Mike Leigh Net Worth
Mike Leigh Net Worth is
$250,000
Mike Leigh Bio/Wiki, Net Worth, Married 2018
Mike Leigh, OBE (born 20 February 1943) is an English writer and director of film and theatre. He studied theatre at the Royal Academy of Dramatic Art (RADA) and further at the Camberwell School of Art and the Central School of Art and Design. He began as a theatre director and playwright in the mid-1960s. In the 1970s and 1980s his career moved between theater work and making films for BBC Television, many of which were characterised by a gritty "kitchen sink realism" style. His well-known films include the comedy-dramas Life is Sweet (1990) and Career Girls (1997), the Gilbert and Sullivan biographical film Topsy-Turvy (1999), and the bleak working-class drama All or Nothing (2002). His most notable works are the black comedy-drama Naked (1993), for which he won the Best Director Award at Cannes, the Oscar-nominated, BAFTA and Palme d'Or-winning drama Secrets & Lies (1996) and the Golden Lion winning working-class drama Vera Drake (2004). Some of his notable stage plays include Smelling A Rat, It's A Great Big Shame, Greek Tragedy, Goose-Pimples, Ecstasy, and Abigail's Party.Leigh is known for his lengthy rehearsal and improvisation techniques with actors to build characters and narrative for his films. His purpose is to capture reality and present "emotional, subjective, intuitive, instinctive, vulnerable films." His aesthetic has been compared to the sensibility of the Japanese director Yasujiro Ozu. His films and stage plays, according to critic Michael Coveney, "comprise a distinctive, homogenous body of work which stands comparison with anyone's in the British theatre and cinema over the same period." Coveney further noted Leigh's role in helping to create stars – Liz Smith in Hard Labour, Alison Steadman in Abigail's Party, Brenda Blethyn in Grown-Ups, Antony Sher in Goose-Pimples, Gary Oldman and Tim Roth in Meantime, Jane Horrocks in Life is Sweet, David Thewlis in Naked – and remarked that the list of actors who have worked with him over the years – including Paul Jesson, Phil Daniels, Lindsay Duncan, Lesley Sharp, Kathy Burke, Stephen Rea, Julie Walters – "comprises an impressive, almost representative, nucleus of outstanding British acting talent." Ian Buruma, writing in the New York Review of Books in January 1994, noted: "It is hard to get on a London bus or listen to the people at the next table in a cafeteria without thinking of Mike Leigh. Like other wholly original artists, he has staked out his own territory. Leigh's London is as distinctive as Fellini's Rome or Ozu's Tokyo." | Full Name | Mike Lee |
| Salary | 615,000 USD |
| Date Of Birth | February 20, 1943 |
| Died | November 24, 2008, Darlington, United Kingdom |
| Place Of Birth | Salford, Greater Manchester, England, UK |
| Height | 5' 7" (1.7 m) |
| Profession | Director, Writer, Actor |
| Education | Brigham Young University, Royal Academy of Dramatic Art, Camberwell College of Arts |
| Nationality | American, British |
| Spouse | Alison Steadman (m. 1973–2001) |
| Children | Leo Leigh, Toby Leigh |
| Parents | Rex E. Lee, Janet Lee, Phyllis Pauline Cousin, Alfred Abraham Leigh |
| Siblings | Thomas Rex Lee |
| Partner | Charlotte Holdich |
| Awards | Palme d'Or, Cannes Best Director Award, Golden Lion, BAFTA Award for Best British Film, BAFTA Award for Best Direction, BAFTA Fellowship, BAFTA Award for Best Original Screenplay, BAFTA Outstanding British Contribution to Cinema Award, Goya Award for Best European Film, British Independent Film Awar... |
| Nominations | Academy Award for Best Director, Academy Award for Best Original Screenplay, BAFTA Award for Best Film, César Award for Best Foreign Film, Grand Jury Prize, European Film Award for Best Film, Critics' Choice Movie Award for Best Screenplay, European Film Award for Best Director, Satellite Award for... |
| Movies | Secrets & Lies, Mr. Turner, Another Year, Happy-Go-Lucky, Vera Drake, Topsy-Turvy, Life Is Sweet, All or Nothing, High Hopes, Bleak Moments, Meantime, Career Girls, Naked, Nuts in May, Grown-Ups, Four Days in July, Kiss of Death, The Short & Curlies, Hard Labour, A Sense of History, A Running Jump, ... |
| Star Sign | Pisces |
| # | Trademark |
|---|---|
| 1 | Films frequently center on the British working class |
| 2 | Wide range of emotions |
| # | Quote |
|---|---|
