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BBCNEWS This Cultural Life June 4, 2024 02:40:00

..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 create. ..theatre, you could create films, in an organic way, ....

Making Work , Didn T , Student Actors , Hampstead Theatre , Life Drawing ,

BBCNEWS This Cultural Life June 4, 2024 02:36:00

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, they ll go round the right way. now that was from a very early age. the first big cultural influence that you ve picked, that you suggest has had a formative effect on your work, is ronald searle. illustrator, artist, best known for st trinian s, for creating st trinian s, and for the molesworth books, and also contributing illustrations and drawings to so many books and magazines over the years, in ....

Wouldn T , Watching Westerns , Making Work , Ronald Searle , The Illustrator , St Trinian S , Molesworth Books ,

BBCNEWS This Cultural Life June 4, 2024 00:42:00

And we gradually i finally whittle it down and choose the source, or usually sources, from people they know. so it means the actor has got somewhere to start, something to like an art. like the artists, like 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 this film, we can t talk about a character, because there isn t a character. you and i are going to collaborate to create a character, and you will never know anything about the whole ....

Life Drawing , It Didn T , Isn T A Character , Play For Today , Making Work ,

BBCNEWS This Cultural Life June 4, 2024 00:40:00

To theatre or film, was the foundation course at camberwell. but it was there that i had a really seminal experience as an artist. we were all sitting around. ..and had a nude model, and everybody was quietly drawing away, and i looked around the room, and i thought, what is happening in this room is something that we never experienced for one split second at the royal 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 ....

Hampstead Theatre , Foundation Course , Making Work , Split Second , It Didn T , Student Actors , Life Drawing ,

BBCNEWS This Cultural Life June 4, 2024 00:48:00

Democracy, i think my films must be understood to be implicitly political, rather than overtly political. you once said, i m going to quote you here, i know i return endlessly to the same preoccupations, but i m not always aware of it initially. what are those preoccupations, do you think? well, i mean, if you look at my films and plays, 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 ....

Making Work , Secrets And Lies , Mike Leigh ,