Mike Leigh Quotes

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.

I make films because I am endlessly fascinated by people. I'm fascinated immediately to know about the lives that are going on around me. That is what drives me. And that is because everybody matters, everybody is there to be cared about, everybody is interesting and everybody is the potential central character in a story. Judging people is not acceptable.

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.

I try and create for the audience something that relates to real-life experience.

Given the choice of Hollywood or poking steel pins in my eyes, I'd prefer steel pins.

It's important to be true to the events, but the most important thing is to get to the essence of the experience. Not to be bogged down in an academic way by a notion of the truth. First of all, the truth is an illusive and spurious concept.

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.

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.

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.

But films should be voyeuristic. What else is a film if you’re not snooping into somebody else’s lives?

I mean, artistic processes are all about making choices all the time, and the very act of making a choice is the distilling down and the getting to the core of what it is that you care about and what you want to say, really.

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.

There's a constant drip and trickle of life that goes into one's awareness really and consciousness of things.

I know, that trends and all of those things and formulae that calculate what audiences want to see and what audiences don't want to see and various other demographic demarcations are the eccentric and ludicrous prerogative of Hollywood studios. But out there in the real world - by which I mean the rest of the world where we make truthful organic films, independent films unimpeded by interference - it's not about all those sort of calculating what is commercial. It's about wanting to say things and saying them in a way that will get through to people.

It creeps up on you and becomes an obsession. It comes out of watching a million movies.

There have always been and there always will be the peripheral sideline activities which are a form of entertainment, which is to say you pay a couple of cents and you see something freakish. That is what reality TV is.

The way an actor is trained doesn't ultimately have much bearing on my work. I'm interested in the actor as artist.

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.

Given the events of even the 19th century, Zionism was inevitable. Given the events of the 20th century, Israel was inevitable.

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.

I feel very much ideologically, politically if you like, and emotionally part of the European cinema.

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.

I discover what my film is by embarking on the journey of making it.

Some of my favorite movies are Hollywood movies. Hollywood is part of the cinematic spectrum. I nurture a healthy love-hate relationship with Hollywood.

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.

I think Michael Caine is a perfectly good actor but it's obvious he's not going to be in one of my films.

If a film or any piece of work doesn't entertain, it fails - and that is using the word entertain literally, meaning it holds you there and you become absorbed by it so that you don't walk away and get bored and so on.

What I do is to collaborate with each actor and work one-on-one to create a character. And that is a matter of huge complexity and is a combination of a great deal of discussion and a lot of practical work. It involves a lot of consideration for the real people out there, and all kinds of sources of real people. The result is the character. But I'm not supposed to talk about what it is we do, because it's nobody's business.

I hate period films - and there are plenty of them - where they say, "Let's not do contemporary language because the audience won't understand it;" "let's not make the girls wear corsets, because it's not sexy" and all that sort of thing. Gradually it disintegrates into a no man's land: you don't really believe it's a period scene and it doesn't feel like it's now because it's not now. You don't feel it's quite real and you don't believe in it.

As a general habit and general tendency, I prefer not to bog a piece down with a great number of transitory, contemporary references, because in the end, I'm concerned, not in an abstract way, but an actual way, with creating a world which has a universality to it - even though what goes on is made up of texture and detail, contemporary detail.

He's [Constable] a great painter as far as it goes, but I don't think he's remotely interesting. Not really. It's very pretty and it's very thorough, but it's not evocative, it's not dramatic, it doesn't do what Beethoven does - it doesn't shake you down to the roots of your soul, which Turner does. Constable is just very nice, basically. And moving on to personality, Constable was a very dull character.

People have been very resistant to giving me more than the standard amount of money. So I keep making films on a similar scale. Which is fine, but also frustrating.

You can't make a movie about the artist without shooting outdoors.

The delineation between the actor and his part is a practical matter. When the camera runs, you want the actor to be the character.

The problem with the British film industry is the nervousness and insecurity about - and genuflection toward - Los Angeles.

Films are made all over the world all the time and only a thin slice of that product is Hollywood.

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.

A lot of the reasons that I'm resistant to making films in the U.S. have nothing to do with not doing a film in Hollywood, but rather to do with what I'm committed to working on in the U.K. I feel very committed to the British film industry and infrastructure.

I am very happy to be part of European and world cinema as a British filmmaker.

I'm developing the stuff all the time. There's a film in my head. I'm imagining a film.

I've walked out of films. But for every film I've ever walked out of, I've probably walked out of 500 plays.

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.

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.

But actually I make films that I think are extremely sophisticated and cinematic.

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.

Resolve was never stronger than in the morning, after the night, when it was never weaker

My work requires acting at its most committed - it demands actors of enormous resilience, but also intelligence and wit. It doesn't work for narcissistic or selfish actors.

If I'm ever working on a set and anyone talks about a master shot, I say there is no master shot. Before I even went to film school, I learned about movies by being in a British feature film, where everything was shot master shot, mid-shot, close-up. But I reject the idea of a master shot. You don't shoot everything mechanically; you find imaginative ways that serve the action.

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.

Because of the way that I work with the actors and because a scene is not in this rigid and literal interpretation of something written, I can constantly change stuff, which means I can get a scene absolutely perfect, and then when we go to shoot it, the requirements of the shot mean it would be useful to extend the dialogue or take a line out or swap things around. So the camera doesn't serve the action. The action serves the camera. That's important. So it becomes more and more organic and integrated.