A Quote by Lesley Manville

When I make films, I work with Mike Leigh, who's the most prolific director in England. — © Lesley Manville
When I make films, I work with Mike Leigh, who's the most prolific director in England.
Mike Leigh is my all-time favourite writer/director/creator.
I really want to work with Mike Leigh.
I like to work with people who want to make films because they are passionate about films and not because they want to sell films and make money. I am not for people who get the most saleable actor and then the most saleable director and sell the film.
I wanted to work with Mike Leigh. I had my list of British people I wanted to work with, and I wanted to work with David Lynch and Woody Allen.
Leigh Bowery was actually quoted as saying, "Flesh is my most favorite fabric." I've seen many a freak make a scene and go, but Leigh was a special kind of exhibitionist because he was dedicated and saw it as an art form.
I drew influence from Mike Leigh, Ruben Ostlund, a lot of Scandinavian filmmakers, Lukas Moodysson. I also drew influence from horror films and thrillers, which is something I would never think to do earlier in my career.
Working with Mike Leigh is a process of distillation.
For Mike Mills, I learned that having dance parties and crying with your cast does not make you a weak director, it makes you a strong director.
But I think the thing I'm proud of about the film is that there aren't many films - either independent films or mainstream Hollywood films - that are like this; it's of its own times, and it's the film Mike Nichols wanted to make.
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 acknowledge Mike Leigh and Ken Loach. They are prostlytizers of English socialism preaching to the converted and telling us what we already know. Cinema is best served away from documentary neo-realism. I come from a tradition of post-post-Italian neo-realism in England, where we've produced the best television in the world. But to paraphrase Truffaut, the English have no visual imagination.
I often draw from people in my own experience to base a character on, going back to my days with Mike Leigh.
I want to make my kind of films but make them work commercially, too. When my presentation meets the director's imagination, the result will be great.
I think I'm drawn to films more as a director with a directorial mind even as an actor. I make movies to make the films, not to act.
With a director it's all about the work; I'd work with a great director over - you know, I'm not the kind of actor who that doesn't go, 'I want to play this role.' It's more like, 'I want to work with this director,' regardless of what the role is because if it's a good director, you'll probably find a good role because it's a decent film. But a mediocre director will always make a mediocre movie.
Establishing mood through pictorial means is the director Ridley Scott's most notable talent. There may be no working director more accomplished at wringing texture out of the color blue than the prodigious and now prolific Mr. Scott; you'd swear that with his dazzling washes of blues and sand tones, he was inventing additional hues on the spot.
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