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yes, do you need to...? take your jacket off. hello, i'm 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. he's 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 peterloo. i spoke to him in one of the many radio s...

hello, i'm 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. he's 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 peterloo. i spoke to him in one of the many radio studios in bbc broadcasting house. mike, welcome...

this cultural life. let's take you to the beginning. what's 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 things, one was it was in colour — they were in colour — and two, that oliver hardy com pletely...

That this is not what i was going to do. i was not going to battle with scripts. i was going to find a way of creating organic work, basically. how do you regard theatre now, as somebody as somebody who is primarily regarded as a film—maker? well, i mean, it's... they're two sides of the experience really. i love film—making, i love everything about film, i love being out in the... making the heightened, distilled drama happen in real places. i love what you can do with film and apart from anything else, i love the way that film can be disseminated very widely. theatre is a whole different...

But the audience experience of theatre is very important because you're actually there, you know. i call it the trapeze factor. you go to the circus, you're in that space, she's in that space, on the trapeze. if she falls off that trapeze and breaks her neck, she's doing it in your space, you know. i always say that in films, in movies, i aspire to the condition of theatre, in other words to the trapeze... to the tradition of trapeze, so that although the audience knows objectively that they're watching something on a two—dimensional screen, you are drawn into it, so that you really have tha...