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JohnPlotz: HelloandwelcometoRecallThisBook.ThisisJohnPlotz,todayyoursolohosttravelingtheglobe,atleastasfarassouthernOhio,tobringyouaninterviewwiththefilmmaker,MikeLeigh,aseven-timeOscarnominee,winnerofvariousBAFTAAwards,bornManchesterin1943,andmakingremarkablefilmsforalmosthalfacenturynow.
Sowho'syourfavoriteMikeLeigh?Isittheslycomicgeniuswhocondensesordinarylifeintounforgettablevignettes?ThatwouldbesomethinglikeLifeIsSweetorHighHopesorNaked.Ordoyougoinsteadforthegrit,thesqualor,andawkwardnessofwhatitmeanstobestuckinclass-basedsocialmisery,ortotrytofakeyourwayoutofit?ThatwouldbefilmslikeAbigail'sParty,NutsinMay,Meantime,HardLabour.Orhowabouthismorerecent“periodfilms”?Hecallsthemthatincontrasttowhathecallsthe“chocolateboxstyle”ofhistoryfilmmaking.ThosewouldbefilmslikeTopsy-TurvyandMr.Turner,whichrevealthatevensuchlauded19thcenturytypesasGilbertandSullivanhadordinarylivesworthdepictingintheirbanality.
JohnPlotz: Ifyou'restilldrawingablank,googlehimandI'llbetyoufindafilmthatyouwanttowatchrightaway.I'llwait.Well,no,actually,Iwon'twait,butyoudohavesomethingtolookforwardtoafterthisinterview.SowhenheandIsatdowntotalk(ataVictorianistconventioninColumbus,Ohionoless)ourconversationrangedfrommethodactingtomoviesI'veneverseenbutshould've,toimprovisationandJohnCassavetestowhenyoucansay"fuck"onBritishTV(turnsouttobeafter9:00PM)--andthat'sonlythefirst20minutes.HealsotalkedaboutJamesThurberandeffortlesslyshotdownmyfeeblequestionaboutclose-ups.Hispoint,whichIthoughtwasactuallyverycompelling,wasthathe'smoreinterestedinmakingaworldfortheviewerthanheismakingaseriesofwell-composedshots.Sothewayheputitis,It'sneithersliceoflife,norisitjustashotconfection.Instead,it'ssomethinginbetween.Butourconversationbeganwithhismourningtheabsenceofordinarysoundofworking-classvoicesfromthe19thcentury.Whyonlyfamouspeople?
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MikeLeigh:Whatfascinatesmeaboutthisis,ofcourse,thattheynever--thisisreallyinteresting,whichcameupinresearchforvarioushistoricalthings--it'sthattheyrecordedfamouspeople,anditreallytookagesforanyonetospotthatitwouldbegoodtorecordordinarypeople.Sothearchive,therearealltheseveryearlyrecordingsoffamouspeoplesortofratherformallysayingthingsorreadingthingsorwhatever.
JohnPlotz: Yeah.Ilikethe[Robert]Browningbecauseheforgetsthewordsinthemiddle,soitbecomesinformal.
MikeLeigh:Yeah,thereyougo.Butactually,whenyoustartdiggingaroundforvoxpop.,it'sactually,andreally,eventheBBCuptillWorldWarIIwasstill,iftheymadedocumentariesontheradioaboutordinarypeople,they'dwritedownspeechesforthemtoreadout.
JohnPlotz: Ididn'tknowthat.
MikeLeigh:Yeah.Although,therearerecordingsintheNationalSoundArchive.WhenwewereresearchingMr.Turner,MarianBailey(whoplaysMrs.Booth)foundtheserecordings,(becausesheobviouslywastheonefromKent)foundtheserecordingsofveryoldguysrecordedinthe1920stalkingthisKentishdialect,whichshefoundveryuseful,whichwebuiltintosomeofhowshetalksandwhatshesays.
JohnPlotz: Whenyousaythat,IrememberthereusedtobetheseBBCaccentrecords.
MikeLeigh:Yeah.Butit'sfascinatingthatthoseveryearlylate19thcenturyrecordingsonlyrecordedfamouspeople.Itneveroccurredtoanyonetogointothestreetandpickupvoxpop.
JohnPlotz: DidyouseethatPeterJacksonmovieaboutWorldWarI?
MikeLeigh:Oh,yeah.
JohnPlotz: It'samazing,isn'tit,whathedoes?
MikeLeigh:Verygood.Reallygood.
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JohnPlotz: Yeah.Buthedoesn'thavethevoices.Hejusthasthelip-readers.
MikeLeigh:Ofcourse,ofcourse.Butlovelyjob,actually.
JohnPlotz: Yeah,butit'scrazytothinkaboutthatyouwouldhaveaccuratevisualcaptureofpeople,butyouwouldn'thavetheiractualvoices.
MikeLeigh:Itneveroccurredtoanyone.It'sextraordinary.Andtheamountoffootageofordinarypeopledoingordinarythingsonfilm…
JohnPlotz: Right.Peopleleavingafactory.Yes,theactualities.
MikeLeigh:Everything.WhenwesatdowntodoTopsy-Turvy,theBFIgaveustwohoursoffootageshotinandaroundLondonbetween1896and1901,andtherewastwohoursofit.It'samassiveamount.Thethingwasonlyinventedin1896,andwithinminutesitseemedpeoplehadcamerasallover.
JohnPlotz: Iwentandlookedatthatsamefootage.Iwaswritingabookaboutcrowdsinthe19thcentury.
MikeLeigh:Oh,thereyougo.
JohnPlotz: IlookedtotheBFI.Isawsomeofthat.It'samazing.
MikeLeigh:There'smassiveamountsofit.
JohnPlotz: Totally.
MikeLeigh:Theyfilmedeverything,anditneveroccurredtoanyonetorecord.It'sextraordinaryisn'tit,really?
JohnPlotz: Yeah.Actually,thatleadsintoonequestionIwantedtoaskyou,Mike,whichisabout,foryou,thedifferencesbetweenyourTVfilmsandyourfilms.WeretheTVfilms...Doesthatcategorymakesense,thingslikeNutsinMay?
MikeLeigh:What'sthequestion?
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JohnPlotz: Well,thequestionsis,formally,wasthatdifferent?Itwasn'ttapeversusfilmoranythinglikethat?
MikeLeigh:No.TheonlythingsIdidontapewerethosestudioproductions,Abigail'sPartyandThePermissiveSociety,whichwerefivecamerastudiojobs.Buteverythingelsewasonfilm,sotheywerefilms.Wedidn'tobviouslymakethemtothesamemotion-picturestandardsthatwewouldwitha35mmfeaturefilm,ofcourse.
JohnPlotz: Doesthatmeanyouwereusing16mm?
