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Zheng, short and dark and lean, with a very intense gaze. ||||| Kishori, petite, her hair strung out in a series of braids that reached nearly to her waist. ||||| Ray, a plump man who was grey where he wasn't bald. | Who did Sarah introduce me to Ray, Zheng and Khisori |
Ray, a plump man who was grey where he wasn't bald. ||||| I marveled at the robot's smoothness and coordination. ||||| I spent the evening listening, mostly. | Who did Sarah introduce me to Ray, Zheng and Khisori |
I marveled at the robot's smoothness and coordination. ||||| I spent the evening listening, mostly. ||||| They all looked the same: clusters of social butterflies surrounded by the less apt, the hangers-on, the circle with whom the gossip was shared. | Who did Sarah introduce me to Ray, Zheng and Khisori |
Zheng, short and dark and lean, with a very intense gaze. ||||| Kishori, petite, her hair strung out in a series of braids that reached nearly to her waist. ||||| Ray, a plump man who was grey where he wasn't bald. | Who did Sarah introduce me to Zheng |
Ray, a plump man who was grey where he wasn't bald. ||||| I marveled at the robot's smoothness and coordination. ||||| I spent the evening listening, mostly. | Who did Sarah introduce me to Zheng |
I marveled at the robot's smoothness and coordination. ||||| I spent the evening listening, mostly. ||||| They all looked the same: clusters of social butterflies surrounded by the less apt, the hangers-on, the circle with whom the gossip was shared. | Who did Sarah introduce me to Zheng |
I didn't bother trying to seek out a different group of potentially more interesting people, though. ||||| They all looked the same: clusters of social butterflies surrounded by the less apt, the hangers-on, the circle with whom the gossip was shared. | Why did the speaker not seek out another group to talk with They all looked the same |
They all looked the same: clusters of social butterflies surrounded by the less apt, the hangers-on, the circle with whom the gossip was shared. ||||| No one minded; Sarah's inner circle was content to fill our circle of couches with plenty of chatter. | Why did the speaker not seek out another group to talk with They all looked the same |
The bar was manned by an expensive humanoid robot. ||||| Sarah transferred the glass to my free hand and pulled me away from the bar for more introductions, with Alexis trailing after us. | Why did the speaker not seek out another group to talk with They all looked the same |
I didn't bother trying to seek out a different group of potentially more interesting people, though. ||||| They all looked the same: clusters of social butterflies surrounded by the less apt, the hangers-on, the circle with whom the gossip was shared. | Why did the speaker not seek out another group to talk with The other groups of people seemed to be very similar to the group he talked to |
They all looked the same: clusters of social butterflies surrounded by the less apt, the hangers-on, the circle with whom the gossip was shared. ||||| No one minded; Sarah's inner circle was content to fill our circle of couches with plenty of chatter. | Why did the speaker not seek out another group to talk with The other groups of people seemed to be very similar to the group he talked to |
The bar was manned by an expensive humanoid robot. ||||| Sarah transferred the glass to my free hand and pulled me away from the bar for more introductions, with Alexis trailing after us. | Why did the speaker not seek out another group to talk with The other groups of people seemed to be very similar to the group he talked to |
Zheng, short and dark and lean, with a very intense gaze. ||||| Ray, a plump man who was grey where he wasn't bald. | Who are two members of Sarah's inner circle Ray |
Ray, a plump man who was grey where he wasn't bald. ||||| I wasn't learning anything useful. | Who are two members of Sarah's inner circle Ray |
I wasn't learning anything useful. ||||| After the first half-hour, I stopped expending effort to keep names and stories and gossip straight. | Who are two members of Sarah's inner circle Ray |
Zheng, short and dark and lean, with a very intense gaze. ||||| Ray, a plump man who was grey where he wasn't bald. | Who are two members of Sarah's inner circle Kishori |
Ray, a plump man who was grey where he wasn't bald. ||||| I wasn't learning anything useful. | Who are two members of Sarah's inner circle Kishori |
I wasn't learning anything useful. ||||| After the first half-hour, I stopped expending effort to keep names and stories and gossip straight. | Who are two members of Sarah's inner circle Kishori |
