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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.

Mike Leigh

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Mike Leigh
Age: 81
Born: 1943
Born: February 20
Actor
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Film Director
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Television Director
Theatrical Director
Writer
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More quotes by Mike Leigh

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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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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 discover what my film is by embarking on the journey of making it.
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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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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.
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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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Resolve was never stronger than in the morning, after the night, when it was never weaker
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The reason my films work is because every actor on set is very secure. They're able to fly.
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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 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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The problem with the British film industry is the nervousness and insecurity about - and genuflection toward - Los Angeles.
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I don't know what the character is going to be. We sit down and we create a character, and all of the characters in all of my films are made like that.
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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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There's a constant drip and trickle of life that goes into one's awareness really and consciousness of things.
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I think Michael Caine is a perfectly good actor but it's obvious he's not going to be in one of my films.
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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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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.
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Independent filmmaking has always been there and it's not to be forgotten.
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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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