MikeLeigh:Oh,on16mm.Yeah.ButthenevenVeraDrakewasshotonSuper16,believeitornot,becauseofthequalitywecouldget.No,theywerefilms,andIregardthemasfilms.
JohnPlotz: Asfilms.
MikeLeigh:Nothingaboutthemfundamentallywasanydifferentfrommakingamovie,really.
JohnPlotz: AndwereyoucaughtupinanyTVconstraints?Like,inAmericaitgoeshourbyhour,butIguessinBritain,liketheTVslots…Theydidn'ttellyouithastobe92minutesexactlyoranythinglikethat?
MikeLeigh:No,theydid,buttheywerevery,veryfluidaboutitactually.SoImean,like,FourDaysinJuly,whichwasmyfilmaboutNorthernIreland,wassupposedtobe,Ithink,75minutes,anditwasactually96minutes.Theymadeafussforabouttwoseconds,butthefactwasunlikeITVwheretheyhadcommercialbreaksandallofthat,likehere,itdidn'treallymatter.Itwasactuallyflexibleandfluid,andtheonlyconstraintofasensorialnaturewasthatyoucouldn'tsay"fuck."
JohnPlotz: Mm-hmm.Butyoucouldshowabortions,forexample?Thatwasallright?
MikeLeigh:Inever...
JohnPlotz: Oh,Imean...Sorry.
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MikeLeigh:No,I'mtalkingaboutmytelevisionfilmsintheearlydays.
JohnPlotz: Yeah,butinHardLabour,Ijustmean,sorry,youdon'tshowanabortion,butthefact.
MikeLeigh:InHardLabourthereisn't--whatabortion?
JohnPlotz: Oh,whatamIthinking?
MikeLeigh:Well,theytalkaboutit.
JohnPlotz: Sorry,yeah.
MikeLeigh:Yeah.No,no.Butyoucouldn'tsay"fuck."ThefirstfilmImadewhereanybodysaid"fuck"wasMeanTime,whichwasmadeforChannel4.Wecalculated.Weknewwhattimeitwouldgoout,andthereforebywhatstageinthefilmafterthe9:00.Itwasthe9:00threshold.
JohnPlotz: 9:00hour,mm-hmm.
MikeLeigh:Butofcoursenowyoucansaywhateveryouwant,basically.
JohnPlotz: Yeah.IwasgoingtoaskyouaboutMeantime.It'ssuchanunbelievablecastinthere.WasthatTimRoth'sfirstfilm?
MikeLeigh:Second.
JohnPlotz: Second,wow.Didyoudohisfirstaswell,or?
MikeLeigh:No,no,no,no.HewasinafilmthatAlanClarkemadecalledMadeinBritainjustbeforethat.That'sreallyhowIfoundhim.AlanClarkesaid,"Thiskid'sgood."Yeah,no,therewereactorslikeGaryOldman.Thequestionisdidweknow,likeGaryOldman,Wedidn'tknowtheyweregoingtobecomemega-stars.
JohnPlotz: Yeah.ButIguessthemoregeneralquestionishowdoyouthinkyougot...There'ssomepeopleyouhaveworkedwithforfilmafterfilm,andthenothersjustacoupleoffilms.
MikeLeigh:Andsometimesone.
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JohnPlotz: Yeah.Wasthatalwaystheidea,ordidyou--?
MikeLeigh:No,it'snotanidea.It'snotaproject.That'snotapolicy.It'sjustthewayitstartstohappen.Youworkwithsomeoneandthey'rereallygoodandyouclick.Theyareversatile,andbecausethey'reallcharacteractorsthatIworkwith,soyougoforitagain.Insomecases,againandagainandagain.Butthere'snoconstructinit,andtherearepeoplethatI'veworkedwithandwanttoworkwithagain,andeverytimeI'mdoingsomething,they'renotavailableandsoonandsoforth.Thereisn'tafilmwhereyoudon'tseesomebodythatI'veneverworkedwithbeforebeingbrilliant,notleastyoungactors.There'snopolicyinitatall,actually.Peopletalkabouttheensemble.It'sallrubbish,basically.Peoplecomeandgo.
JohnPlotz: BecauseIknowayoungfilmmakerfromArgentinawho,Ithinkinspiredpartlybyyou,hasjustanensemblethatheworkswith.
MikeLeigh:Well,Iunderstandthat.Afamilyform.There'sakindof--
JohnPlotz: Yeah.That'swhatitfeelslikewithhisfilms.
MikeLeigh:Yeah.Thereisasortof,there'sobviously...Itisn'tformetotalkabout,butthereisasortof,Isuppose,aninnersanctumofpeoplewhohaveworkedwithMikeLeigh,becausewedostuffthatdoesn'thappenonanyotherkindoffilm.They'reveryinthenatureofthething:It'ssustainedandlong,peoplereallyhavetodoitasthey'remessingaboutwithit.ButnotonlydoIresistthenotionofanensemble,butactuallyIresistitonlybecauseitsimplyisn'taccurate.Ifsomeforceorauthoritysaid,"Okay,herearethese10actors,andyoucanonlyevermakefilmswiththese10actors,"Iwouldregarditasremarkablyconstrainingactually.Ithasnoinherentvirtueatall.Icanunderstandtheatercompaniesofcertainkinds,forwhomthathasakindofalogic,butinthenatureofwhatIdo,itjustdoesn'tmakeanysensebecauseitdependswhatyouwanttomakeafilmabout,really.
JohnPlotz: Well,hasiteverbeenthecasethatsomethinghappenedduringonefilmthatthentriggeredontothenextfilmandyou'relike,"Oh,right.Wecan'texplorethisinthisfilm,butthen-"
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MikeLeigh:No.Intermsofthecontentandtheideas,no.Andinfact,youcanseebylookingatthefilmsthat,whilstthey'realltarredwiththesamebrush,theyallareprettydifferentfromeachotherinallsortsofways.No,thatsimplydoesn'toccurbecause,again,that'sthesamethingreally.
JohnPlotz: That'sthefamily.
MikeLeigh:Yeah.Eachfilmisanewproposition,really.Allsortsofconsiderationsarisewhenyouhavethefreedomtohaveablankcanvasafresheachtime,becausethenyoucansortof...Yousee,intheend--Ithinkthisisoneoftheunderlyingpointsofwhatwe'retalkingabout--isI'mnotconcernedinthefirstanalysiswiththenatureoftheensemble,I'mconcernedwiththesubjectmatter.I'mconcernedwiththeworldoutthere,sowhenIlookinthatdirection,there'sthatfilm.WhenIlookinthisdirection,there'sanotherfilm.Tobeconstrainedbyeithertryingtorelatethatfilmwiththisoneortryingtokeepthesameactorsorwhatever,thosewouldbedistractionsandaredherringreally.
JohnPlotz: Sointermsoftheworld-
MikeLeigh:Justoneotherthingabouttheactorsthing,apartfromanythingelse,weareblessedintheUKwithanincredibleresourceofactors.Therearetoomanyactorstogetroundto.That'sthetruthofit.There'sseveralhundredmoreeachyearfromthedramaschool,sotheideaofsortofconfiningittojustafewactorsinanexclusivewaywouldbeeccentric.
JohnPlotz: DidyouintendtobeanactorwhenyoustartedatRADA?
MikeLeigh:No.
JohnPlotz: No.
MikeLeigh:Iwantedtoknowaboutstuff.
JohnPlotz: Isee.Soevenat17or18,youknewitwasn'tforyou?
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MikeLeigh:Well,yesinsofarasonecanreportthat“at17or18Iknewexactly.”MyjourneytoRADAattheageof17withamazinglyascholarshipactually,wasasmuchasanythingtoescapehomeandescapeManchesterandgettoLondonanddoallthat,andtoescapethepressurethatwasputontobeacademic.Itwastheonethingyoucoulddowhereyoudidn'tneedacademicqualifications.Youjusthadtopasstheaudition,andI'dbeeninplays,I'dputonshows,I'dwrittenstuff.I'dedited,bythattime,twodifferentmagazines.Idrewcartoons.Ididallofthat.
JohnPlotz: Wereyouawareoftheangryyoungmenandallthatstuff?
MikeLeigh:Well,yes.Yes.IrememberdrawingacaricatureofanAngryYoungMantoadvertisetheschool,literallyadebatingsociety,butIwas13whenLookBackinAnger,soyoukindofknewitwashappening,butyouweren'tonitcompletely.
JohnPlotz: WasitallLondon,ordidithaveanorthernlifeaswell?
MikeLeigh:Itdid,butagain,thingsfilteredthrough.Youreadthepaperorwhatever…Butanyhow,themainthingwas...ButIknewitwasallaboutmakingthingsupandwritingaboutit.IsupposeifIthinkaboutit,Idon'tknowthatIruledoutbeinganactor.ButwithinminutesofbeingatRADA,Iknewthatitwasaboutdirecting,notleastbecauseRADAwasrubbishatthattime.Itwas.Itwasold-fashioned,stale.Youdidplays,youdidn'tdiscusstheplays,youlearntthelines,youlearntthemoves.Youdidn'tfalloverthefurniture.Youneverdiscussedwhatisthis?Therewasnodiscussionaboutbackstory.Therewerenoimprovisationandallofthat,andittookminutestostarttoreactagainstthat.Itwasimmenselyusefulforthatpointofview.Also,IhittowninSeptember,1960.Well,thezeitgeistwasabouttoerupt.ShadowswasplayingasIarrived.TheNouvelleVaguewasonthego.PeterBrookwasstartingtodohisthing.
JohnPlotz: Oh,PeterBrook.Right.
MikeLeigh:Yeah,andthentherewere,ofcourse,beforetoolong,therewerehappeningsandalltherestofthatstuffgoingon,anditwasallhappeninginart.IrememberarrivinginLondonandwithina
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week,inthefirstweek,goingtothegreatPicassoexhibitionatTheTate,whichwasamind-blower.Here'stheotherthing,whichisreallyimportant.UptothatpointintimeinManchester,andIwenttothemoviesallthetimeasmuchaspossiblefromtheearliestage,andIsaw-
JohnPlotz: AndthatbeingmostlyHollywood?
MikeLeigh:AllHollywoodorBritishmovies.Ineversawafilmthatwasn'tinEnglish,andwithinaweekofbeinginLondon,somebodysaid,"Oh,they'reshowingafilmatthisartsfestival."Itwasanextraordinaryfilmaboutthisknightplayingchesswith...
JohnPlotz: Oh,soyousawTheSeventhSeal..?
MikeLeigh:Yeah.
JohnPlotz: Wasthereavoiceoverorsomething,orhowdidtheydoit?Orsubtitles?
MikeLeigh:Subtitles.Yeah,butthepointwaswe'reinLondon.Ofcourse,Idiscoveredworldcinema,thewholething.Theissueofdirectingandmakingstuffwastheretobe…wasobvious.BythetimeIleftthething,I'dputonaproductionofTheCaretakerbyPinter,whichIalsodesigned.That'swhatitwasabout,andthenIwentonandIactedabit.Iveryusefullyfoundmyselfinamovie,afeaturefilm.
JohnPlotz: IsawthatonyourWikipediapage.
MikeLeigh:Yeah.TwoLeftFeet,andwhatwasgreat,Ihadaveryminorrole,butIusedtogoeveryday.Theyusedtosay,"Wehaven'tcalledyou.You'renotinthis."Isaid,"I'mjustheretowatch,"anditwasfantastic.Itwasanold-fashionedstudiomoviedirectedbyRoyWardBaker,whofamouslydirectedTitanic,anditwassimply...Well,thenIwenttoCamberwellArtSchoolonthefoundationcourseforayear,IdidayearinthetheaterdesignschooloftheCentralSchoolofArt,andIwenttotheLondonFilmSchoolatnighttime.SoIdidallthat,thenIstartedtomakeplays.
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JohnPlotz: Wastheresnobberyinthetheaterworld,like“wewouldn'ttouchfilmwithaten-footpole”kindofthing?Orwerepeoplealwayslookingtogetintofilm?Wasthereafluidboundarybetweentheaterandfilmorastickthere?
MikeLeigh:Yeah,Iwouldsayso.Ofcourse,youhavetoreflectonwhatwemade.No,therewas,becauseinfact,we'retalkingabouttheearly‘60s,thereforewe'retalkingabouttheperiodoftheBritishNewWave.LindsayAnderson,CarolRice,TonyRichardson,JohnSchlesinger,etc.Thoseguys,firstofall,allofthosefilms--andthisisincidentallywhyIneverfeltcompletelypersonallyatonewithwhattheywere…Whatwasgreatistheywerelookingatworking-classlife.However,thecasewasthatallofthosefilms,withoutexception,wereadaptationsofeitherplaysfromtheRoyalCourtTheatreornovels.Therewereno,whereas...Sowhilstlookingatthoseanddigestingthose,onewasalsolookingat,forexample,Àboutdesouffle,whichofcourseis,asitwere,paintedonthecanvas.It'sraw.It'sfilm,soalottothinkabout.
MikeLeigh:Butastothefluiditybetweentheaterandfilm,no.TheRoyalCourtTheatreandWoodfallFilms,whomadeallthosefilms,werethesameguys,really.Sotherewas--Idon'tthinktherewasasnobberyparticularly.Theremighthavebeenwithsomeveryoldfashionedpeoplewhowouldhavetaughtusattheacademy,buteventheoldestofthem,movieshadbeenaroundaslongastheyhad.WeweretaughtinthefirsttermbyawomancalledNellCarter.Shewasalittleoldbirdwho-
JohnPlotz: ThisisRADAnow?
