Mike Leigh

Ja. Ja. Ja. Ja, ja, ja. Ich meine, das Gleiche, was wir hier reden, kann auch an den Fakt, dass die Filme, glaube ich, sowohl tragisch als auch komisch sind. Ja. Aber, you know, people say to me, well, how do you decide when to be funny? I don't. Life is tragic and comic. It comes out of the soil like that.

It never is. And indeed, no, I mean, apart from anything else, my job... whichever way you look at it, is to hand it over to you, the audience. Okay, now this is for you to go away and ponder, argue about, care about, forget about, whatever you want to do with it, really.

It never is. And indeed, no, I mean, apart from anything else, my job... whichever way you look at it, is to hand it over to you, the audience. Okay, now this is for you to go away and ponder, argue about, care about, forget about, whatever you want to do with it, really.

It never is. And indeed, no, I mean, apart from anything else, my job... whichever way you look at it, is to hand it over to you, the audience. Okay, now this is for you to go away and ponder, argue about, care about, forget about, whatever you want to do with it, really.

Oh, da bist du. Yeah, I mean, I think that's important. A, what I do first and foremost is I do not make films about films. Yeah. You know, which plenty of movies are about movies. Even in terms of reference or literally? No, no, no, in terms of... Ja, ich meine, sie sind es nicht. Ich meine, offensichtlich bin ich ein Filmwachter und ein Film- und ein Film-Buff.

Oh, da bist du. Yeah, I mean, I think that's important. A, what I do first and foremost is I do not make films about films. Yeah. You know, which plenty of movies are about movies. Even in terms of reference or literally? No, no, no, in terms of... Ja, ich meine, sie sind es nicht. Ich meine, offensichtlich bin ich ein Filmwachter und ein Film- und ein Film-Buff.

Oh, da bist du. Yeah, I mean, I think that's important. A, what I do first and foremost is I do not make films about films. Yeah. You know, which plenty of movies are about movies. Even in terms of reference or literally? No, no, no, in terms of... Ja, ich meine, sie sind es nicht. Ich meine, offensichtlich bin ich ein Filmwachter und ein Film- und ein Film-Buff.

Aber das ist, aber die echte Substanz von was es ist. Ich meine, ich denke nicht über diesen oder anderen Film, wenn ich einen Film mache. The other thing is, that again, with reference to your girlfriend's feelings about representation, it's important to me to point the camera out there at them, which is to say us. Real people.

Aber das ist, aber die echte Substanz von was es ist. Ich meine, ich denke nicht über diesen oder anderen Film, wenn ich einen Film mache. The other thing is, that again, with reference to your girlfriend's feelings about representation, it's important to me to point the camera out there at them, which is to say us. Real people.

Aber das ist, aber die echte Substanz von was es ist. Ich meine, ich denke nicht über diesen oder anderen Film, wenn ich einen Film mache. The other thing is, that again, with reference to your girlfriend's feelings about representation, it's important to me to point the camera out there at them, which is to say us. Real people.

Not in the business of heroes or idealized... I mean, of course, you could argue the exceptions are that Topsy Turvy is about theatrical folk in the 1880s. And Mr. Turner is about an artist. Well, an artist is an exotic thing to be. But the point about those films, if you look at them in the context of all my other stuff...

Not in the business of heroes or idealized... I mean, of course, you could argue the exceptions are that Topsy Turvy is about theatrical folk in the 1880s. And Mr. Turner is about an artist. Well, an artist is an exotic thing to be. But the point about those films, if you look at them in the context of all my other stuff...

Not in the business of heroes or idealized... I mean, of course, you could argue the exceptions are that Topsy Turvy is about theatrical folk in the 1880s. And Mr. Turner is about an artist. Well, an artist is an exotic thing to be. But the point about those films, if you look at them in the context of all my other stuff...

is that they're saying, okay, yeah, this may be in the 19th century, and yeah, these may be about artists, but actually, they're vulnerable, these are vulnerable people. With problems. Like you, me and him.

is that they're saying, okay, yeah, this may be in the 19th century, and yeah, these may be about artists, but actually, they're vulnerable, these are vulnerable people. With problems. Like you, me and him.

is that they're saying, okay, yeah, this may be in the 19th century, and yeah, these may be about artists, but actually, they're vulnerable, these are vulnerable people. With problems. Like you, me and him.

Yes, that's true. That's very true. But that's not... That's, with respect, confusing two different things. Yes. I mean, yes, she's a heroic... You could argue, perhaps, that there are a number of heroic people in my films.

Yes, that's true. That's very true. But that's not... That's, with respect, confusing two different things. Yes. I mean, yes, she's a heroic... You could argue, perhaps, that there are a number of heroic people in my films.

Yes, that's true. That's very true. But that's not... That's, with respect, confusing two different things. Yes. I mean, yes, she's a heroic... You could argue, perhaps, that there are a number of heroic people in my films.

But that's not the same as... As a heroic journey. Yeah, yeah, yeah. Or indeed about, you know, making your characters by definition... heroic, received tropes.