How does Mike Leigh make a movie? It’s complicated, but his actors wouldn’t have it any other way

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In regards to Mike Leigh‘s films, there’s a popular belief that they are shrouded in myth. Similar to any common tale, not everything within it may be accurate. For example, a common misconception is that his storytelling relies heavily on improvisation, suggesting his actors invent scenes as the camera begins rolling. However, while the British director does develop characters and scenarios alongside his actors throughout lengthy rehearsals rather than beforehand, nothing in Leigh’s work is left to mere coincidence.

He’s developed a well-known approach over many years, starting from his initial projects to his first movie release in 1971 titled “Bleak Moments,” and continuing through his series of critically acclaimed films such as “Naked” (1993), “Topsy-Turvy” (1999) and “Happy-Go-Lucky” (2008). His latest work, the impactful “Hard Truths,” is no exception. Interestingly, this director finds it hard to believe that people might think his style of filmmaking is as simple as merely pointing a camera at some actors and telling them to act spontaneously.

In our discussion at StudioCanal’s London office, Leigh expresses that the concept of discovering ‘Hard Truths’ through this method is unattainable, as he shares thoughts freely but has no patience for falsehoods or pretense. This may be due to the fact that he arrived early for interviews since he wasn’t informed they were rescheduled, so instead of returning home, he waited at King’s Cross station and observed people passing by – a typical Mike Leigh behavior.

He goes on to say that improvising is essentially creating films,” he adds, relaxing into his chair as Jean-Baptiste shows agreement. Clad for a photo shoot in a tidy black suit, she contrasts sharply with Leigh’s disheveled fleece jacket, adding an extra layer of intrigue to their interaction.

He adds, “Indeed, they can gather vast amounts of footage and creatively assemble it into a film. I have no doubts about that. However, to me, beyond its practicality, it lacks value or intrigue.

Hard Truths” is a product of fourteen weeks of rehearsals and six weeks of filming. It serves as Leigh’s second onscreen collaboration with Jean-Baptiste, who was Oscar-nominated for his 1996 work “Secrets & Lies.” However, this is their fourth project together, having previously worked on a play and a film score. Initially, Leigh reached out to Jean-Baptiste, based in Los Angeles, prior to the pandemic, but the project was postponed until early 2023 due to circumstances.

According to Jean-Baptiste, Mike strongly insists that we should carry out the task only when it’s possible for us to gather in a shared space without maintaining a 6-feet distance and wearing masks.

To put it simply, Leigh expresses shock at the idea of conducting their discussions or practice sessions online. He compares it to trying to perform surgery over a video call, which he finds completely unfeasible.

The director gathered Jean-Baptiste, Michele Austin (who portrays Chantelle, Pansy’s happier and hopeful sister), along with the rest of the cast, in an empty office building situated in London’s Chalk Farm. This particular space, with its numerous rooms and levels, is his preferred choice: “Vera Drake” was rehearsed within the confines of an old hospital, while “Secrets & Lies” was developed in an abandoned school. Leigh refers to this practice as a “work engagement,” highlighting that the actors are expected to be present throughout the entire rehearsal phase for specific working hours.

It’s an opportunity for character actors, he says, not movie stars, because it requires patience.

Jean-Baptiste explains, “Entering this endeavor means accepting that you’re uncertain about its nature and your part within it. Many actors find this daunting as they might invest time only to appear in a few scenes. However, the joy lies in the process itself when you agree to collaborate with Mike. And I adore it.

Initially, Jean-Baptiste’s character was based on a collection of individuals he has met or is acquainted with – these could range from neighbors, shop clerks, to friends. This practice of jotting down intriguing people is something Leigh often encourages his actors to do, and it seems that the portrayal of Pansy, Jean-Baptiste’s character who masks her pain with bitterness and anger towards the world, resonates strongly with people we know in real life.