MikeLeigh:RADA.
JohnPlotz: Yeah.
MikeLeigh:WhohadplayedJulietinHenryIrving'slastseasonatTheLyceumin1899.
JohnPlotz: Oh,god.Wow.Yeah,talkaboutVictorianconnections.Yeah,that'samazing.Wow.
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MikeLeigh:Andofcourse,shewasnoradicaldirector.Itwasvery,verysquare.Butmovieswouldn'thavebeenanoveltytoher.Theywerehappeningwhenshewaslittle.
JohnPlotz: Right.Yeah.SocanIaskabouttheBritishNewWave?I'vereadabouttheCassavetesconnectionforyou,butIwaswondering,like,yeah.
MikeLeigh:Well,justinpassing,justaroundthat….Imean,thefactofShadowsparticularly,atthemomentonediscoveredit,thefactwasithadbeen“improvised.”Thatwasaradicalandremarkablething.Inpassingthough,it'snotinthedriftofwhatweobviouslywanttotalkabout,butinpassing,whilstthingslikeTheMurderofaChineseBookie,forexample(Isthatwhatit'scalled?)
JohnPlotz: Yeah,Ican't-
MikeLeigh:Youdon'tknowit.I'vegotalotofrespectforCassavetes,butontheotherhandnotalways,becausequitealotofthetimewhatyouarelookingatareactorsplayingthemselvesandimprovisingoncameraandlettingtheirownshithangout,asopposedtoreallydepictingtheworld.Althoughit'sgotitsownkindofdynamicquality,Isortofpartcompanywithit,consideringwhatyousaid,becausewhatI'mconcernedwithisnotrawactingrevealingitsinnards,improvisinginfrontofthecamera.It'saboutdistillingtheworldandmakingitfeelveryprecise,whichisn'taboutactors.It'sabouttheworld.
JohnPlotz: CanIask,Isortofhadaninchoatequestionaboutit.ItseemslikelookingatyoureducationthattherewasaperiodofMethodactingtraining,right?WasittheEast15School?
MikeLeigh:No.
JohnPlotz: No?
MikeLeigh:No,Ididn'ttrain.Itaughtthere.
JohnPlotz: Oh,youtaughtthere.
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MikeLeigh:SomepeoplehavewrittenthatI'vetrainedthere.That'srubbish.Itaughtthere.
JohnPlotz: I'mgladyousaidthat.Well,I'llcorrectWikipediathen.Yeah.
MikeLeigh:There'ssuchalotofrubbishinWikipedia.
JohnPlotz: Yeah.
MikeLeigh:Idon'tknowwhoputsitinthere.BythetimeIwent,thatschoolcameoutofJoanLittlewood'sstaff,andIwentandtaughtthereandmadeaplaythere,Ithink,aswell.Bythattimeitwas1968.I'dalreadybeenanassistantdirectoratthe…No,no.
JohnPlotz: SoMethodandyouhavenothingincommon,really?Youdon'thavea-
MikeLeigh:No,ofcourseonethoughtaboutitandknowsaboutit,butifyouwanttotalkaboutthat,it'sverystraightforward.Theideaoftheactorfindingthecharacterwithinhimselforherself..
JohnPlotz: Yeah,Marlon-Brandostyle.
MikeLeigh:Well,that'swhattheyalldo,andthensortoflivingandbecomingthecharacterandallthat.It'sasfardowntheotherendofthespectrumfromwhatIdowithactorsasyoucanget,becausewhatI'mconcernedinisthattheyarepeopleverymuchabletoplayallsortsofdifferentpeople,andwhentheyplaysomebody,theytotallyareabletogointocharacter,beincharacter,buttheyareable,withadiscipline,tocomeoutofcharactersotheycanbeobjectiveaboutitandthenworkwiththematerial.Also,it'sbadforyoutosortof,particularlyifit'sacharacterwho'straumatized,tobecomethecharacter.It'srubbishbasically.Thatmakesnosense.Sointhatsense,Iabsolutely,whilstIrespecttheintegrityandtheintentionsandthespiritoftheActorStudio,Icompletely,onapracticalandphilosophicallevel,partcompanyfromit.
JohnPlotz: Yeah.Thisfeelsrelatedtome.Youmightnotthinkit'srelated,butcanIaskyou,oneofthethingsthatIloveaboutallyourfilmsbutespeciallythoseearlyonesisthepowerofclose-ups,thewayyou
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useclose-upstojustkindofsitwithsomeone'sfacewhilethey'reexperiencingsomething.Doyouthinkofthatas..?
MikeLeigh:No.Again,there'snokindofaestheticordramaticorcinematicagendaaboutit.Whenitneedstobeinaclose-up,it'saclose-up.Ifitneedstobealongshot,it'salongshot.Ifitneedstotrack,ittracks.Ifitdoesn't,there'snoreasonforthecameratomove.Itstaysstill.That'sallthereistobesaidaboutit.Ihavenophilosophyoftheclose-up.Idon'tthink,withrespect,Idon'tthinkit'sespeciallyaccurateortruetotalkabouttheearlierfilmsinrelationtotheclose-ups,whichimpliesthatwedon'thaveclose-upsinthelaterfilms.
JohnPlotz: No,no,I….
MikeLeigh:IfyouthinkabouttheopeningshotofAnotherYear,forexample,onImeldaStaunton,that'samassiveclose-upwithoutanythingprecedingit,andyou'rethrownintothiswoman'scrisis,andyou'remisledintothinkingthisisafilmaboutthiswoman,andyouhardlyseeheragain.
JohnPlotz: Yes.
MikeLeigh:No,no.Ihaveno...It'sthelanguageoffilm,andit'sthere.It'slike,inasimilarway,RussianArknotwithstanding,whichhasgotitsownlogic,apparently,itwouldseemthatSamMendes,producedbyStevenSpielberg,whichhe'sjustfinished,called1917abouttheFirstWorldWar,andit'sallinoneshot.
JohnPlotz: Jesus.
MikeLeigh:Now,youthink,"Oh,wow.Howcinematic."Now,I'vebeen-
JohnPlotz: HaveyouseenRussianArk?I'veneverseenit.
MikeLeigh:Oh,yeah.You'veneverseenit?
JohnPlotz: No.Isitworth-
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MikeLeigh:Well,whenyoudoseeit,it'sworthgettingholdofitandthedocumentaryaboutmakingit.It'sessentialviewing.It'smad,butit's..
JohnPlotz: It'sjustsomad,yeah.
MikeLeigh:No,no,butanyway,here'sthething.Thisisrelatedtothisquestionofafetishaboutclose-ups.
JohnPlotz: Andthat'syourword,notmine.
MikeLeigh:Itis.No,itis.No,butIrefertoitassomethingthatyoumayhavebeeninadvertentlyaccusingmeof.
