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I really like birds. Everyone always wants me to say that I can't stand to go near them, just like they want Janet Leigh to confess that she can't bear to take a shower. Well, I'm sorry to disappoint you.
Vivien Leigh was a phenomenal actress, a very complicated woman, living on the edge of mental problems, haunted by demons and angels. And though I've never thought of myself like Marilyn Monroe, I was inspired by the tremendous risk she took - of being vulnerable.
Rebecca De Mornay
I saw Farrah Fawcett originally when she and her boyfriend, Lee Majors, came over to my house for a birthday party that I was having for my ex-wife, Leigh Taylor-Young.
We all wanted to copy Vivien Leigh.
My style icons are Leigh Lezark, Gwen Stefani and Shirley Manson.
Marina and the Diamonds
I adore Bette Davis and Vivien Leigh, but more because they were good actresses. That's what makes me interested in them, that they didn't present themselves as idols; they were just doing their jobs.
Playing the Mammy of Miss Leigh was just about the biggest thrill I've ever had.
Mike Leigh taught me about making choices - as an actor, you choose between being honest and clever, and with Mike, it's always about being honest. I learned how to behave on a film set from Jim Broadbent. He was a great example of someone with a fantastic career who kept his feet on the ground.
If only Vivien Leigh had stayed in England, that part would have been mine.
To have a childhood surrounded by people like Sir Laurence Olivier and Vivien Leigh sounds glitzy, but for years I wanted to repress it. I couldn't take that kind of power and success.
When I make films, I work with Mike Leigh, who's the most prolific director in England.
Marilyn Monroe and Vivienne Leigh are real icons of mine. In terms of visual culture, they are both so iconic. There weren't any paparazzi shots of them falling out of taxis, so they will always look so incredible.
You look at Gone With the Wind, how right Vivian Leigh was for that. Don't know if that would happen today.
I had left school at 16, gone to stage school - and, until I was 22, I hadn't really played anyone but myself. Then in 1979, I made a film with Mike Leigh called 'Grownups,' which went out on the BBC, and overnight this new career opened up.
I had two starts, really. The first was going to the Italia Conti stage school, aged 15. I'd gone to sing, but one day I found myself doing an improvisation and thought, 'Oh God, I quite like this acting thing.' The second start was meeting Mike Leigh when I was 22. He showed me I could play people that weren't like me.
The old joke was Mitch Leigh, land baron, barren land.
Different directors have different things, so when I left Mike Leigh, as it were, and I went into other projects after 'All or Nothing,' it took some getting used to - what do you mean there's a script?!?' That kind of thing.
Mike Leigh and Ken Loach are the people I look up to. They are quality film-makers making interesting, controversial, ground-breaking movies with very little eye on the marketplace.
When you think of Mitch Leigh as a businessman, remember he's also a composer. And when you think of Mitch Leigh as a composer, remember he's also a businessman.
I wanted to work with Mike Leigh. I had my list of British people I wanted to work with, and I wanted to work with David Lynch and Woody Allen.
Mike Leigh encourages you to choose a person that you know to base your character on. You write a whole list of people that you know and you go through that list in great depth with him. And then he chooses one of those people from your list.
I wanted to be like Vivien Leigh in 'Gone With the Wind.' I wanted to have black hair, green eyes and break hearts.
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