As a devoted admirer, I’d express it like this: “I delve into that extensive collection and handpick a handful of traits to shape a character. This serves as a launching pad, a means of connecting with them on a deeper level. My aim isn’t to create films about the world of cinema, but rather to bring authentic human stories from our very own reality to life on screen.

Jean-Baptiste verifies that none of the actual individuals on her list would resemble Pansy to them, as she explained. “We base our characters on real people,” she stated, “but then we create something unique, incorporating aspects from their lives, such as where they grew up, their routines, preferences, dislikes, regrets, and heartaches.” This research is thorough, ranging from exploring London neighborhoods to devising backstories and acquiring practical skills.

During rehearsals, it’s the primary actors, not those with brief, single-scene parts, who are involved. A typical day might consist of discussions, moving around as characters, research, and indeed some spontaneous acting. These activities help the performers grasp a comprehensive feel for their roles, their interactions, and their perspective on the world, ultimately leading to an instinctive awareness of their characters.

According to Jean-Baptiste, our arrival point in the process might require us to interact with Mike briefly and perhaps engage in conversation for a while. After that, we would change into the costumes of the characters and prepare ourselves for the roles. Once ready, we simply need to immerse ourselves and “be”.

In the movie “Secrets & Lies,” the actress portrayed the character Hortense Cumberbatch, a London optometrist who unexpectedly learns that her birth mother is a white woman named Brenda Blethyn. This role was given to her because the director, Leigh, had previously cast her in his stage play “It’s a Great Big Shame!”. The actress recalls those rehearsals for “Secrets & Lies” quite vividly. So, to put it simply, the actress was experienced with the process of playing Hortense Cumberbatch, as she had portrayed her in the film “Secrets & Lies.

She mentioned the topic of what job Hortense might have, she says. He asked, “What job would she have?” To which I replied, “She’d be a pilot.” His reaction was, “You’re kidding me.” I knew it meant I could go and learn to fly.

Leigh interjects, “No chance!”

Jean-Baptiste chuckles as he says, “I was trying my luck to see if I could learn to fly,” and the response was, “Absolutely not, not even a remote possibility.

Leigh remarks, “She may have overstated my method a bit,” implying that he believes she could have been more discreet in her actions. However, it’s worth noting that she did study to become an optometrist, so perhaps she’s presenting only the surface of what she’s learned – just like how we see only the tip of an iceberg while the vast majority lies beneath the water.

Sept. 7, 2024

Pansy stands out as a more detailed figure than Hortense. Residing in North London with her spouse, Curtley (David Webber), and their grown child, Moses (Tuwaine Barrett), she maintains a residence that’s meticulously clean yet devoid of life, mirroring Pansy’s own lack of joy. She harbors fear towards pigeons and foxes, finding them menacing through the windows. Her conversations often revolve around complaints about various aspects of her life.

Jean-Baptiste remarks, “The list of things she feared was incredibly long and extensive. In fact, it dwarfed the list of things she disliked. I’ve rarely encountered such a complex character in a script as written.

As the story progresses, it becomes evident that Pansy harbors a profound reservoir of sorrow and agony. She’s yet to fully heal from her past, including her childhood traumas and the loss of her mother, a burden her sister Chantelle finds hard to grasp. This very conflict was the starting point for Leigh during rehearsals.

According to Leigh, there was a truly strong bond among the three women – the two sisters and their mother, whom we brought to life through conversation rather than an actor’s portrayal. Yet, much like real life, they influenced one another.

Jean-Baptiste notes that people may hold vastly diverse perspectives on their upbringing, even if they grew up in the same household.

As the story began to develop, the director would “subtly adjust things here and there” with the aim of reaching a well-structured outcome. He explains, “My role, much like any artist working in any field, is to draw inspiration from what’s unfolding, and this guidance determines our future course.

In Leigh’s films, you won’t find a traditional physical script, but at the conclusion of rehearsals, he assembles something akin to one. This document lacks dialogue, serving instead to organize filming locations, which Leigh prefers to be real sites rather than studios, and to maintain a smooth production flow.