| 1 | [on Phil Davis] The fascinating thing about Phil is that we've worked together from him being a naughty youth to a middle-aged man. He's completely rigorous, intelligent, rooted and with a sense of the real world. He's up for trying anything. Completely creative. And a very nice bloke. The interesting thing about him, however, is this: he's an actor of immense scope and versatility, but don't ask him to do an accent. |
| 2 | [from his eulogy at Bingham Ray's memorial] His imagination, his passion, his wonderful, endless naivete combined with sophistication. It's been said that he was completely honest. For those of us who loved him and monitored the ups and down of his checkered career, this was a man who was undoubtedly stabbed in the back by people. And we know that, to some extent he was a victim of his own innocence. |
| 3 | The basic problem with television films is that even if they get a repeat, or, in extraordinary circumstance two repeats, the rest is generally shelf-life. |
| 4 | You make films for people to see. I like my films. I haven't made a film I don't like. I don't sit and watch them all the time - that would be stupid! - but I can watch them and I'm pleased that they're out there. Sure, there are things I'd do differently now, but each film comes out of its own time. I mean, people have done amazing things on my films, on both sides of the camera. So to me, the films themselves are a celebration of filmmaking. I'm positive about it. |
| 5 | I haven't made a film that, in some form, didn't come out of direct experience. All or Nothing (2002) has some very personal, autobiographical, emotional stuff in it, which I won't particularly enumerate. I made Secrets & Lies (1996) because I was concerned with adoption. There are people close to me who had adoption-related experiences, so I decided to explore that. And once I looked into it I realised what was more interesting to investigate was not so much a family with an adoptee, but the relationship between the birth mother and the adopted person. I made Vera Drake (2004) because a) I remember a particular woman who, I realised later, was an abortionist when I was a kid, and b) I'm old enough to have been around at a time when people had to get illegal abortions. I was very fortunate in that I never actually got any body into trouble myself, but I was actually there on several occasions, and was involved in the organisation of illegal abortions on three occasions, just as a friend. So "Vera Drake" came out of that experience. |
| 6 | I like Ken [Ken Loach], we always get on. We make very different films from very different perspectives. He makes unapologetically propagandist films with a very clear political agenda. You are left in no doubt about what he's trying to say to you when you see one of his films. On the other hand, I hope you have a great deal of doubt about what I'm trying to say to you when you see one of my films. I hope that you never walk out of one of my films with a very clear notion of what I'm saying, because I want you to have a lot of things to argue and ponder about. And Happy-Go-Lucky (2008) is no exception. And the idea that it's a piece of unadulterated happiness is rubbish, basically. It's got all kinds of complexities. |
| 7 | The thing about what I do is that, unlike any other filmmaker, I'm not looking out for properties or material to adapt. I've no interest in that whatsoever, because it's not what I do. It's about making up worlds, and you don't make up worlds in a vacuum; it comes from all over the place. Sometimes you don't know where it comes from. It just comes. And it comes from being out there and being around. I'm somebody that lives out in the real world. |
| 8 | I cannot get more than a certain amount of money - there's a ceiling beyond which no-one will go. It's very frustrating. On the other hand, I don't whinge because there are people out there who don't get any money to make any films at all. So I don't complain. But on the other hand it would be terrific to have the scope to paint on a bigger canvas. I've done it with Topsy-Turvy (1999), which we made for £10 million. I don't know how we did it. We squeezed our £6.5 million to make Vera Drake (2004). Very hard. But if you want that kind of money, quite often they'll say, "Ah, that sounds like a good opportunity for Johnny Depp..." No disrespect to Johnny Depp, he's just an example. And the message is: "If you were to have Johnny, we could give you a great deal more dosh." But I won't go there. Because my job is to make the films I want to make and to have the freedom to explore them, without knowing exactly what it's going to be, and to have actors who will go along with that. But if you get in somebody who's there just so you can raise the money, there are immediate inhibitions. And also, I'm committed to making films that are about this world. You couldn't justify Happy-Go-Lucky (2008) to a potential backer. You couldn't go into Hollywood suite and say, "Well, it's about this teacher..." I think this is true of all my films - I don't think there's a single film where, if you described it, anyone would be blown away! |
| 9 | My tragedy as a filmmaker now is that there is a very limited ceiling on the amount of money anyone will give me to make a film. Because they don't know what it's going to be about and because I won't use stars and because there isn't a script. And I really passionately want to have the resources to paint on a much bigger canvas. |
| 10 | In many ways, my parents in an unconscious way wanted to be as English as possible. They went to the theatre, to Stratford, to the Halle. My father only ever voted Labour. They were very bourgeois, very neurotic and very insular. When I went to Israel in 1960 we were on a kibbutz and we insisted on having a discussion about whether you could be an artist on a kibbutz. Of course, what we were dealing with was our own, unformed struggle about the whole thing, where our cultural roots were. The truth was, we were European and English artists. |
| 11 | Given the events of even the 19th century, Zionism was inevitable. Given the events of the 20th century, Israel was inevitable. |
| 12 | A Jew is someone who grows up in that environment. You can say that you're working class, you can say that you're northern or southern. These are non-negotiable facts. While I walked away from a Jewish existence, lots of things carried on in my life: gastronomic obsession, massive amounts of reading Isaac Bashevis Singer and Saul Bellow. So one doesn't stop being Jewish. |
| 13 | I like my films. I can't understand directors who don't watch their films after they've made them. If you don't like them, how the fuck can you expect anyone else to? |
| 14 | Given the choice of Hollywood or poking steel pins in my eyes, I'd prefer steel pins. |
| 15 | I remain the guy with no script, who is very unforthcoming about what the film will be about and who won't discuss casting, which is the biggest sin of all. I will not talk about a film, even if there is a massive budget, if there are strings attached about casting. |
| 16 | In terms of the way I do it and the things I try to say, there is absolutely no distinction between film and theater. There was a long period in the 1970s when I alternated between plays and films. But the real point is that I am much happier making films. Theater is fine when you do it. But film is my natural habitat. |
| 17 | There are moments when you make those decisions, like the moment when I decided I would never, ever direct a conventional script someone else had written - or indeed try to write a conventional script. After that, I felt I could move on. |
| 18 | But now I think I've been remarkably lucky to have made 17 full-length films in which nobody has ever interfered, ever. |
| 19 | There was a time when you just couldn't make an independent, indigenous, serious feature film. And those of us who were lucky enough (Ken Loach, Stephen Frears, Alan Clarke and others) mostly found that at the BBC you could do what you wanted. |
| 20 | You will find hardly any improvising on camera anywhere in my films. It's very structured, but it's all worked out from elaborate improvisations over a long period, as you know. Literary, word-bound people often say, "Ah well, if that's the case who's the author?" Which is remarkably dumb, isn't it? |
| 21 | People say to me, "Oh come on, you could do a great thing with a script." But I've always said no. Everyone will expect the quality and style of the acting to be as good as they are in my other films - and I wouldn't know how to do it. |
| 22 | If it's the case that there are a lot of people who can't or don't see my films, I don't really think that's to do with me, or the nature of my films, or neglect of me. It's to do with the continuing problem of the dissemination of British films on British screens. It's to do with the domination of Hollywood. But, do I feel neglected? No, hand on heart, not at all, I feel lucky. I get to make films without even showing a script. To be honest, the fact that I'm allowed to do what I do in the way that I do it never ceases to amaze me. |