JohnPlotz: Yeah.
MikeLeigh:Ifyousay--andI'vefallenintothistraponafewoccasions--ifyousay,"Iknowwhatwouldbegreat.Ifwemakeallthisworkinasingletrackingshot."Youthink,"Ah,that'sgreat."Thattakesyouthere,sohemovesthere,and,"Oh,it'sgreat.Wecanmakethatinit."There'saline,adanger-linethatyoucrosswhereyousuddenlyknowthatwhatyou'renowdoingistojustifytheshot.
JohnPlotz: Theshot,right.Isee.You'relettingtheshotdrive.Isee.
MikeLeigh:Yeah.Innotime,yourealizethatwhatyou'reputtingtogetherisbullshitbasically,becauseactuallyifyousimplycreatetheactionandthendecidehowtoshootit,that'swhatit'sallabout.Italkaboutthatinthesamebreathastheideathatthereisathingaboutclose-ups.
JohnPlotz: Ihearwhatyou'resaying.
MikeLeigh:Youcouldargue“wouldn'titbegreattomakeafilmwhereeverythingisinalongshot?”Whatdoesthatmean?Somethingsareinlongshotandsomethingsyouneedtogetinthereandshow.
JohnPlotz: Yeah.No,Ihearyou.Thatmakessense.Hey,canIsay,myfriendthatyouhaddinnerwithlastnight,Ivan,toldmethatyouweregoingtogovisittheThurberHouse.
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MikeLeigh:Yeah.
JohnPlotz: AreyouaThurberfan?
MikeLeigh:Havebeenallmylife.
JohnPlotz: Metoo.Yeah.
MikeLeigh:Allmylife.
JohnPlotz: Yeah.Drawingsandstories?
MikeLeigh:Oh,yeah.
JohnPlotz: Yeah.Okay.
MikeLeigh:Oh,yeah.WhenIwastoldthatthere'sapparentlyastatueofaunicornoutsideinthegarden,well,that'sgreat.Ilovethatcartoonthattheymadeinthe1950softheunicorninthegarden.
JohnPlotz: Idon'tthinkI'veseenit.No.
MikeLeigh:Oh,it'sonline.You'llfindit.Findit.
JohnPlotz: Iwill,yeah.
MikeLeigh:They'veanimatedit.It'safamousanimation,butthatsimplywasdoneinthestyleofhisdrawings.It'sfantastic.
JohnPlotz: Oh,that'sfantastic.BecauseIthinkthemovieofSecretLifeofWalterMittyisgood,butitdoesn'tfeellikeThurberatall.
MikeLeigh:No,no.It'snot.Whywoulditbe?Whyshoulditbeandhowcoulditbe?Thurberexistsonthepage.
JohnPlotz: Onthepage,yeah.
MikeLeigh:Ofcourse.ButeverythingincludingThe13ClocksandTheWonderfulWorldandallthatstuff.
JohnPlotz: Yeah.Thosearechildhoodmemoriesforme.
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MikeLeigh:Yeah.Infact,mycousin,longsincedead,sadly,adaptedThe13ClocksfortheBBCradiowaybackwhenhewasquiteyoungandtheydidit.Butyeah,andthecartoons.Thegreatachievementofamanwhowashalfblindandcouldn'tdraw.There'sthesefantasticdrawings.
JohnPlotz: Absolutely.That'skindofwhatIwantedtoaskyou,actually.Imean,thewritingisunbelievableandtherelationshiptoMarkTwainisfascinating.Yeah,butthedrawing,thewaythedrawingcomesfrom,yeah,morethanhalf-blind,Ithink.
MikeLeigh:Iknow.
JohnPlotz: Andgettingblinderashedrew.
MikeLeigh:Yeah,butit'stheactual…it'shisworldthatreallyoneresonateswith.
JohnPlotz: Yeah.Right…
MikeLeigh:"WhathaveyoudonewithDr.Millmoss?"
JohnPlotz: Exactly.ThatwouldbethefirstMrs.Whateversittinguponthe…
MikeLeigh:Oh,yeah.Ilovethat."Whatdoyoumean,youheardasealbark?"
JohnPlotz: Yeah.Buttheyworkwell.Mydadusedtoreadthemoutloudtomeasakid.
MikeLeigh:Really?
JohnPlotz: Thework.Theydon'tjustworkonthepage.Theyworkasavoiceaswell.
MikeLeigh:Yeah.No,good.Ilookforwardtothat.
JohnPlotz: SoanotherquestionIhadforyouwaskindofotherartformsyouthinkabout.Youdodrawingyourself,right,andhavealwaysdone?
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MikeLeigh:Well,I'mverylazyaboutit.IguesswhenIwenttoartschool,Icandraw.
JohnPlotz: Yeah.
MikeLeigh:Iactually,inaparalleluniverse,Iprobablywouldhavebeenacartoonist,actually.ButthatshouldneverbemisreportedasbeingIwasacartoonist.Idrew.
JohnPlotz: Right.
MikeLeigh:No,I'mvery...Andmysonisaverysuccessfulillustrator.
JohnPlotz: Oh,wow.
MikeLeigh:Oneofmysons.Theotheroneisafilmmaker.TobyLeighistheillustrator.I'mintoallsortsofstuff.
JohnPlotz: Yeah.
MikeLeigh:IsawadocumentaryintheLondonFilmFestivalliterallyaweekago,MilesDavis,TheBirthoftheBlues,whichIheartilyrecommend.Terrificstuff.Theytalktoeverybody,includingallhisvariouswomen.
JohnPlotz: Oh,that'ssoundsgreat.
MikeLeigh:There'slotsofrecordingsessionsandallofthat.Istillloveallthatstuff.
JohnPlotz: Yeah.Sodoesthedrawingeverfigureintothefilm?Doyoueverdrawforsetdesignoranythinglikethat?
MikeLeigh:No.
JohnPlotz: No.
MikeLeigh:No,Iworkwith-Actually,interestingthatyousaythat,becauseintheearlyperiodwhenIwasdevelopingtheso-calledmisnamedimprovisedplay...
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JohnPlotz: Yes.Whatnamedoyoupreferthen?
MikeLeigh:Well,Ionlysaythatbecausesometimesitwasdevised,buttherealpointis...Well,thisisanothermatter.
JohnPlotz: Okay,yeah.
MikeLeigh:Foryears,Iusedtoput,asyouknow,you'veprobablyseen,"devisedanddirected."Ichangeditto"writtenand…"becausethatisreallywhatIdo.I'mawriter,andIchangeditbecauseit'smoreaccurate,butalsotoavoidconfusionsopeopledon'tactuallythinkit'sjustacommitteejob,whichitisn't.However,forthefirstsortofnumberofyearswhenIputonplaysonthesortoffringetheaterbeforeIcouldgettomakingmoviesandbeforeIgotbetterscopeandbetterprojectstodoanditwasdoneverycheaply.Ialsodesignedmyownshows,thenIstartedtoworkwithdesigners.Iworkwiththedesignersandtheydoallthat.Idon'tdothat.
JohnPlotz: Yeah.SoIwassortofwondering,intermsofthere'sallthesefilmsthathaveinspiredyou.Arethereothersortsofartworkthatinspireyou?
MikeLeigh:That'swhatyou'reaskingme,yeah.
JohnPlotz: Yeah.
MikeLeigh:Yeah.
JohnPlotz: You'veneverdoneanadaptation.That'snotyourmétier.
MikeLeigh:No.I'mnotinterested.
JohnPlotz: You'renotinterested.
MikeLeigh:There'snopoint.
JohnPlotz: Ireallytakethatpointaboutthatbeingoneofthewaysyou'repushingyourselfofffromtheNewWave.
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MikeLeigh:No.Otherpeoplecandothat.Ihavetosaythatthenumberofadaptationsinexistencethatarereally,reallyanygoodisverysmall,Ithink.
JohnPlotz: Yeah.Thebestonesaren'treallyadaptations.They'reversionsorsomething.
MikeLeigh:Well,maybe.IsupposeifIwasreallygoingtobeafascist,Iwouldbanalladaptations.
JohnPlotz: Really?Butthenyou'dkillTarkovsky.He'dhavenothing.
MikeLeigh:Well,thereyougo.Well,youcan'twinthemall.TarkovskywasverynicewhenwewerestrugglingtogetBleakMoments,myfirstfilm,showninMoscow.Tarkovskywasvery,veryhelpfulandconstructive--justinpassing.
JohnPlotz: Nokidding?Wow.
MikeLeigh:No,Imean,aboutninemonthsagoIwasinaconversation,andPhilipRothcameup.
JohnPlotz: Oh,yeah.
MikeLeigh:Isaid,"Yeah,yeah,yeah,yeah.PhilipRoth.IreadPortnoy'sComplaint."ThenIthought,"I'veonlyreadeverreadPortnoy'sComplaint,"sointhelastnumberofmonths,I'vegotprettynearlyonlyreadandgettingwellthroughallofPhilipRoth.
JohnPlotz: Wow.That'sawesome.
MikeLeigh:It'sjustterrific.
JohnPlotz: IjustinterviewedZadieSmithaboutamonthago,andshetalkedaboutPhilipRothforabout15minutes.
MikeLeigh:Thereyougo.
JohnPlotz: She'sjustobsessedwithhim.
MikeLeigh:Andshe'sgood.Ilikeher.
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JohnPlotz: Sheisgood.
MikeLeigh:Ilikeherstuff.Yeah.
JohnPlotz: SoI'maskingaboutadaptation.It'smorelikethingsthat,artworksthathavereallyspokentoyou.
MikeLeigh:Yeah.Ikeephavingtroublewiththisquestion.Yousortofgoblankanddon'tknowwheretostart,really.
JohnPlotz: No,butPhilipRothisagreatonetothinkabout.
MikeLeigh:No,butIgetafantasticbuzzoffHopper,forexample,butyoucanunderstandthat.You'refamiliarwiththistown,areyou?
JohnPlotz: Yeah.
MikeLeigh:SoIwentandspentacoupleofhoursinthecartoon...
JohnPlotz: TheBillyIrelandCartoonMuseum?That'sfantastic.
MikeLeigh:Iwasjust-
JohnPlotz: Iwasgoingtoaskyouaboutthat,actually.
MikeLeigh:Oh,yeah.
JohnPlotz: That'sgreat.
MikeLeigh:Whatablowofaplace.It'sfantastic.
JohnPlotz: Itisfantastic,andalsothewayittakescartoonsbacktotheearly19thcenturytoo,thoseGermanbooks.
MikeLeigh:Yeah.WhenwewereworkingonPeterloo,itwasjustaghasttogobacktoterritoryIalreadywasinto,whichislikeGillrayandRowlandson'searly,thatstuff.Idon'tknowwheretostart.Alotofart.Obviously,Turnerplayedanimportantpartinit.
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JohnPlotz: Isthatalong-standingthingforyou?HaveyoualwayslovedTurnerpaintingsbeforeyouthought,"Icoulddoafilmabouthim."
MikeLeigh:Oh,yeah.Foralongtime.InevernoticedorwasawareofTurnerasakidgrowingup.OnmywallasateenagerwerepostcardsofPicassoandToulouseLautrec.Atthatearlystage,youthought,"Oh,Surrealismisgreat."ItookSalvadorDalimoreseriouslythanIwouldtakehimnow.
JohnPlotz: Theclocks,yeah.WhenIwasincollege,everyonehadtheclocks.
MikeLeigh:Yeah.Ithinkprobably,insofarasIhavenorecollectionofTurnerregistering,butIthinkitwouldn'thavedone,becauseIwouldn'thavebeenperceptiveenoughtodistinguishTurnerfromboringlandscapepaintingsotospeak.ThenIwasatartschool,andIsharedaplacewithafewguys.Oneguy,who'sremainedaclosefriend,hadabigreproductionof“TheFightingTemeraire”onthewall,andthenwestartedtogointoTheTateandlookatTurner,andyousuddenlystartedtotweakitandsortofthink,"Thisisn'tjustanyoldlandscapepainting.Thisissomethingelse."
JohnPlotz: Well,you'reluckytohaveTheTatetohavethathappentoyou,bothforBlakeandTurner.
MikeLeigh:Yeah,absolutely.
JohnPlotz: Idon'tknowwhereelsethatcouldhappen.
MikeLeigh:No,no,no,ofcourse.Butthepointis,whetheryou'retalkingaboutGeorgeGroszandOttoDixoryou'retalkingaboutBrechtandWeill,itdoesn'tmatter.There'ssomuchstuff.Thereiscinema.Ofcourse,Olmididn'tmakeTheTreeofWoodenClogsuntil1978,bywhichtimeIwaswellupandrunning,butthatfilmisamassiveblowawayasfarasI'mconcerned.
JohnPlotz: I'veneverseenit.Okay.
MikeLeigh:Idon'tbelievethat.
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JohnPlotz: I'manidiot.WhatcanIsay?
MikeLeigh:Well,Idon'tthinkyou'reanidiot,certainly.Youcertainlyaremissingatrickortwo.
JohnPlotz: Yeah,that'sfantastic.
MikeLeigh:It'sanamazingthing.Ican'tsayOlmiisaninfluenceinanystrictsense.It'shardtotalkaboutinfluencesassuch.IwasdefinitelyinfluencedbyBeckettandPinter,butasIsay...
JohnPlotz: CanIjustsayBeckettisfascinatinginthatsentence,becauseIthinkofBeckettasleavingeverythingout,whereaseverythingyou'redescribingaboutyourethosistotrytogetin.
