Mike Leigh: On Difficult Realities and Universal Truths

      Mike Leigh is known for his filmmaking approach of "devise and direct," where his actors create their characters under his direction, allowing him to uncover the film's story and dialogue during the process.

      Over his 15 films, with Hard Truths being the most recent, Leigh has built a body of work that reflects life as it is lived rather than dictating how it should be lived. The British director acknowledges that his films have influenced a new generation of filmmakers, including Sean Baker, the director of Anora, who has cited Leigh’s social-realist works among his inspirations.

      “Perhaps I create films for others to imitate later,” Leigh mentions. “If that's the case, wonderful, but I find it rather academic.”

      He desires for his films to continue to both perplex and please viewers. While Baker’s films convey clear messages — portraying sex workers as people and presenting sex work as legitimate work — Leigh has aimed to present themes in a complex manner since the 1971 film Bleak Moments.

      The director cleverly engages his audience unexpectedly, with comedic moments often slipping into tragedy, or serious scenes offering surprising humor and elegance.

      Leigh's film Naked, released in 1993 and featuring David Thewlis as a chatty intellectual and conspiracy theorist, marked a significant achievement for him. At that year's Cannes Film Festival, he won awards for Best Actor and Best Director.

      His 1999 film Topsy-Turvy, which explored Gilbert and Sullivan’s creative struggles surrounding their famed work The Mikado, showcased his lifelong admiration for their comic operas.

      Leigh’s latest work, Hard Truths, provides a darkly humorous yet compassionate look at family dynamics.

      Featuring Marianne Jean-Baptiste as Pansy, a woman overwhelmed by fear and anger due to Covid lockdowns, and Michele Austin as her laid-back sister, a single mother surrounded by love, the film explores the intricate nature of family ties, responsibility, and the lasting power of love, despite Pansy’s internal battles.

      We spoke with Leigh about transforming reality into drama.

      Joshua Encinias: Do you intentionally steer clear of referencing other films in your own? Hard Truths feels rooted in reality and seems to establish its own cinematic language. It feels like your work is what others will reference in the future.

      Mike Leigh: Honestly, many filmmakers successfully and legitimately create films about films. I, however, do not make movies about movies. My focus is on real life and people. But I acknowledge I have watched films extensively since about 1946.

      I have a deep passion for cinema, spending my childhood and teenage years in Manchester watching mostly Hollywood or British films. When I moved to London, I discovered World Cinema. Various filmmakers have influenced me, but at no point do I shoot my films with a specific film or filmmaker in mind because it’s about life and people.

      What you mentioned about making films for others to reference is intriguing and something I've never considered. If that happens, fine, but that's not my concern.

      Joshua Encinias: I'm aware you develop and direct the narrative during rehearsals, but what approach did you take for Hard Truths when presenting to financiers and collaborators?

      Mike Leigh: Nothing.

      Joshua Encinias: Nothing?

      Mike Leigh: As is the norm, our aim was to create a film without a script, and we couldn't share any details because we weren't aware ourselves. We embark on our filmmaking journey to discover that along the way. We also refrain from discussing casting, and we request no interference at any stage. Please provide funding, and we will proceed.

      Two outcomes will happen: they either agree and provide funding, or they decline. Generally, the latter occurs. [Laughs.]

      Mike Leigh on Inspiration and Hard Truths

      Ani Nelson, Michele Austin, Marianne Jean-Baptiste, Tuwaine Barrett, Sophia Brown, and David Webber in Hard Truths. Courtesy of Simon Mein. Copyright Thin Man Films Ltd

      Joshua Encinias: So what motivates you to create each film? Do you think, “It's time for another movie, let’s see what unfolds?”

      Mike Leigh: Yes, on one level. However, this question applies to any kind of artist, be it painters, novelists, playwrights, poets, sculptors, or musicians. The essence is discovered through the creative process—interacting with the material generates insights that guide subsequent actions. I do possess certain preoccupations and ideas, some of which are consciously known while others emerge during production. Often, exploring the material reveals elements I hadn’t anticipated.

      Joshua Encinias: Have you ever had to replace an actor who couldn't adapt to your improvisational approach?

      Mike Leigh: A couple of times, I’ve had to part ways with an actor for reasons unrelated to your question. But, to directly answer your inquiry: no, that situation has never arisen because participants engage with the process. It's invigorating and enriching, I believe.

      Joshua Encinias: