The British realist director 麥克·李，Mike Leigh loves the term “character actor,” ...我只看過他導演的Mr. Turner (2014),《畫世紀：透納先生》

Mr. Turner (2014《畫世紀：透納先生》),當然更有人情味

Tate 

On Tuesdays we post Turner

In his lifetime, Joseph Mallord William Turner painted some of the most celebrated works in the history of British art. Here, we're taking a look at a few of the artist's warming sunset watercolours in the collection.

The Scarlet Sunset, c.1830–40

Sunset over a Ruined Castle on a Cliff, c.1835–9

Lausanne: Sunset, 1841–2

Sunset Study, Probably for ‘Flint Castle’, c.1820–30

麥克·李，OBE（英語：Mike Leigh，1943年2月20日—），英國電影與舞臺劇導演、編劇家及劇作家，2次入圍奧斯卡最佳導演獎。他曾經在英國皇家戲劇學院（Royal Academy of Dramatic Art）學習舞台劇，早期也曾在皇家莎士比亞劇團表演過。他在1960年代開始擔任舞台劇導演及劇作家，然後再1970年代開始往電視界發展。麥克·李的代表作品包括1990年的《生活是甜蜜》（Life is Sweet）、1997年的《紅粉貴族》（Career Girls）、1999年的《酣歌暢戲》（Topsy Turvy）及《折翼天使》（All or Nothing）等片。1993年他也以《赤裸》（Naked）獲得坎城影展最佳導演獎^[1]，1996年以《秘密與謊言》（Secrets & Lies）獲得坎城影展金棕櫚獎，並在2004年以《天使薇拉卓克》（Vera Drake）獲得威尼斯影展金獅獎。

生平

https://en.wikipedia.org/wiki/Mike_Leigh

Leigh's early films include Bleak Moments (1971), Meantime (1983), Life Is Sweet (1990), and Naked (1993).^[5] He received Academy Award nominations for Best Director and Best Original Screenplay for Secrets & Lies (1996). He received further Oscar nominations for Topsy-Turvy (1999), Vera Drake (2004), and Another Year (2010). Other notable films include All or Nothing (2002), Happy-Go-Lucky (2008), Mr. Turner (2014), and Peterloo (2018).^[6][7][8] His stage plays include Smelling A Rat, It's A Great Big Shame, Greek Tragedy, Goose-Pimples, Ecstasy and Abigail's Party.^[9]

我只看過他導演的Mr. Turner (2014),

In 2012, Leigh was selected to be jury president of the 62nd Berlin International Film Festival.^[48] Leigh released his 12th feature film, the biographical period film Mr. Turner (2014), based on the life and artworks of J. M. W. Turner, portrayed by Timothy Spall. The film premiered at the 2014 Cannes Film Festival, where it competed for the Palme d'Or and won rave reviews, with many critics praising Spall's performance. Spall received the Cannes Film Festival Award for Best Actor and the film won the Vulcan Award for its cinematography by Dick Pope. Observer critic Mark Kermode called the film a "portrait of a man wrestling light with his hands as if it were a physical element: tangible, malleable, corporeal".^[49] That year, Leigh joined The Hollywood Reporter for an hourlong roundtable discussion with other directors who had made films that year: Richard Linklater (Boyhood), Bennett Miller (Foxcatcher), Morten Tyldum (The Imitation Game), Angelina Jolie (Unbroken), and Christopher Nolan (Interstellar).^[50][51] Mr. Turner received Academy Award nominations for Cinematography, Production Design, and Costume Design.

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 The British realist director Mike Leigh loves the term “character actor,” which he uses often and with zeal. To him, it’s a term of great respect, meaning a performer who’s highly skilled, versatile, creative, smart—qualities especially important for Leigh’s actors, who create his films with him, from plot to dialogue.

“Hard Truths” is Leigh’s first new film in six years. It’s a return to Leigh’s classic form: a contemporary, intimate ensemble drama exploring regular people’s lives. His famously rigorous and collaborative writing process, often drawing on a trusted cadre of recurring actor-collaborators, involves conversation, improvisation, and extensive preparation and rehearsal, from which a script of sorts is memorized by the cast but never written down. “On many films, umpteen takes happen, because the actors aren’t grounded. They can’t remember their lines, or there’s been no rehearsal, or they’re still looking for the character. But on ours that virtually never happens,” he said. Leigh, a doctor’s son who grew up middle-class in a working-class neighborhood in Manchester, came up with his method after a youth spent studying traditional performance, from music hall to theatre to the circus, and wanting to see real people, real lives, onstage and onscreen.

Read his interview with Sarah Larson, where he discusses his earliest plays, his real-life observations of Laurel and Hardy and the Beatles, his creative process, and the future, in which he plans to keep making movies. https://newyorkermag.visitlink.me/Z45IPJ

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