Michael "Mike" Figgis (born 28 February 1948) is an English film director, screenwriter, and composer. He was nominated for two Academy Awards for his work in Leaving Las Vegas (1995).
It's difficult working with very rich actors, because inevitably they become a little spoilt, and the managers and agents tend to control things more than is healthy.
I've spent my life hearing people trying to apologize for music.
Films take up so much time, and with theatre, you do have to plan a period of time that you can be free.
I play piano and trumpet. I studied classical guitar.
I might have a guitar or a piano on set to play something for the actors.
I never had any urge or desire to do like a big spectacular movie with thousands and thousands of extras. I'd rather watch paint drying. But put me in a room with three people having a hard time, like a character situation, and then you're into a really intense portraiture kind of concept.
In discussing the process with the actors, I made it clear to them that they could improvise but that the sum total of their improvisation needed to impart certain plot points, and schematic material.
You make sure that there's a structure that's interesting for them to play on top of, then do temp versions and try it on the film. By the time the players come to the recording session, I've found what works. So I'm not wasting their time.
There's nothing I've done which I'm ashamed of or I thought was actually bad.
I made my first film on 16mm. Then I began using 35mm. Then I began working in Hollywood. And I began to really understand how films were made by professionals. I have to say I wasn't very impressed.
There's nothing quite like the idea of failing spectacularly to excite a film maker
I've held onto little musical sketches that I thought could be useful, and the more time that I spend doing them for each film, then the more I have to draw on.
The world is an infinitely fascinating, tragic and humorous place.
Each film is different. Time Code was very quick - a matter of months. Miss Julie has been on my shelf as a script for some seven or eight years. But then the shooting process was very quick - 16 days.
I like to work my camera as if it were a musical instrument.
When I do the music, I make the musicians listen to what's happening in the film. That way they treat the dialogue as if it was a singer.
There's a sadness to the human condition that I think music is good for. It gives a counterpoint to the visual beauty, and adds depth to pictures that they wouldn't have if the music wasn't there.
But I don't have such a strong desire to need to get away from filmmaking.
The power of sound to put an audience in a certain psychological state is vastly undervalued. And the more you know about music and harmony, the more you can do with that.
I had no plans to be a director.