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Thing, except what your character knows. so they don't know about the other characters? not until, not until and unless they meet them in the context of the work. are they banned from talking to the other actors about... absolutely. but it works totally. everybody enters into the spirit of it, and there's never been a case where anybody has, as it were, broken the rules or cheated. people, they... ..actors are highly stimulated by it, because it means each actor feels in possession of something that only he or she has, and apart from anything else, it means that the actors can — the actor do...

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 production of little malcolm and his struggle ag...

David halliwell, who was a close friend and a very talented guy, he's no longer 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...

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. what sort of a...

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 informed 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,...