Zheng, short and dark and lean, with a very intense gaze. ||||| Ray, a plump man who was grey where he wasn't bald. | Who are two members of Sarah's inner circle Ray and Zheng |
Ray, a plump man who was grey where he wasn't bald. ||||| I wasn't learning anything useful. | Who are two members of Sarah's inner circle Ray and Zheng |
I wasn't learning anything useful. ||||| After the first half-hour, I stopped expending effort to keep names and stories and gossip straight. | Who are two members of Sarah's inner circle Ray and Zheng |
Zheng, short and dark and lean, with a very intense gaze. ||||| Ray, a plump man who was grey where he wasn't bald. | Who are two members of Sarah's inner circle Zheng |
Ray, a plump man who was grey where he wasn't bald. ||||| I wasn't learning anything useful. | Who are two members of Sarah's inner circle Zheng |
I wasn't learning anything useful. ||||| After the first half-hour, I stopped expending effort to keep names and stories and gossip straight. | Who are two members of Sarah's inner circle Zheng |
Zheng, short and dark and lean, with a very intense gaze. ||||| Kishori, petite, her hair strung out in a series of braids that reached nearly to her waist. ||||| Ray, a plump man who was grey where he wasn't bald. | Sarah introduces him to three other guests. Name them Ray |
Kishori, petite, her hair strung out in a series of braids that reached nearly to her waist. ||||| No one minded; Sarah's inner circle was content to fill our circle of couches with plenty of chatter. ||||| The bar was manned by an expensive humanoid robot. | Sarah introduces him to three other guests. Name them Ray |
Tonight was for observation. ||||| The bar was manned by an expensive humanoid robot. ||||| They all looked the same: clusters of social butterflies surrounded by the less apt, the hangers-on, the circle with whom the gossip was shared. | Sarah introduces him to three other guests. Name them Ray |
Zheng, short and dark and lean, with a very intense gaze. ||||| Kishori, petite, her hair strung out in a series of braids that reached nearly to her waist. ||||| Ray, a plump man who was grey where he wasn't bald. | Sarah introduces him to three other guests. Name them Kishori |
Kishori, petite, her hair strung out in a series of braids that reached nearly to her waist. ||||| No one minded; Sarah's inner circle was content to fill our circle of couches with plenty of chatter. ||||| The bar was manned by an expensive humanoid robot. | Sarah introduces him to three other guests. Name them Kishori |
Tonight was for observation. ||||| The bar was manned by an expensive humanoid robot. ||||| They all looked the same: clusters of social butterflies surrounded by the less apt, the hangers-on, the circle with whom the gossip was shared. | Sarah introduces him to three other guests. Name them Kishori |
Zheng, short and dark and lean, with a very intense gaze. ||||| Kishori, petite, her hair strung out in a series of braids that reached nearly to her waist. ||||| Ray, a plump man who was grey where he wasn't bald. | Sarah introduces him to three other guests. Name them Ray, Zheng, and Kishori |
Kishori, petite, her hair strung out in a series of braids that reached nearly to her waist. ||||| No one minded; Sarah's inner circle was content to fill our circle of couches with plenty of chatter. ||||| The bar was manned by an expensive humanoid robot. | Sarah introduces him to three other guests. Name them Ray, Zheng, and Kishori |
Tonight was for observation. ||||| The bar was manned by an expensive humanoid robot. ||||| They all looked the same: clusters of social butterflies surrounded by the less apt, the hangers-on, the circle with whom the gossip was shared. | Sarah introduces him to three other guests. Name them Ray, Zheng, and Kishori |
Zheng, short and dark and lean, with a very intense gaze. ||||| Kishori, petite, her hair strung out in a series of braids that reached nearly to her waist. ||||| Ray, a plump man who was grey where he wasn't bald. | Sarah introduces him to three other guests. Name them Zheng |
Kishori, petite, her hair strung out in a series of braids that reached nearly to her waist. ||||| No one minded; Sarah's inner circle was content to fill our circle of couches with plenty of chatter. ||||| The bar was manned by an expensive humanoid robot. | Sarah introduces him to three other guests. Name them Zheng |
Tonight was for observation. ||||| The bar was manned by an expensive humanoid robot. ||||| They all looked the same: clusters of social butterflies surrounded by the less apt, the hangers-on, the circle with whom the gossip was shared. | Sarah introduces him to three other guests. Name them Zheng |
