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With us, but he wrote the play so he could play the main character, malcolm scrawdyke. and to cut a long story short, he was impossible to direct. he'd say, "oh, a director's just a chairman." i'd say, "why don't you move over there on that...?" he'd say, "why? "i could move there, i could move anywhere." and so... at this point, i'd already... and we've talked about this, i'd already formulated notions about... because i wanted to write and direct and i'd formulated notions about other collaborative ways of making work. and this experience, much though i felt... think the play is great and mu...

The students looking at the subject, at the model in the life drawing class, the actor has got, you know, he or she is going to start to stand up and play this person they actually know, and then that person they know, and then we meld them together and the character is created. but, of course, the two famous myths about what i do with actors is, one is that the actors come with ideas, and the committee is formed as to what the subject... that's not the case at all. in fact, it's very — it's essential that they... ..when i say to an actor, "participate in this piece "of work, this play or th...

You know, about how we live, relationships, work, responsibility, surviving, secrets and lies, you know, the stuff of living really. class ? and class, yes. it's funny, it's interesting, i didn't put that instinctively at the top of the list, but fair do�*s, you know. could you characterise a typical mike leigh film? what sort of films does mike leigh make? no, i couldn't do that and i'm not going to try. you've chosen as your next cultural moment an experience from 1965. you directed the original production of little malcolm and his struggle against the eunuchs, a play by david halliwell. y...

..and had a nude model, and everybody was quietly drawing away, and i looked around the room, and i thought, academy of dramatic art. really creative work is happening, everybody in the room is looking at something that's real and finding an organic, truthful way of expressing it, which we didn't do as student actors. it was all mechanical and superficial and inorganic, and therefore, dull. and that revelation, in that moment, in the life drawing class — that, you know, absolutely resonated with notions that i had on the go, in a primitive form, at that point in time, that somehow you could ...

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, wouldn't 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, th...