The Illustrator News Today

yes, do you need to...? take your jacket off. hello, im john wilson, welcome to this cultural life, the radio four podcast, in which i ask leading creative figures to reveal the key moments in their life, and the most important cultural works that fired their own artistic imagination. my guest is director, screenwriter and playwright mike leigh. hes known for gritty social dramas, including vera drake and secrets and lies. domestic comedies, like life is sweet and happy—go—lucky, a...

hello, im john wilson, welcome to this cultural life, the radio four podcast, in which i ask leading creative figures to reveal the key moments in their life, and the most important cultural works that fired their own artistic imagination. my guest is director, screenwriter and playwright mike leigh. hes known for gritty social dramas, including vera drake and secrets and lies. domestic comedies like life is sweet and happy—go—lucky, and historical stories, including mr turner and ...

this cultural life. lets take you to the beginning. whats your earliest cultural memory? as a kid, we had, iwas exposed to pantomime, live theatre of various thoughts, circus, the circus was a big deal, variety, live variety, descendants of the music hall, including at the age of nine a trip to the ardwick hippodrome to see laurel and hardy live on stage on the famous tour, which i later realised was the famous tour, and the two important things about that were one, two extraordinary t...

And we were talking about having kids. indeed, my eldest son, toby leigh, the illustrator, is discernibly inside beverlys tummy when you watch the television version. i think i would have to say that the play worked as a piece and, you know, spoke to the audience really. what drives you on now, mike? well, i was slightly early here, and so i stood up at oxford circus for a bit and i did what i do, which is clock people walking past really. and then, because i knew i was coming here to do this pr...

I used to watch westerns from the earliest age. i remember there were two things that — one major thing that i always thought about films was, wouldnt it be great if you could have a film where the characters in the film were like real people, not like actors? and the other thing, which is of far, far less significance, or of no importance at all, is that watching westerns, you know, because of the nature of the number of frames on a length of film, the wheels on the, on a vehicle or a stageco...

Steadman, who of course was in it. we were living that...bohemian but nevertheless suburban experience, you know... and we were talking about having kids. indeed, my eldest son, toby leigh, the illustrator, is discernibly inside beverlys tummy when you watch the television version. i think i would have to say that the play worked as a piece and, you know, spoke to the audience really. what drives you on now, mike? well, i was slightly early here, and so i stood up at oxford circus for a bit and ...

A formative effect on your work is ronald searle, illustrator, artist, best known for creating century unions, so many books and magazines over the years, in the postwar years, how do you discover him? when i was six, somebody gave me a copy of hurrah for st trinian�*s, a collection of cartoons by ronald searle, for my birthday. that was it. the great thing about searle is that he was — apart from being a great draughtsman — he was a fantastic observer, and his style of drawing influenced ...

Experience, you know. and we were talking about having kids. indeed, my eldest son, toby leigh, the illustrator, is discernibly inside beverlys tummy when you watch the television version. i think i would have to say that the play worked as a piece and, you know, spoke to the audience, really. what drives you on now, mike? well, i was slightly early here, and so i stood up at oxford circus for a bit and i did what i do, which is clock people walking past, really. and then, because i knew i was c...

That — one major thing that i always thought about films was, wouldnt it be great if you could have a film where the characters in the film were like real people, not like actors? and the other thing, which is of far, far less significance, or of no importance at all, is that watching westerns, you know, because of the nature of the number of frames on a length of film, the wheels on the, on a vehicle or a stagecoach would go around backwards. yes. and i used to think, sit there thinking, "whe...

Thought about films was, wouldnt it be great if you could have a film where the characters in the film were like real people, not like actors? and the other thing, which is of far, far less significance, or of no importance at all, is that watching westerns, you know, because of the nature of the number of frames on a length of film, the wheels on the, on a vehicle or a stagecoach would go around backwards. yes. and i used to think, sit there thinking, "when i make films, theyll go round the rig...