MikeLeigh:Well,itis,butthenofcoursethejobistodistillit.
JohnPlotz: Yeah.
MikeLeigh:Youwouldn'thavetobendoverbackwardstoseeBeckett'sinfluencesomewherealongtheline.IfyoulookatBleakMoments,whichI'msureyou'veseen,itisprettydistilled.
JohnPlotz: Yeah.It'snotsliceoflife.It'snotjustletthecamerarun.
MikeLeigh:No,it'snot,andsliceoflifeisnotwhatIdo,butalsoBleakMomentsinparticular,therearelongersilencesinBleakMomentsthananyproductionofEndgame.
JohnPlotz: Yeah.
MikeLeigh:ButIdon'tknow.It'shard.There'ssomanythings.Apartfromanythingelse,Ispendahugeamountoftimelisteningtoclassicalmusic.
JohnPlotz: Yeah.ButcanwecirclebacktoPhilipRoth,becausethat'sreallyinterestingtome.
MikeLeigh:Yeah.YouunderstandthatI'veonlyspentthelastninemonthsreading.
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JohnPlotz: Ninemonths,Iknow.I'mnotsayingit'saninfluence,I'mjustinterestinginwhatresonateswithyou,howmuchwhathisnovelsdo.He'sanensemblewriterinaway,becausehissamecharacterskeepcomingback.
MikeLeigh:Yes.That'shisthing.Thatiswhat'sinteresting.
JohnPlotz: Thatiswhat'sinteresting.GhostcomesandthenExitGhostandZuckerman.
MikeLeigh:Yeah,andalsotodothethingwhichhedoes,whichisawholedifferentballgame,whichistodramatizehimselfanddishhimselfupindifferentguises,butit'sstillhim.Onthewhole,I'mnotinterestedinfilmsaboutfilms.TheonlyexceptioninmyworkisTopsy-Turvy,whichisafilmabouttheater,soIreadRothandyouthink,"Yeah,butthisisawriterwritingaboutwriting."Butthat'shisprerogative,andtherealpointiswhatdoeshedo?What'sitabout?It'sabouthumanity.Also,IcomefromaJewishbackground,sotherearethingsthatareintherethatjustsortofresonatewiththeworldIgrewupin.
JohnPlotz: Isawyou'vedoneaplaythatsortofspeakstoJewishthemes.
MikeLeigh:Yeah.TwoThousandYears.
JohnPlotz: TwoThousandYears,yeah.
MikeLeigh:Idid,in2005attheRoyalNationalTheatre.ButRoth,thatworldsometimes,quiteofteninfact,resonatesatcertainlevels.Irecognizesomeofthecharacters.
JohnPlotz: Yeah.No,buttheconnectionIwastryingtomakewasthatyouweresaying,eventhoughTopsy-Turvyis,inasense,Ithinkyoucouldcallitaperiodpiece,butitcomesoutofalifethatyouthinkyouknow.
MikeLeigh:Yeah,totally.
JohnPlotz: Notjustinahistoricalway.
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MikeLeigh:No,no,andasIsaidlastnight,wewereturningthecameraaroundonwhatwedo,wewhomakeplaysandfilmsandtakeveryseriouslythejobofentertainingotherpeopleinourtrivia.
JohnPlotz: Yeah.Yousaidprofoundtrivia,whichIliked.
MikeLeigh:No,Ialwayssaythat.
JohnPlotz: Whatdoesthatmeantoyouwhenyousayprofound?
MikeLeigh:Well,it'sjustcheeky.Well,there'striviaandthere'sprofoundtrivia.Youcanworkthatoutforyourself.
JohnPlotz: Yeah.CanIaskwhatyournewprojectsarenow?
MikeLeigh:No.
JohnPlotz: Okay,fairenough.
MikeLeigh:Nottheleastbecausemostofmyfilmsandallofmyplays.Mostofthem,whichmeansallofthemexceptTopsy-Turvy,Mr.Turner,andPeterloo,haveallbeenprojectswherewe'vesaidnothingtoanybody,includingthebackers.Wesaid,"Giveusthemoneyandwe'llgooffanddevelopafilm,"andthefilmcomesoutofthat.They'veallbeenmadelikethat,andtheoneI'mgoingtodonext,whateveritis,willbenoexception.Therefore,I'mnotsayinganythingtoanybody,butthereasonI,inanycase,can'tpreciselysay,wouldn'tbeabletoevenifIwantedto.Therearemillionsofideasgoingaroundinmyheadatanygivenmoment,butit'sbecauseIdon'tknowhowmuchmoneyI'mgoingtohave.UntilIknowthat,Iwillonlyknowthesizeandscaleofthecanvas.ThenIwillbeabletodecidewhichdirectiontogoin,butthere'slotsofpossibilities.There'snoshortageofthingstodealwithintheworldatthemoment.
JohnPlotz: Yeah.SodoesthatmeanyouwanttotalkaboutBrexit,ordoyounotwanttotalkaboutBrexit?
MikeLeigh:I'lltalkaboutBrexit.Atthismoment.
JohnPlotz: Iknow.Rightnow.
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MikeLeigh:Evenaswespeak.
JohnPlotz: Aswespeak.
MikeLeigh:No,mypartner,Marion,andherdaughterjustsentmeapictureofthemselvesattherally.
JohnPlotz: Oh,attherally.
MikeLeigh:WhichisgoingonallaroundParliamentwhileit'sgoing.Bynow,it'sprobablyoverIshouldthink.
JohnPlotz: Yeah.Iherethere'ssomeToriesspeakingattherally.
MikeLeigh:Oh,yeah.Oh,therewillbe.Yeah,ofcourse.No,well,whatistheretosayabout...?Itisa100%gilt-edgedtotaldisaster.Itshouldneverhavehappened.It'sacompletefolly.It'sacompletewasteoftime.It'sthemostdestructive,dangerousdisease,whichwilllastfordecades.
JohnPlotz: Youmeanwhatevertheresultofthis,itwilllastfordecades?
MikeLeigh:Well,ifitwascanceledandif...
JohnPlotz: Secondreferendumorwhatever.
MikeLeigh:Ordinaryrelationswererestored,youmightbedisposedtosay,"Well,theneverythingwillbebacktonormal,"butofcourseitwon'tbecausethey'llriotsfromthepeoplethatstillignorantlywanttoleave.
JohnPlotz: Yeah.
MikeLeigh:Butalsoamassiveamountoftime,energyandmoneyhasbeenexpendedandwastedonthehalfpossibility.It'scompletelyridiculousandirresponsibleateverylevel.
JohnPlotz: Doyoutakeitasridiculousandjustamadfollythatsomehowhappened,ordoyoutakeitassymptomaticofadirectionthatBritainormaybeBritainandAmericaareheadingnow?
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MikeLeigh:Well,it'sadirectioninwhichtheworldisheading.
JohnPlotz: Yeah.That'swhatIfear.
MikeLeigh:Well,it'safact.There'snoquestionaboutit.Theriseofthefarright.
JohnPlotz: Theethnopopulistorethnonationalist.
MikeLeigh:Everywhere.Weareinto-
JohnPlotz: 1930sterritory.
MikeLeigh:Yeah.Actually,it'sworsebecausewe'reinthisageofmasscommunication,towhichthe30sborenoresemblancewhatever.That'sgotagreatdealtodowithit,thedisseminationof-
JohnPlotz: Right.YeahtheyhadPathe,wehaveTwitter.
MikeLeigh:Yeah,andbeyondTwitter.Welcometothe21stcentury.Now,afternearlytwodecades,wefindourselvesinwhatwenowrecognizeisactuallythe21stcentury.
JohnPlotz: Yeah,right.
MikeLeigh:Yeah,noIfarfromwantingtotalkaboutBrexit,apartfromnotwantingtotalkBrexit.Ithinkit'satotalanddevastatingdisaster,really.
JohnPlotz: Yeah.Arethereanylightsattheendofthattunnel?Anythingaboutthe30sanalogythatmakesitlook...No?Nothinghelpful?
MikeLeigh:Well,youtellme.
JohnPlotz: Idon'tknow.I'masking.I'maskingeveryonethat.Idon'tknow.
MikeLeigh:It'shardtoseeit.It'shardtoseeit.AstoTrumpandallofthat,it'sbeyond...Thurberhasthisstoryabout“thegreatestmanintheworld”;Remember?
JohnPlotz: No,Idon'trememberit.
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MikeLeigh:It'scalled“TheGreatestManintheWorld”,andthey’vebuiltanaeroplanethatcanflynonstoprightaroundtheworld,andthey'reconvinceditwillcrash,sotheyfindaguywho'sanidiotbecausetheyknowit'llcrash.Theyarrangeaneventtolamentthefactthathe'scrashedinadvanceofithappening,anditdoesn'tcrash,sotheyhavethisreception.Ofcoursehe'sthereatthereception.Hebehavesunbelievablybadlyandgropesallthewomen,andtheythinkthatwehavetodealwiththis.Thecrowdareoutsidethrongingtoseethishero.
JohnPlotz: It'saLindberghstoryinaway.
MikeLeigh:Yeah.Sofinallytheyconspire,andhegoesoutonthebalcony,andtheydiscretelypushhimoverthebalconyandheplungestohisdeath.Thentheyhavethelamentationandthememorialthattheyhadplanned.Forsomereason,inrelationtoTrump,Ikeepthinkingaboutthis.Thatidiotisprojectedintothechair,intotheseatofpower,behavesinacompletelyerraticand...
JohnPlotz: Right.Thedifferenceiseveryonearoundhimisplungingtotheirdeath.Theentirecirclegetsdestroyed,buthedoesn'tgetdestroyed.
MikeLeigh:Idon'tknow.
JohnPlotz: Doyouknow,there'sacharacter,Middlemarch,whoflourisheswonderfullyonmurderedmen'sbrains?
MikeLeigh:Yeah.
JohnPlotz: That'swhatheis.He'sthesaprophyte.Yeah.
MikeLeigh:Butyou'vegotchildren,haveyou?
JohnPlotz: Yeah,twoteenagers.
MikeLeigh:Yeah.Soyou'vegotteenagers.
JohnPlotz: They'refuriousatus.
MikeLeigh:Well,that'swhatIwasgoingtosaywas.
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JohnPlotz: Yeah,absolutely.
MikeLeigh:WewhohaveraisedkidswouldknowhowtodealwithTrump,butsomebodywhodoesn'tdealwithhim.
JohnPlotz: Yeah.
MikeLeigh:Heisanindulgedbrat.
JohnPlotz: I'vegottosay,though,theytakethePhilipLarkinline."Don'thaveanykidsyourself."Theydon'tunderstandwhywehadkids.That'sanunbelievablething.
MikeLeigh:Well,theymaygetoverit.
JohnPlotz: Theymaygetoverit.Iunderstandthat'ssomethingthata16-year-oldsays.
MikeLeigh:It'sathingyou'reonlystartingtohear.Thenumberofnewbabiesduringthecourseofthetimewe'vebeenhavingthisconversationwouldactuallyfillmostofthishotelintheworld.That'sverydepressing.Ontheotherhand,aworldinwhichnobodygetsbornistheendoftheworld,soit'shardtoresolvethisparticularproblem.
JohnPlotz: Well,I'vealwaysbeenahugefanofsciencefictionsincegrowingup,butI'venoticedinthelastfiveor10years,it'salotmoreappealingtoalotmorepeoplethanitusedtobe,andIthinkpartofitisthatnotionofwejustfeellikehumanityhasfuckedeverythingup,somaybethere'ssomeotheranswer,eitheroutthere,ormaybeweshouldjustletthemoldandtheslimewormstakeover,theslimemoldstakeover,likeattheendofTheTimeMachinewhenthethingwithclawscomesout.
MikeLeigh:Yeah,no.Idon'tknowaboutthat.
JohnPlotz: Yeah.Allright.Well,Mike,thankyou,really,alot.
MikeLeigh:Goodtotalk.
JohnPlotz: Iappreciateyourtime.
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MikeLeigh:No,thankyou.Goodtalkingtoyou.
JohnPlotz: RecallThisBookisthebrainchildofJohnPlotzandElizabethFerry.ThemusiccomesfromasongbyEricChasalowandBarbaraCassidy.SoundeditingisbyClaireOgden.WebsitedesignandsocialmediabyMatthewSchratz,andonourwebsiteaswellasintheprogramnotesonStitcheroriTunes,youwillfindsomefootnotestotoday'sinterviewincludinglinkstoabunchofMikeLeighfilmsandvariousotherworksmentionedintheinterview.Wealwayswanttohearfromyoudirectlywithyourcomments,criticismsorsuggestions.Finally,ifyouenjoyedtoday'sshow,pleasebesuretoforwardittofriendsandfamily,andwritearevieworrateusoniTunes,Stitcher,orwhereveryougetyourpodcast.Itmakesahugedifferencetous.We'reveryappreciative.
JohnPlotz: Youmaybeinterestedincheckingoutpastepisodes,includinginterviewswithSamuelDelaney,Chinesesci-figreat,CixinLiu,andZadieSmith,whoneedsnoadjective.Upcomingepisodesinourjam-packedfallincludeaconversationaboutscientificcollaborationandwhyit'sbetterthanhumanisticcollaboration,withthestringtheorist,AlbionLawrence,andadiscussionofspiesandstatesurveillancewiththeanthropologist,KatherineVerdery.Thanksforlistening,andwe'llbebacksoon.