| 23 | I mean, I've been to screenings of the film where the laughter came at quite surprising - to me - points. But, you know, people laugh for a variety of reasons - with, or at, or out of embarrassment, or nervousness even. It's not always a function of mirth. |
| 24 | I've long since stopped worrying about how I'm portrayed in the press because ultimately it's not that important. Everyone who knows me knows I do what I do with the greatest integrity. |
| 25 | One develops a strange parallel existence that is not to do with oneself but is defined by some journalists. In my case, I'm supposed to be this - how does it go exactly? - "melancholic soul given to brooding silences". |
| # | Fact |
|---|---|
| 1 | Mother was a midwife. |
| 2 | President of the 'Official Competition' jury at the 62nd Berlin International Film Festival in 2012. |
| 3 | Interviewed in "World Directors in Dialogue" by Bert Cardullo (Scarecrow Press, 2011). |
| 4 | Has directed 3 actresses in Oscar-nominated performances: Brenda Blethyn, Marianne Jean-Baptiste and Imelda Staunton. |
| 5 | His top 10 films of all time are: The Tree of Wooden Clogs (1978), Tokyo Story (1953), Soy Cuba (1964), The 400 Blows (1959), The Death of Mr. Lazarescu (2005), Sånger från andra våningen (2000), Some Like It Hot (1959), Radio Days (1987), Seven Chances (1925) and How a Mosquito Operates (1912). |
| 6 | When actors audition for him, he asks them to sit at a table while he observes. |
| 7 | He was made a Fellow of the British Film Institute in recognition of his outstanding contribution to film and television culture. |
| 8 | Chairman of the London Film School. |
| 9 | Parents met in 1936 in Manchester. |
| 10 | Has two sons, Toby Leigh and Leo Leigh |
| 11 | Member of the 'Official Competition' jury at the 50th Cannes International Film Festival in 1997. |
| 12 | His family were Jewish immigrants from Eastern Europe (including Russia). |
| 13 | Father was a doctor. |
| 14 | Graduated from RADA. |
| 15 | Became an Associate Member of RADA. |
| 16 | His play, "Abigail's Party", performed at the New Ambassador's Theatre, was nominated for a 2003 Laurence Olivier Theatre Award for Best Revival of 2002. |
| 17 | He was awarded an OBE (Officer of the Order of the British Empire) in the 1993 Queen's Honours List for his services to the film industry. |
| 18 | Most of his work in theatre and film is done without any initial script. He and the actors improvise their characters and the scenes under his overall control. |
Director
| Title | Year | Status | Character |
|---|---|---|---|
| Mr. Turner | 2014 | ||
| A Running Jump | 2012 | Short | |
| Another Year | 2010 | ||
| Happy-Go-Lucky | 2008 | ||
| Vera Drake | 2004 | ||
| All or Nothing | 2002 | ||
| Topsy-Turvy | 1999 | ||
| Career Girls | 1997 | ||
| Secrets & Lies | 1996 | ||
| Naked | 1993 | ||
| A Sense of History | 1992 | TV Short | |
| Life Is Sweet | 1990 | ||
| The Short & Curlies | 1988 | TV Short | |
| High Hopes | 1988 | ||
| Four Days in July | 1984 | TV Movie | |
| Meantime | 1984 | TV Movie | |
| Five-Minute Films | 1982 | TV Series short 5 episodes | |
| Play for Today | 1973-1982 | TV Series 6 episodes | |
| BBC2 Playhouse | 1980 | TV Series 1 episode | |
| Second City Firsts | 1975-1976 | TV Series 2 episodes | |
| Scene | 1973 | TV Series documentary 1 episode | |
| Bleak Moments | 1971 |
Writer
| Title | Year | Status | Character |
|---|---|---|---|
| Mr. Turner | 2014 | written by | |
| A Running Jump | 2012 | Short written by | |
| Another Year | 2010 | written by | |
| Happy-Go-Lucky | 2008 | writer | |
| Vera Drake | 2004 | written by | |
| All or Nothing | 2002 | written by | |
| Topsy-Turvy | 1999 | written by | |
| Career Girls | 1997 | written by | |
| Secrets & Lies | 1996 | written by | |
| Naked | 1993 | writer | |
| Life Is Sweet | 1990 | ||
| The Short & Curlies | 1988 | TV Short written by | |
| High Hopes | 1988 | writer | |
| Four Days in July | 1984 | TV Movie deviser | |
| Meantime | 1984 | TV Movie deviser | |
| Five-Minute Films | 1982 | TV Series short deviser - 5 episodes | |
| Play for Today | TV Series devised by - 4 episodes, 1977 - 1982 deviser - 2 episodes, 1973 - 1976 | ||
| BBC2 Playhouse | 1980 | TV Series devised by - 1 episode | |
| Second City Firsts | 1975-1976 | TV Series deviser - 2 episodes | |
| Bleak Moments | 1971 | scenario |
Actor
| Title | Year | Status | Character |
|---|---|---|---|
| Steve Chisholm's A-Z of Extraordinary Sexual Fetishes | 2005 | TV Movie | |
| Two Left Feet | 1965 | Jim (uncredited) | |
| Maigret | 1963 | TV Series | Paul |
