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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.

Mike Leigh

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Mike Leigh
Age: 81
Born: 1943
Born: February 20
Actor
Author
Film Director
Playwright
Screenwriter
Television Director
Theatrical Director
Writer
Integrity
Worry
Greatest
Portrayed
Since
Worrying
Everyone
Stopped
Important
Presses
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Ultimately

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Given the choice of Hollywood or poking steel pins in my eyes, I'd prefer steel pins.
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The problem with the British film industry is the nervousness and insecurity about - and genuflection toward - Los Angeles.
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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.
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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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Independent filmmaking has always been there and it's not to be forgotten.
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Given the events of even the 19th century, Zionism was inevitable. Given the events of the 20th century, Israel was inevitable.
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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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Resolve was never stronger than in the morning, after the night, when it was never weaker
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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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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.
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Some deeply untrusting actors - the kind that need to know exactly what's what and are completely insecure - might be quite good within the parameters of a certain sort of acting.
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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 can't negotiate and collaborate with a character to create a distilled dramatic investigation of the raw material. I need to work with an actor. That stuff about actors who stay in character all the time is nonsense.
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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.
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It creeps up on you and becomes an obsession. It comes out of watching a million movies.
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I discover what my film is by embarking on the journey of making it.
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But actually I make films that I think are extremely sophisticated and cinematic.
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There are plenty of bad actors and there are plenty of bad directors. There are actors who will always be bad and there are good actors who you cry for because they're being badly directed or the material isn't good enough.
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The main problem is that the Hollywood system has already made the film before the director shoots a single frame.
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One of the reasons the whole Hollywood way of making films wouldn't work for me is because the way I operate would be anathema to anyone who wants to hold a job down in Beverly Hills.
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