By Jake Howell jake.howell@utoronto.ca

Countdown To Cannes: Mike Leigh

mr turnerThe last in a series of snapshots outlining the nineteen directors in the 67th Palme d’Or Competition.

Background: English; born Salford, Greater Manchester, England 1943.

Known for / style: Naked (1993), Secrets & Lies (1996), All or Nothing (2002), Vera Drake (2004), Happy-Go-Lucky (2008), Another Year (2010); a playwright in addition to writing and directing films; improvised and / or organic approaches to character creation; unassuming realism; regularly and repeatedly working with some of the United Kingdom’s greatest actors; depicting London on film.

Mike leigh secrets and liesNotable accolades: Winner of the Palme d’Or in 1996 (Secrets & Lies), Leigh has been nominated for a total of seven Oscars (five times for his writing, two for directing). He’s won a handful of BAFTAs, a British Film Institute Fellowship, and also Best Director at Cannes (Naked, 1993). Also at Cannes are two Ecumenical Jury wins (Another Year, 2010 and Secrets & Lies). Leigh, who has been lauded by film societies the world over, also won Venice’s Golden Lion in 2004 for Vera Drake.

Film he’s bringing to Cannes: Mr. Turner, a biographical depiction of J.M.W. Turner, a British artist. Joining Leigh for a sixth time is Timothy Spall as the title protagonist, and the film looks at the “last quarter century of the great if eccentric” painter. From the Cannes program book: “Profoundly affected by the death of his father, loved by a housekeeper he takes for granted and occasionally exploits sexually, he forms a close relationship with a seaside landlady with whom he eventually lives incognito in Chelsea, where he dies. Throughout this, he travels, paints, stays with the country aristocracy, visits brothels, is a popular if anarchic member of the Royal Academy of Arts, has himself strapped to the mast of a ship so that he can paint a snowstorm, and is both celebrated and reviled by the public and by royalty.” Leigh’s again hired his go-to cinematographer Dick Pope to shoot the film. The cast is filled out with Dorothy Atkinson and frequent Leigh collaborators Marion Bailey, Paul Jesson, Lesley Manville, Martin Savage, and Ruth Sheen.

Could it win the Palme? Mike Leigh will be competing against his British realist contemporary Ken Loach—also a fellow Palme d’Or winner—and if either of these directors are to double-dip in gold, it’s Leigh. The cast is stacked with a host of classically trained actors and Leigh’s patient, sensitive approach to drama just might hold the ticket. Timothy Spall and Mike Leigh are also a golden combination at Cannes, with the Spall-led Secrets & Lies winning the Palme in 1996.

Why you should care: “I wanted to make a film about Turner, the personality,” Leigh said in a clip commissioned by the Tate Modern. “He is so complex, and there’s so much of him to get your head around. Turner was a compulsive artist. Turner had to paint, had to draw, all the time. It was an obsession.” What’s more, Leigh has also gone to lengths to recreate certain Turner paintings for the picture, with certain in-film tableaus inspired by real works from the artist’s catalogue.

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Previous Entries:
Tommy Lee Jones
Atom Egoyan
Bennett Miller
Xavier Dolan
David Cronenberg
Nuri Bilge Ceylan
Naomi Kawase
Ken Loach
Michel Hazanavicius
Jean-Luc Godard
Bertrand Bonello
Jean-Pierre and Luc Dardenne
Andrey Zvyagintsev
Abderrahmane Sissako
Alice Rohrwacher
Olivier Assayas
Damian Szifron

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon