Mike Leigh

You auditioned.

You auditioned.

Ja. Ja. Ja. Das war die Basis für... Obwohl, was ich tue, ist sehr aktororientiert, wie Sie wissen.

Ja. Ja. Ja. Das war die Basis für... Obwohl, was ich tue, ist sehr aktororientiert, wie Sie wissen.

Ja. Ja. Ja. Das war die Basis für... Obwohl, was ich tue, ist sehr aktororientiert, wie Sie wissen.

Das erste, was ich sagen möchte, ist, dass ich von der jüngsten möglichen Zeit bis 1960, als ich nach London ging, I saw movies all the time, as much as I could. But I never saw a film that wasn't in English. I only saw Hollywood and British movies. So when I went to London in 1960, suddenly, wham, World Cinema.

Das erste, was ich sagen möchte, ist, dass ich von der jüngsten möglichen Zeit bis 1960, als ich nach London ging, I saw movies all the time, as much as I could. But I never saw a film that wasn't in English. I only saw Hollywood and British movies. So when I went to London in 1960, suddenly, wham, World Cinema.

Das erste, was ich sagen möchte, ist, dass ich von der jüngsten möglichen Zeit bis 1960, als ich nach London ging, I saw movies all the time, as much as I could. But I never saw a film that wasn't in English. I only saw Hollywood and British movies. So when I went to London in 1960, suddenly, wham, World Cinema.

In the first week I was in London, somebody said, oh, there's an arts festival and they're showing a movie, do you want to come? And there was this film where a knight is playing chess with the devil. Yeah. Der Bergmann-Film? Ja, natürlich. Es war ein Wunder. Und dann war Abou Dessouf zu spielen. Chateau setzte einige Gedanken ein. Und all das. This is the early 60s.

In the first week I was in London, somebody said, oh, there's an arts festival and they're showing a movie, do you want to come? And there was this film where a knight is playing chess with the devil. Yeah. Der Bergmann-Film? Ja, natürlich. Es war ein Wunder. Und dann war Abou Dessouf zu spielen. Chateau setzte einige Gedanken ein. Und all das. This is the early 60s.

In the first week I was in London, somebody said, oh, there's an arts festival and they're showing a movie, do you want to come? And there was this film where a knight is playing chess with the devil. Yeah. Der Bergmann-Film? Ja, natürlich. Es war ein Wunder. Und dann war Abou Dessouf zu spielen. Chateau setzte einige Gedanken ein. Und all das. This is the early 60s.

There was a lot going on in the opening years of the 60s while I was at this very old-fashioned English drama school. It's purportedly the best drama school in the world. It was very, very staid and it wasn't creative in any real sense. But out there... Stuff was going on. I mean, we started to know what was happening in New York, you know. Experimental things were happening.

There was a lot going on in the opening years of the 60s while I was at this very old-fashioned English drama school. It's purportedly the best drama school in the world. It was very, very staid and it wasn't creative in any real sense. But out there... Stuff was going on. I mean, we started to know what was happening in New York, you know. Experimental things were happening.

There was a lot going on in the opening years of the 60s while I was at this very old-fashioned English drama school. It's purportedly the best drama school in the world. It was very, very staid and it wasn't creative in any real sense. But out there... Stuff was going on. I mean, we started to know what was happening in New York, you know. Experimental things were happening.

There was also in England, in London, the work of Peter Brook and the Royal Shakespeare Company. This is to answer your question. The first thing I directed at the Academy was Harold Pinter's Caretaker. It was taken with Beckett and Pinter. These things were a revelation to me.

There was also in England, in London, the work of Peter Brook and the Royal Shakespeare Company. This is to answer your question. The first thing I directed at the Academy was Harold Pinter's Caretaker. It was taken with Beckett and Pinter. These things were a revelation to me.

There was also in England, in London, the work of Peter Brook and the Royal Shakespeare Company. This is to answer your question. The first thing I directed at the Academy was Harold Pinter's Caretaker. It was taken with Beckett and Pinter. These things were a revelation to me.

Absolut.

Absolut.

Absolut.