can be happy. That's just rubbish, basically. Life is about luck and it's about circumstances and socioeconomic conditions and all the rest of it, but you know, you can also make choices. It's about spirit and generosity and all the other things, too.
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I wonder if I would have been capable of producing anything if I worked in a more conventional way with a prewritten script, because I'm of the procrastinator class.
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Resolve was never stronger than in the morning, after the night, when it was never weaker
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I really think people are greatly stimulated and enriched by experiencing in film just as we can from novels and other art, experiencing things that resonate with what our lives are about. I think people really want to know... want to share, want to have the stimulus to think and care about the way they live their lives, the way they relate to other people, their aspirations, their hopes, et cetera.
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I have to get out of bed every day to make something happen.
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The good thing from my perspective is that nobody puts any pressure on me to say what it's going to be. The backers accept that they don't know what they are going to get.
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Film-makers should remain true to their principles and never compromise, there is a real revival in the British film industry but there is a danger that we will become colonial servants of Hollywood. We need to maintain our own integrity.
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It's an unhealthy habit to say that life is what you make of it, and if you want to be happy, then you can be happy. That's just rubbish, basically.
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You can't make a movie about the artist without shooting outdoors.
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Some of my favorite movies are Hollywood movies. Hollywood is part of the cinematic spectrum. I nurture a healthy love-hate relationship with Hollywood.
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I hope I make films where you walk away . . . with work to do, arguments to have, things to worry about, things to care about. In that sense, I would regard what I do as political.
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I'm old enough to have friends and contemporaries who have long since retired, and that's their prerogative - enough is enough; it doesn't mean a thing to me. But I haven't got any money, so, you know, I just keep on working.
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I grew up looking at... going to the movies a lot, as much as they'd let you. I grew up in Manchester in the north of England in the '40s and '50s. I saw a lot of movies. They were all Hollywood and British movies. I didn't see a film that wasn't in English until I was 17 when I went to London to be a student.
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I take no notice of the trends. It has never concerned me at all. My job is to deal with what I want to deal with and reach an audience by doing so.
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My job apart from anything else is to build an ensemble composed of actors who all come from a secure place so that they can all work together to make the film.
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For me the journey of making a film is a journey of discovery as to what that film is. I mean what I do is what other artists do, painters, novelists, people that make music, poets, sculptors, you name it. It's about starting out and working with the material and discovering through making, working with the material the artifact.
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The problem with the British film industry is the nervousness and insecurity about - and genuflection toward - Los Angeles.