As a film enthusiast, I’d put it this way: “I’ll craft each scene, sequence, and location step by step, you see. We head to the shooting spot, freestyle a bit, then pause, analyze, and refine through rehearsals. Although we don’t have a written script, the dialogue that emerges is always meticulously precise. There’s minimal improvisation during filming, contrary to popular belief. And to ensure we remember everything, our dedicated script supervisor takes notes for us to refer back to.

This foundation allows for minimal retakes as most scenes are set with a well-prepared character background and habits. As Jean-Baptiste explains, “We invest significant time into developing these characters and their traits, so when it’s time to improvise, we’re bringing a fully stocked mindset.” This means that the creative process of coming up with ideas has already been initiated from the beginning.

Leigh explains, “Follow my guidance precisely: Avoid attempting to be intriguing or stirring up events. Stay true to your character. Respond as your character would respond. That’s what you’re here for. You’re not expected to function as a writer, a dramatist, or an entertainer.

Although Jean-Baptiste was deeply engrossed in the role of Pansy, he maintained that she didn’t maintain her character persona once off-set. Interestingly, Leigh strictly advises against the Method acting style for his cast members.

He expresses that the situation is quite risky, and furthermore, it’s not beneficial. Glancing towards Jean-Baptiste, who seems as captivated by Leigh’s words as I am, he suggests a way of approaching things: “You can get into character, fully embody Pansy, step out of character, and then we can critically evaluate what transpired so we can handle it effectively, learn from it, and apply those lessons.

Jean-Baptiste nods, adding, “Imagine the arguments if I stayed in character the whole time.”

Leigh agrees, “It would be impossible to work with her.”

Despite moving on, Pansy seemed reluctant. Even as Jean-Baptiste attempted to release her at day’s end, he could discern lingering thoughts and concerns from her.

Jean-Baptiste remembers saying things like, ‘Quiet down, Pansy,’ because at home, he was Marianne. She was busy with her tasks, including homework, and even when watching TV or on her way to work, she could hear Pansy’s voice critiquing what she saw. When she saw pigeons, she would imagine Pansy complaining about them and possibly crossing the road. He constantly sought ways to develop the character.

Leigh sees his movie-making as similar to penning a novel, where ideas unfold organically instead of being planned out in advance. This approach feels instinctive to him and has been his method throughout his career, even though the Hollywood industry often favors filmmaking that goes against this style.

He describes his approach as similar to how painters create art, musicians compose music, and sculptors shape sculptures. It’s a process of exploration, he explains, much like many authors who confess they don’t always know what will happen next in their stories. Yet, he acknowledges that while there is an element of surprise, it’s also crucial for him to have a general understanding of the subject matter and potential direction.

“Like a conductor,” Jean-Baptiste says. He nods.

Leigh prefers not to disclose how he comes up with the ending of a specific movie, stating instead that “the audience should handle it.” He emphasizes that what matters most is what we give to the audience, and there’s nothing more he can say about it because that’s just how it is.

After achieving success with Leigh, Jean-Baptiste finds it challenging to abandon this specific process. She jokes, “You must do so if you wish to continue eating, as most of the work lies elsewhere. There are also many exciting opportunities awaiting.

“You’ve been in some brilliant things,” Leigh encourages her. “Some really good stuff.”

As a cinephile, I’ve been often pondering about my dream professional venture, and when it comes to the visionary behind the lens, there’s no one quite like Mike Leigh. So, if given the chance, my ideal next job would be working on a thrilling heist movie under his brilliant direction.

Leigh doesn’t seem very enthusiastic about it. He jokes, “Keep me updated,” but only if he doesn’t have to be the one involved in it.

As I lean towards Jean-Baptiste, a hint of a smile playing at the corners of my mouth, I ask, “By any chance, are you available for my upcoming movie? It revolves around a daring female aviator.

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2025-01-07 14:34