The bar was manned by an expensive humanoid robot. ||||| Most of their chatter was meaningless to me—stories of day-to-day activities, how so-and-so had been seen in so-and-so's table at lunch and my wasn't that a surprise, and why hadn't the chef concocted this delectable a selection of appetizers for the dance the other night, but of course those rolled meat pastries reminded one of the pastries back on Earth, didn't they, and this was somehow an interesting fact. | Is the genre of this selection historical fiction No |
The bar was manned by an expensive humanoid robot. ||||| They all looked the same: clusters of social butterflies surrounded by the less apt, the hangers-on, the circle with whom the gossip was shared. | Is the genre of this selection historical fiction No |
Sarah transferred the glass to my free hand and pulled me away from the bar for more introductions, with Alexis trailing after us. ||||| I categorized them based on their appearances, hoping I'd be able to pick them out of the crowd again later. | Is the genre of this selection historical fiction No |
The bar was manned by an expensive humanoid robot. ||||| Clearly, it was a high-end model. ||||| Listening and stuffing my face with all the bits of fine food provided. | Is this an establishment for poor clientèle No |
Clearly, it was a high-end model. ||||| It turned toward Sarah's wave and acknowledged her with a nod, moments later setting a fluted glass of sparkling liquid in front of her. ||||| Sarah transferred the glass to my free hand and pulled me away from the bar for more introductions, with Alexis trailing after us. | Is this an establishment for poor clientèle No |
I marveled at the robot's smoothness and coordination. ||||| He made me a little uncomfortable. ||||| Sarah transferred the glass to my free hand and pulled me away from the bar for more introductions, with Alexis trailing after us. | Is this an establishment for poor clientèle No |
Tonight was for observation. ||||| Listening and stuffing my face with all the bits of fine food provided. | What did I do during the evening Stuffed my face, listened and observed |
Tonight was for observation. ||||| Sarah transferred the glass to my free hand and pulled me away from the bar for more introductions, with Alexis trailing after us. | What did I do during the evening Stuffed my face, listened and observed |
I marveled at the robot's smoothness and coordination. ||||| Clearly, it was a high-end model. | What did I do during the evening Stuffed my face, listened and observed |
Tonight was for observation. ||||| Listening and stuffing my face with all the bits of fine food provided. | What did I do during the evening Listening |
Tonight was for observation. ||||| Sarah transferred the glass to my free hand and pulled me away from the bar for more introductions, with Alexis trailing after us. | What did I do during the evening Listening |
I marveled at the robot's smoothness and coordination. ||||| Clearly, it was a high-end model. | What did I do during the evening Listening |
Tonight was for observation. ||||| Listening and stuffing my face with all the bits of fine food provided. | What did I do during the evening Stuffing my face |
Tonight was for observation. ||||| Sarah transferred the glass to my free hand and pulled me away from the bar for more introductions, with Alexis trailing after us. | What did I do during the evening Stuffing my face |
I marveled at the robot's smoothness and coordination. ||||| Clearly, it was a high-end model. | What did I do during the evening Stuffing my face |
The bar was manned by an expensive humanoid robot. ||||| Most of their chatter was meaningless to me—stories of day-to-day activities, how so-and-so had been seen in so-and-so's table at lunch and my wasn't that a surprise, and why hadn't the chef concocted this delectable a selection of appetizers for the dance the other night, but of course those rolled meat pastries reminded one of the pastries back on Earth, didn't they, and this was somehow an interesting fact. ||||| I marveled at the robot's smoothness and coordination. | What clues are we given that this is a social gathering that doesn't take place in our world Sparkling Liquid |
I marveled at the robot's smoothness and coordination. ||||| I wasn't learning anything useful. ||||| Sarah transferred the glass to my free hand and pulled me away from the bar for more introductions, with Alexis trailing after us. | What clues are we given that this is a social gathering that doesn't take place in our world Sparkling Liquid |
He made me a little uncomfortable. ||||| No one minded; Sarah's inner circle was content to fill our circle of couches with plenty of chatter. ||||| Zheng, short and dark and lean, with a very intense gaze. | What clues are we given that this is a social gathering that doesn't take place in our world Sparkling Liquid |
The bar was manned by an expensive humanoid robot. ||||| Most of their chatter was meaningless to me—stories of day-to-day activities, how so-and-so had been seen in so-and-so's table at lunch and my wasn't that a surprise, and why hadn't the chef concocted this delectable a selection of appetizers for the dance the other night, but of course those rolled meat pastries reminded one of the pastries back on Earth, didn't they, and this was somehow an interesting fact. ||||| I marveled at the robot's smoothness and coordination. | What clues are we given that this is a social gathering that doesn't take place in our world Expensive humanoid robot |
I marveled at the robot's smoothness and coordination. ||||| I wasn't learning anything useful. ||||| Sarah transferred the glass to my free hand and pulled me away from the bar for more introductions, with Alexis trailing after us. | What clues are we given that this is a social gathering that doesn't take place in our world Expensive humanoid robot |
He made me a little uncomfortable. ||||| No one minded; Sarah's inner circle was content to fill our circle of couches with plenty of chatter. ||||| Zheng, short and dark and lean, with a very intense gaze. | What clues are we given that this is a social gathering that doesn't take place in our world Expensive humanoid robot |
The bar was manned by an expensive humanoid robot. ||||| Most of their chatter was meaningless to me—stories of day-to-day activities, how so-and-so had been seen in so-and-so's table at lunch and my wasn't that a surprise, and why hadn't the chef concocted this delectable a selection of appetizers for the dance the other night, but of course those rolled meat pastries reminded one of the pastries back on Earth, didn't they, and this was somehow an interesting fact. ||||| I marveled at the robot's smoothness and coordination. | What clues are we given that this is a social gathering that doesn't take place in our world There is a high-tech robot bartender, and one of the people mentions the pastries remind her of food on Earth |
I marveled at the robot's smoothness and coordination. ||||| I wasn't learning anything useful. ||||| Sarah transferred the glass to my free hand and pulled me away from the bar for more introductions, with Alexis trailing after us. | What clues are we given that this is a social gathering that doesn't take place in our world There is a high-tech robot bartender, and one of the people mentions the pastries remind her of food on Earth |
He made me a little uncomfortable. ||||| No one minded; Sarah's inner circle was content to fill our circle of couches with plenty of chatter. ||||| Zheng, short and dark and lean, with a very intense gaze. | What clues are we given that this is a social gathering that doesn't take place in our world There is a high-tech robot bartender, and one of the people mentions the pastries remind her of food on Earth |
The bar was manned by an expensive humanoid robot. ||||| Clearly, it was a high-end model. | What type of robot manned the bar High-end |
Clearly, it was a high-end model. ||||| Ray, a plump man who was grey where he wasn't bald. | What type of robot manned the bar High-end |
I categorized them based on their appearances, hoping I'd be able to pick them out of the crowd again later. ||||| It turned toward Sarah's wave and acknowledged her with a nod, moments later setting a fluted glass of sparkling liquid in front of her. | What type of robot manned the bar High-end |
The bar was manned by an expensive humanoid robot. ||||| Clearly, it was a high-end model. | What type of robot manned the bar Humanoid |
Clearly, it was a high-end model. ||||| Ray, a plump man who was grey where he wasn't bald. | What type of robot manned the bar Humanoid |
I categorized them based on their appearances, hoping I'd be able to pick them out of the crowd again later. ||||| It turned toward Sarah's wave and acknowledged her with a nod, moments later setting a fluted glass of sparkling liquid in front of her. | What type of robot manned the bar Humanoid |
The bar was manned by an expensive humanoid robot. ||||| Clearly, it was a high-end model. | What type of robot manned the bar An expensive, high-end humanoid |
Clearly, it was a high-end model. ||||| Ray, a plump man who was grey where he wasn't bald. | What type of robot manned the bar An expensive, high-end humanoid |
I categorized them based on their appearances, hoping I'd be able to pick them out of the crowd again later. ||||| It turned toward Sarah's wave and acknowledged her with a nod, moments later setting a fluted glass of sparkling liquid in front of her. | What type of robot manned the bar An expensive, high-end humanoid |
LONDON, England (CNN) -- British filmmaker, screenwriter and playwright, Mike Leigh has been in the movie business for over 35 years. ||||| Leigh on screenwriting: "I don't make a conventional screenplay ... it's a whole organic process." | Was Mike Leigh an Academy Award-nominated screenwriter Yes, for the film "Naked" in 1993 |
LONDON, England (CNN) -- British filmmaker, screenwriter and playwright, Mike Leigh has been in the movie business for over 35 years. ||||| Mike Leigh: I am a filmmaker who is both a writer and director and I have this way of making films where the writing and the actors and the shooting is all combined together. | Was Mike Leigh an Academy Award-nominated screenwriter Yes, for the film "Naked" in 1993 |
TSR: There is this romantic idea that screenwriting has to be a painful, solitary experience. ||||| ML: I think screenwriters who, because of the politics and economics of the film industry, are forced to work in a much more conventional way, are always fascinated to discuss with me how I work. | Was Mike Leigh an Academy Award-nominated screenwriter Yes, for the film "Naked" in 1993 |
LONDON, England (CNN) -- British filmmaker, screenwriter and playwright, Mike Leigh has been in the movie business for over 35 years. ||||| Leigh on screenwriting: "I don't make a conventional screenplay ... it's a whole organic process." | Was Mike Leigh an Academy Award-nominated screenwriter Yes |
LONDON, England (CNN) -- British filmmaker, screenwriter and playwright, Mike Leigh has been in the movie business for over 35 years. ||||| Mike Leigh: I am a filmmaker who is both a writer and director and I have this way of making films where the writing and the actors and the shooting is all combined together. | Was Mike Leigh an Academy Award-nominated screenwriter Yes |
TSR: There is this romantic idea that screenwriting has to be a painful, solitary experience. ||||| ML: I think screenwriters who, because of the politics and economics of the film industry, are forced to work in a much more conventional way, are always fascinated to discuss with me how I work. | Was Mike Leigh an Academy Award-nominated screenwriter Yes |
LONDON, England (CNN) -- British filmmaker, screenwriter and playwright, Mike Leigh has been in the movie business for over 35 years. ||||| Leigh on screenwriting: "I don't make a conventional screenplay ... it's a whole organic process." | Was Mike Leigh an Academy Award-nominated screenwriter Yes, he was nominated five times |
LONDON, England (CNN) -- British filmmaker, screenwriter and playwright, Mike Leigh has been in the movie business for over 35 years. ||||| Mike Leigh: I am a filmmaker who is both a writer and director and I have this way of making films where the writing and the actors and the shooting is all combined together. | Was Mike Leigh an Academy Award-nominated screenwriter Yes, he was nominated five times |
TSR: There is this romantic idea that screenwriting has to be a painful, solitary experience. ||||| ML: I think screenwriters who, because of the politics and economics of the film industry, are forced to work in a much more conventional way, are always fascinated to discuss with me how I work. | Was Mike Leigh an Academy Award-nominated screenwriter Yes, he was nominated five times |
TSR: There is this romantic idea that screenwriting has to be a painful, solitary experience. ||||| That's not what you experience, though. ||||| I don't make a conventional screenplay ... it's a whole organic process. | What does the screenwriter experience while writing a screenplay That it is not a painful or solitary experience |
That's not what you experience, though. ||||| In that time, he has been nominated for five Oscars, as well as winning the Best Director award at Cannes Film Festival for "Naked" in 1993, the Palme d'Or there for "Secrets & Lies" in 1996 and the Leono d'Oro at Venice Film Festival in 2004 for "Vera Drake." ||||| Famous for his fierce independence (read refusal to work in Hollywood), Leigh's work is known for gritty realism and a focus on underprivileged sections of British society. | What does the screenwriter experience while writing a screenplay That it is not a painful or solitary experience |
TSR: What do you think other scriptwriters can learn from you? ||||| Another of Leigh's calling cards is an unconventional approach to screenwriting. ||||| ML: I think screenwriters who, because of the politics and economics of the film industry, are forced to work in a much more conventional way, are always fascinated to discuss with me how I work. | What does the screenwriter experience while writing a screenplay That it is not a painful or solitary experience |
TSR: There is this romantic idea that screenwriting has to be a painful, solitary experience. ||||| That's not what you experience, though. ||||| I don't make a conventional screenplay ... it's a whole organic process. | What does the screenwriter experience while writing a screenplay Romantic idea |
That's not what you experience, though. ||||| In that time, he has been nominated for five Oscars, as well as winning the Best Director award at Cannes Film Festival for "Naked" in 1993, the Palme d'Or there for "Secrets & Lies" in 1996 and the Leono d'Oro at Venice Film Festival in 2004 for "Vera Drake." ||||| Famous for his fierce independence (read refusal to work in Hollywood), Leigh's work is known for gritty realism and a focus on underprivileged sections of British society. | What does the screenwriter experience while writing a screenplay Romantic idea |
TSR: What do you think other scriptwriters can learn from you? ||||| Another of Leigh's calling cards is an unconventional approach to screenwriting. ||||| ML: I think screenwriters who, because of the politics and economics of the film industry, are forced to work in a much more conventional way, are always fascinated to discuss with me how I work. | What does the screenwriter experience while writing a screenplay Romantic idea |
TSR: There is this romantic idea that screenwriting has to be a painful, solitary experience. ||||| That's not what you experience, though. ||||| I don't make a conventional screenplay ... it's a whole organic process. | What does the screenwriter experience while writing a screenplay It is generally assumed that the experience of writing a screenplay is solitary and painful, but Mike Leigh would hold that it isn't always as such |
That's not what you experience, though. ||||| In that time, he has been nominated for five Oscars, as well as winning the Best Director award at Cannes Film Festival for "Naked" in 1993, the Palme d'Or there for "Secrets & Lies" in 1996 and the Leono d'Oro at Venice Film Festival in 2004 for "Vera Drake." ||||| Famous for his fierce independence (read refusal to work in Hollywood), Leigh's work is known for gritty realism and a focus on underprivileged sections of British society. | What does the screenwriter experience while writing a screenplay It is generally assumed that the experience of writing a screenplay is solitary and painful, but Mike Leigh would hold that it isn't always as such |
TSR: What do you think other scriptwriters can learn from you? ||||| Another of Leigh's calling cards is an unconventional approach to screenwriting. ||||| ML: I think screenwriters who, because of the politics and economics of the film industry, are forced to work in a much more conventional way, are always fascinated to discuss with me how I work. | What does the screenwriter experience while writing a screenplay It is generally assumed that the experience of writing a screenplay is solitary and painful, but Mike Leigh would hold that it isn't always as such |
LONDON, England (CNN) -- British filmmaker, screenwriter and playwright, Mike Leigh has been in the movie business for over 35 years. ||||| Leigh on screenwriting: "I don't make a conventional screenplay ... it's a whole organic process." | Is Mike Leigh an actor No, screenwriter and playwright |
LONDON, England (CNN) -- British filmmaker, screenwriter and playwright, Mike Leigh has been in the movie business for over 35 years. ||||| ML: I think screenwriters who, because of the politics and economics of the film industry, are forced to work in a much more conventional way, are always fascinated to discuss with me how I work. | Is Mike Leigh an actor No, screenwriter and playwright |
Mike Leigh: I am a filmmaker who is both a writer and director and I have this way of making films where the writing and the actors and the shooting is all combined together. ||||| TSR: There is this romantic idea that screenwriting has to be a painful, solitary experience. | Is Mike Leigh an actor No, screenwriter and playwright |
LONDON, England (CNN) -- British filmmaker, screenwriter and playwright, Mike Leigh has been in the movie business for over 35 years. ||||| Leigh on screenwriting: "I don't make a conventional screenplay ... it's a whole organic process." | Is Mike Leigh an actor No |
LONDON, England (CNN) -- British filmmaker, screenwriter and playwright, Mike Leigh has been in the movie business for over 35 years. ||||| ML: I think screenwriters who, because of the politics and economics of the film industry, are forced to work in a much more conventional way, are always fascinated to discuss with me how I work. | Is Mike Leigh an actor No |
Mike Leigh: I am a filmmaker who is both a writer and director and I have this way of making films where the writing and the actors and the shooting is all combined together. ||||| TSR: There is this romantic idea that screenwriting has to be a painful, solitary experience. | Is Mike Leigh an actor No |
LONDON, England (CNN) -- British filmmaker, screenwriter and playwright, Mike Leigh has been in the movie business for over 35 years. ||||| "The Screening Room" caught up with the veteran director at the International Screenwriters' Festival in the UK earlier this year to ask him more about his approach to making films. ||||| The Screening Room: Why is this festival so important to you? | Does The Screenroom interview international icons of the film industry such as screenwriter Mike Leigh Yes. they interviewed |
"The Screening Room" caught up with the veteran director at the International Screenwriters' Festival in the UK earlier this year to ask him more about his approach to making films. ||||| In that time, he has been nominated for five Oscars, as well as winning the Best Director award at Cannes Film Festival for "Naked" in 1993, the Palme d'Or there for "Secrets & Lies" in 1996 and the Leono d'Oro at Venice Film Festival in 2004 for "Vera Drake." ||||| That's not what you experience, though. | Does The Screenroom interview international icons of the film industry such as screenwriter Mike Leigh Yes. they interviewed |
TSR: There is this romantic idea that screenwriting has to be a painful, solitary experience. ||||| ML: I think screenwriters who, because of the politics and economics of the film industry, are forced to work in a much more conventional way, are always fascinated to discuss with me how I work. ||||| I don't make a conventional screenplay ... it's a whole organic process. | Does The Screenroom interview international icons of the film industry such as screenwriter Mike Leigh Yes. they interviewed |
LONDON, England (CNN) -- British filmmaker, screenwriter and playwright, Mike Leigh has been in the movie business for over 35 years. ||||| "The Screening Room" caught up with the veteran director at the International Screenwriters' Festival in the UK earlier this year to ask him more about his approach to making films. ||||| The Screening Room: Why is this festival so important to you? | Does The Screenroom interview international icons of the film industry such as screenwriter Mike Leigh Yes |
"The Screening Room" caught up with the veteran director at the International Screenwriters' Festival in the UK earlier this year to ask him more about his approach to making films. ||||| In that time, he has been nominated for five Oscars, as well as winning the Best Director award at Cannes Film Festival for "Naked" in 1993, the Palme d'Or there for "Secrets & Lies" in 1996 and the Leono d'Oro at Venice Film Festival in 2004 for "Vera Drake." ||||| That's not what you experience, though. | Does The Screenroom interview international icons of the film industry such as screenwriter Mike Leigh Yes |
TSR: There is this romantic idea that screenwriting has to be a painful, solitary experience. ||||| ML: I think screenwriters who, because of the politics and economics of the film industry, are forced to work in a much more conventional way, are always fascinated to discuss with me how I work. ||||| I don't make a conventional screenplay ... it's a whole organic process. | Does The Screenroom interview international icons of the film industry such as screenwriter Mike Leigh Yes |
LONDON, England (CNN) -- British filmmaker, screenwriter and playwright, Mike Leigh has been in the movie business for over 35 years. ||||| ML: I think screenwriters who, because of the politics and economics of the film industry, are forced to work in a much more conventional way, are always fascinated to discuss with me how I work. ||||| Leigh on screenwriting: "I don't make a conventional screenplay ... it's a whole organic process." | Does Mike Leigh appeal to Hollywood No |
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