| West 11 | 1963 | Bit Role (uncredited) |
Thanks
| Title | Year | Status | Character |
|---|---|---|---|
| The Last Anarchist | 2012 | Short thanks | |
| Boot Polish | 2007 | Short very special thanks | |
| Four Eyes | 2007 | Short thanks | |
| Waiting for Sunrise | 2005 | Short very special thanks | |
| Welcome to Hollywood | 1998 | special thanks |
Self
| Title | Year | Status | Character |
|---|---|---|---|
| Richard E. Grant on Ealing Comedies | 2016 | TV Mini-Series documentary | Himself |
| The EE British Academy Film Awards | 2015 | TV Special documentary | Himself |
| The Reel Britain | 2014 | Documentary short | Himself |
| Días de cine | 2014 | TV Series | Himself |
| Cinema 3 | 1996-2014 | TV Series | Himself |
| Imagine | 2014 | TV Series documentary | Himself |
| BAFTA Britannia Awards Special 2014 | 2014 | TV Special | Himself |
| Here Is Your Life: An Introduction by Mike Leigh | 2014 | Documentary short | Himself |
| Mr. Turner: The Many Colours of Mr. Turner | 2014 | Video short | Himself - Director |
| Channel 4 News | 2013 | TV Series | Himself |
| The Mike Leigh Method | 2011 | Video short | Himself |
| Faulks on Fiction | 2011 | TV Series documentary | Himself |
| In Confidence | 2011 | TV Series documentary | Himself |
| The Many Faces of... | 2010 | TV Series documentary | Himself |
| At the Movies | 2010 | TV Series | Himself |
| The Culture Show | 2004-2010 | TV Series documentary | Himself |
| Film '72 | 2010 | TV Series | Himself |
| Mike Leigh & Lesley Manville on Another Year | 2010 | TV Movie documentary | Himself |
| The One Show | 2008-2010 | TV Series | Himself - Guest |
| Late Review | 2010 | TV Series | Himself - Interviewee |
| TV Festival Du Cannes 2010 | 2010 | TV Movie | Himself |
| Jean-Luc Cinema Godard | 2009 | TV Movie documentary | Himself |
| Marlow meets... | 2009 | TV Series documentary | Himself |
| Vittorio D. | 2009 | Documentary | Himself |
| Cannes Moments | 2009 | TV Series documentary | Himself |
| Mark Lawson Talks to... | 2009 | TV Series | Himself |
| The Alan Titchmarsh Show | 2009 | TV Series | Himself |
| The 81st Annual Academy Awards | 2009 | TV Special | Himself - Nominee: Best Original Screenplay |
| Behind the Wheel of Happy-Go-Lucky | 2009 | Video documentary short | Himself |
| Looking for Truffaut | 2009 | TV Movie documentary | Himself |
| Happy-Go-Lucky: B-Roll | 2008 | Video documentary short | Himself |
| Happy-Go-Lucky: Mike Leigh's Characters | 2008 | Video documentary short | Himself |
| Secret's Out | 2008 | TV Series | Himself |
| DP/30: Conversations About Movies | 2008 | TV Series | Himself |
| Mike Leigh and Meantime | 2008 | Video documentary short | Himself |
| Mike Leigh in Conversation | 2008 | Video | Himself |
| Sunday AM | 2008 | TV Series | Himself |
| All About 'Abigail's Party' | 2007 | TV Movie documentary | Himself |
| British Film Forever | 2007 | TV Mini-Series documentary | Himself |
| 50 Films to See Before You Die | 2006 | TV Movie documentary | Himself |
| Breakfast | 2002-2005 | TV Series | Himself |
| 2nd Annual Directors Guild of Great Britain DGGB Awards | 2005 | Video | Himself - Presenter and Nominee 'Vera Drake' |
| Vera Drake: Cast and Crew Documentary | 2005 | Video documentary short | Himself - Director |
| The 2004 European Film Awards | 2004 | TV Special | Himself |
| Cinema16: British Short Films | 2003 | Video | Himself - Commentary, The Short & Curlies (voice) |
| The South Bank Show | 2002 | TV Series documentary | Himself |
| The Gist | 2002 | TV Movie | Himself |
| The 100 Greatest Films | 2001 | TV Movie documentary | Himself |
| Humphrey Jennings: The Man Who Listened to Britain | 2000 | TV Movie documentary | Himself |
| Mike Leigh: The BBC Collection - The Conversation | 2000 | Video documentary short | Himself |
| The Conversation | 2000 | Video documentary short | Himself |
| The 72nd Annual Academy Awards | 2000 | TV Special | Himself - Nominee: Best Original Screenplay |
| Le cinéma britannique aujourd'hui, la tradition des francs-tireurs | 1999 | TV Movie documentary | Himself |
| Welcome to Hollywood | 1998 | Himself | |
| Omnibus | 1998 | TV Series documentary | Himself |
| Pesel Ha'Zahav | 1998 | Documentary | Himself |
| Funny Women | 1997 | TV Series documentary short | Himself |
| Queen: Made in Heaven | 1997 | Documentary | |
| The 69th Annual Academy Awards | 1997 | TV Special | Himself - Nominee: Best Director & Best Original Screenplay |
| Mike Leigh on Secrets and Lies | 1996 | Video documentary short | Himself |
