A Quote by David Thewlis

I often draw from people in my own experience to base a character on, going back to my days with Mike Leigh. — © David Thewlis
I often draw from people in my own experience to base a character on, going back to my days with Mike Leigh.
Mike Leigh encourages you to choose a person that you know to base your character on. You write a whole list of people that you know and you go through that list in great depth with him. And then he chooses one of those people from your list.
Working with Mike Leigh is a process of distillation.
I really want to work with Mike Leigh.
You can't build any kind of organization if you're not going to surround yourself with people who have experience and skill base beyond your own.
Mike Leigh is my all-time favourite writer/director/creator.
You cant build any kind of organization if youre not going to surround yourself with people who have experience and skill base beyond your own.
When I make films, I work with Mike Leigh, who's the most prolific director in England.
Mike Leigh and Ken Loach are the people I look up to. They are quality film-makers making interesting, controversial, ground-breaking movies with very little eye on the marketplace.
Mike Leigh taught me about making choices - as an actor, you choose between being honest and clever, and with Mike, it's always about being honest. I learned how to behave on a film set from Jim Broadbent. He was a great example of someone with a fantastic career who kept his feet on the ground.
I had two starts, really. The first was going to the Italia Conti stage school, aged 15. I'd gone to sing, but one day I found myself doing an improvisation and thought, 'Oh God, I quite like this acting thing.' The second start was meeting Mike Leigh when I was 22. He showed me I could play people that weren't like me.
Some days I would get so exhausted, nauseous, in pain - just from going back through things. It's almost as if I had the experience and then the meta-experience.
Leigh Bowery created outfits that made him look deformed, which was very brave. I believe this was the main thing that gave Leigh his edge. His designs were often breath-taking, but it was the way he used his body that was so utterly new and refreshing.
It sounds really corny but every film that you do is its own journey, it's its own experience, it's its own thing. Often you think it's going to be one way and then it goes another way - you think you can chart a character and then other things happen. That's the amazing thing about our jobs, it's constantly changing and it's extremely dynamic and you therefore have to be dynamic as well.
What is the good of drawing conclusions from experience? I don't deny we sometimes draw the right conclusions, but don't we just as often draw the wrong ones?
She was obsessed with French and Swedish cinema. I also remember our mother showing us 'Gone With the Wind' very early on. She absolutely loved Vivien Leigh, so it must have been a formative experience for me, thinking, 'Oh, maybe one day I'll be like Vivien Leigh.'
Most of the comedy characters I played have been extensions of my own personality and very similar to Mike Channel. It's a weird eclectic mixture of your genuine character and the character you portray.
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