| The Little Picture Show | 1993 | TV Series | Himself |
| Le cercle de minuit | 1993 | TV Series | Himself |
| The Media Show | 1989 | TV Series | Himself |
| Arena | 1982 | TV Series documentary | Himself |
Archive Footage
| Title | Year | Status | Character |
|---|---|---|---|
| Gilles Jacob: CIitizen Cannes | 2010 | TV Movie documentary | Himself |
| Sky News: Sunrise | 2009 | TV Series | Himself |
| Cinema mil | 2005 | TV Series | Himself |
| The 77th Annual Academy Awards | 2005 | TV Special | Himself |
Won Awards
| Year | Award | Ceremony | Nomination | Movie |
|---|---|---|---|---|
| 2015 | A Tribute to... Award | Zurich Film Festival | ||
| 2015 | Academy Fellowship | BAFTA Awards | BAFTA Film | |
| 2014 | Best Director | Seville European Film Festival | Mr. Turner (2014) | |
| 2014 | Asecan Award | Seville European Film Festival | Special Mention | Mr. Turner (2014) |
| 2014 | Lifetime Achievement Award | Stockholm Film Festival | "Every new Mike Leigh feature is an invitation to a glimpse into lives so fully formed and vivid ... More | |
| 2014 | Britannia Award | BAFTA/LA Britannia Awards | John Schlesinger Britannia Award for Excellence in Directing | Mr. Turner (2014) |
| 2011 | ICS Award | International Cinephile Society Awards | Best Original Screenplay | Another Year (2010) |
| 2011 | Amanda | Amanda Awards, Norway | Best Foreign Feature Film (Årets utenlandske spillefilm) | Another Year (2010) |
| 2010 | Prize of the Ecumenical Jury - Special Mention | Cannes Film Festival | Another Year (2010) | |
| 2010 | CinEuphoria | CinEuphoria Awards | Top Ten of the Year - Audience Award | Happy-Go-Lucky (2008) |
| 2009 | NSFC Award | National Society of Film Critics Awards, USA | Best Director | Happy-Go-Lucky (2008) |
| 2009 | NSFC Award | National Society of Film Critics Awards, USA | Best Screenplay | Happy-Go-Lucky (2008) |
| 2009 | Chlotrudis Award | Chlotrudis Awards | Best Director | Happy-Go-Lucky (2008) |
| 2008 | LAFCA Award | Los Angeles Film Critics Association Awards | Best Screenplay | Happy-Go-Lucky (2008) |
| 2008 | NYFCC Award | New York Film Critics Circle Awards | Best Director | Happy-Go-Lucky (2008) |
| 2008 | Most Enjoyable Film (Theatre Owners) | Norwegian International Film Festival | Happy-Go-Lucky (2008) | |
| 2008 | Golden Arena | Pula Film Festival | International Competition: Best Director | Happy-Go-Lucky (2008) |
| 2008 | Film Society Award for Lifetime Achievement in Directing | San Francisco International Film Festival | ||
| 2008 | Career Achievement Award | Chicago International Film Festival | ||
| 2005 | ALFS Award | London Critics Circle Film Awards | British Director of the Year | Vera Drake (2004) |
| 2005 | ALFS Award | London Critics Circle Film Awards | British Screenwriter of the Year | Vera Drake (2004) |
| 2005 | David Lean Award for Direction | BAFTA Awards | Vera Drake (2004) | |
| 2005 | BFI Fellowship | British Film Institute Awards | ||
| 2005 | Evening Standard British Film Award | Evening Standard British Film Awards | Best Film | Vera Drake (2004) |
| 2004 | Lifetime Achievement Award | Gotham Awards | ||
| 2004 | SDFCS Award | San Diego Film Critics Society Awards | Best Screenplay, Original | Vera Drake (2004) |
| 2004 | Golden Lion | Venice Film Festival | Vera Drake (2004) | |
| 2004 | British Independent Film Award | British Independent Film Awards | Best Director | Vera Drake (2004) |
| 2002 | Taormina Arte Award | Taormina International Film Festival | ||
| 2001 | Evening Standard British Film Award | Evening Standard British Film Awards | Best Film | Topsy-Turvy (1999) |
| 2000 | Dilys Powell Award | London Critics Circle Film Awards | ||
| 2000 | NSFC Award | National Society of Film Critics Awards, USA | Best Director | Topsy-Turvy (1999) |
| 2000 | Panorama Jury Prize | Sarajevo Film Festival | Topsy-Turvy (1999) | |
| 1999 | NYFCC Award | New York Film Critics Circle Awards | Best Director | Topsy-Turvy (1999) |
| 1999 | VVFP Award | Village Voice Film Poll | Best Director | Topsy-Turvy (1999) |
| 1999 | Special Award | Camerimage | Best Duo: Director - Cinematographer | |
| 1998 | Kinema Junpo Award | Kinema Junpo Awards | Best Foreign Language Film | Secrets & Lies (1996) |
| 1998 | Readers' Choice Award | Kinema Junpo Awards | Best Foreign Language Film | Secrets & Lies (1996) |
| 1997 | Critics Award | French Syndicate of Cinema Critics | Best Foreign Film | Secrets & Lies (1996) |
| 1997 | Goya | Goya Awards | Best European Film (Mejor Película Europea) | Secrets & Lies (1996) |
| 1997 | Guild Film Award - Silver | Guild of German Art House Cinemas | Foreign Film (Ausländischer Film) | Secrets & Lies (1996) |
| 1997 | Humanitas Prize | Humanitas Prize | Feature Film Category | Secrets & Lies (1996) |
| 1997 | Independent Spirit Award | Independent Spirit Awards | Best Foreign Film | Secrets & Lies (1996) |
| 1997 | Silver Ribbon | Italian National Syndicate of Film Journalists | Best Foreign Director (Regista del Miglior Film Straniero) | Secrets & Lies (1996) |
| 1997 | ALFS Award | London Critics Circle Film Awards | British Director of the Year | Secrets & Lies (1996) |
| 1997 | Critics Award | SESC Film Festival, Brazil | Best Foreign Film (Melhor Filme Estrangeiro) | Secrets & Lies (1996) |
| 1997 | Audience Award | SESC Film Festival, Brazil | Best Foreign Film (Melhor Filme Estrangeiro) | Secrets & Lies (1996) |
| 1997 | Silver Spike | Valladolid International Film Festival | Career Girls (1997) | |
| 1997 | Youth Jury Award - Special Mention | Valladolid International Film Festival | Competition | Career Girls (1997) |
| 1997 | Alexander Korda Award for Best British Film | BAFTA Awards | Secrets & Lies (1996) | |
| 1997 | BAFTA Film Award | BAFTA Awards | Best Screenplay - Original | Secrets & Lies (1996) |
| 1997 | Fotogramas de Plata | Fotogramas de Plata | Best Foreign Film (Mejor Película Extranjera) | Secrets & Lies (1996) |
| 1996 | LAFCA Award | Los Angeles Film Critics Association Awards | Best Director | Secrets & Lies (1996) |
| 1996 | Silver Medallion Award | Telluride Film Festival, US | ||
| 1996 | Michael Balcon Award | BAFTA Awards | ||
| 1996 | BSFC Award | Boston Society of Film Critics Awards | Best Director | Secrets & Lies (1996) |
| 1996 | Palme d'Or | Cannes Film Festival | Secrets & Lies (1996) | |
| 1996 | Prize of the Ecumenical Jury | Cannes Film Festival | Secrets & Lies (1996) | |
| 1996 | Lifetime Achievement Award | Empire Awards, UK | ||
| 1993 | FIPRESCI Prize | Krakow Film Festival | A Sense of History (1992) | |
| 1993 | Metro Media Award | Toronto International Film Festival | Naked (1993) | |
| 1993 | Best Director | Cannes Film Festival | Naked (1993) | |
| 1993 | Best International Film | Cinéfest Sudbury | Naked (1993) | |
| 1993 | Audience Award | Clermont-Ferrand International Short Film Festival | International Competition | A Sense of History (1992) |
| 1993 | Special Mention of the Jury | Clermont-Ferrand International Short Film Festival | International Competition | A Sense of History (1992) |
| 1992 | Bodil | Bodil Awards | Best European Film (Bedste europæiske film) | Life Is Sweet (1990) |
| 1991 | Golden Charybdis | Taormina International Film Festival | Life Is Sweet (1990) | |
| 1990 | Peter Sellers Award for Comedy | Evening Standard British Film Awards | High Hopes (1988) | |
| 1988 | FIPRESCI Prize | Venice Film Festival | Parallel Sections | High Hopes (1988) |
| 1984 | Reader Jury of the "Zitty" | Berlin International Film Festival | Meantime (1984) | |
| 1972 | Golden Leopard | Locarno International Film Festival | Bleak Moments (1971) |
Nominated Awards
| Year | Award | Ceremony | Nomination | Movie |
|---|---|---|---|---|
| 2015 | ALFS Award | London Critics Circle Film Awards | Director of the Year | Mr. Turner (2014) |
| 2014 | EuroCinema Hawai'i Award | Hawaii International Film Festival | Best Film | Mr. Turner (2014) |
| 2014 | SFFCC Award | San Francisco Film Critics Circle | Best Director | Mr. Turner (2014) |
| 2014 | SFFCC Award | San Francisco Film Critics Circle | Best Screenplay, Original | Mr. Turner (2014) |
| 2014 | British Independent Film Award | British Independent Film Awards | Best Director | Mr. Turner (2014) |
| 2014 | Palme d'Or | Cannes Film Festival | Mr. Turner (2014) | |
| 2012 | Gopos Award | Gopo Awards, Romania | Best European Film | Another Year (2010) |
| 2012 | Robert | Robert Festival | Best Non-American Film (Årets ikke-amerikanske film) | Another Year (2010) |
| 2012 | Bodil | Bodil Awards | Best Non-American Film (Bedste ikke-amerikanske film) | Another Year (2010) |
| 2012 | Chlotrudis Award | Chlotrudis Awards | Best Director | Another Year (2010) |
| 2012 | Chlotrudis Award | Chlotrudis Awards | Best Original Screenplay | Another Year (2010) |
| 2011 | Gold Derby Award | Gold Derby Awards | Original Screenplay | Another Year (2010) |
| 2011 | ICS Award | International Cinephile Society Awards | Best Director | Another Year (2010) |
| 2011 | Silver Ribbon | Italian National Syndicate of Film Journalists | Best European Director (Regista del Miglior Film Europeo) | Another Year (2010) |
| 2011 | ALFS Award | London Critics Circle Film Awards | British Director of the Year | Another Year (2010) |
| 2011 | Oscar | Academy Awards, USA | Best Writing, Original Screenplay | Another Year (2010) |
| 2011 | Alexander Korda Award for Best British Film | BAFTA Awards | Another Year (2010) | |
| 2011 | Movies for Grownups Award | AARP Movies for Grownups Awards | Best Screenwriter | Another Year (2010) |
| 2011 | EDA Award | Alliance of Women Film Journalists | Best Writing, Original Screenplay | Another Year (2010) |
| 2011 | Critics Choice Award | Broadcast Film Critics Association Awards | Best Screenplay, Original | Another Year (2010) |
| 2011 | David | David di Donatello Awards | Best European Film (Miglior Film dell'Unione Europea) | Another Year (2010) |
| 2011 | Evening Standard British Film Award | Evening Standard British Film Awards | Best Film | Another Year (2010) |
| 2010 | ICP Award | Indiewire Critics' Poll | Best Screenplay | Another Year (2010) |
| 2010 | WAFCA Award | Washington DC Area Film Critics Association Awards | Best Original Screenplay | Another Year (2010) |
| 2010 | British Independent Film Award | British Independent Film Awards | Best Director | Another Year (2010) |
| 2010 | Palme d'Or | Cannes Film Festival | Another Year (2010) | |
| 2009 | ICS Award | International Cinephile Society Awards | Best Original Screenplay | Happy-Go-Lucky (2008) |
| 2009 | ALFS Award | London Critics Circle Film Awards | British Film of the Year | Happy-Go-Lucky (2008) |
| 2009 | ALFS Award | London Critics Circle Film Awards | British Director of the Year | Happy-Go-Lucky (2008) |
| 2009 | Oscar | Academy Awards, USA | Best Writing, Original Screenplay | Happy-Go-Lucky (2008) |
| 2009 | Chlotrudis Award | Chlotrudis Awards | Best Original Screenplay | Happy-Go-Lucky (2008) |
| 2008 | Sydney Film Prize | Sydney Film Festival | Best Film | Happy-Go-Lucky (2008) |
| 2008 | EDA Award | Alliance of Women Film Journalists | Best Director | Happy-Go-Lucky (2008) |
| 2008 | EDA Award | Alliance of Women Film Journalists | Best Writing, Original Screenplay | Happy-Go-Lucky (2008) |
| 2008 | Golden Berlin Bear | Berlin International Film Festival | Happy-Go-Lucky (2008) | |
| 2006 | Robert | Robert Festival | Best Non-American Film (Årets ikke-amerikanske film) | Vera Drake (2004) |
| 2006 | Bodil | Bodil Awards | Best Non-American Film (Bedste ikke-amerikanske film) | Vera Drake (2004) |
| 2005 | Oscar | Academy Awards, USA | Best Achievement in Directing | Vera Drake (2004) |
| 2005 | Oscar | Academy Awards, USA | Best Writing, Original Screenplay | Vera Drake (2004) |
| 2005 | Alexander Korda Award for Best British Film | BAFTA Awards | Vera Drake (2004) | |
| 2005 | BAFTA Film Award | BAFTA Awards | Best Screenplay - Original | Vera Drake (2004) |
| 2005 | Golden Kinnaree Award | Bangkok International Film Festival | Best Film | Vera Drake (2004) |
| 2005 | Chlotrudis Award | Chlotrudis Awards | Best Original Screenplay | Vera Drake (2004) |
| 2005 | David | David di Donatello Awards | Best European Film (Miglior Film dell'Unione Europea) | Vera Drake (2004) |
| 2005 | DGGB Award | Directors Guild of Great Britain | Outstanding Directorial Achievement in British Film | Vera Drake (2004) |
| 2004 | British Independent Film Award | British Independent Film Awards | Best Screenplay | Vera Drake (2004) |
| 2003 | ALFS Award | London Critics Circle Film Awards | British Director of the Year | All or Nothing (2002) |
| 2003 | ALFS Award | London Critics Circle Film Awards | British Screenwriter of the Year | All or Nothing (2002) |
| 2003 | Golden Satellite Award | Satellite Awards | Best Screenplay, Original | All or Nothing (2002) |
| 2002 | Palme d'Or | Cannes Film Festival | All or Nothing (2002) | |
| 2002 | Gold Hugo | Chicago International Film Festival | Best Feature | All or Nothing (2002) |
| 2002 | European Film Award | European Film Awards | European Director | All or Nothing (2002) |
| 2002 | Audience Award | European Film Awards | Best European Director | All or Nothing (2002) |
| 2001 | ALFS Award | London Critics Circle Film Awards | British Director of the Year | Topsy-Turvy (1999) |
| 2001 | ALFS Award | London Critics Circle Film Awards | British Screenwriter of the Year | Topsy-Turvy (1999) |
| 2000 | Independent Spirit Award | Independent Spirit Awards | Best Foreign Film | Topsy-Turvy (1999) |
| 2000 | Oscar | Academy Awards, USA | Best Writing, Screenplay Written Directly for the Screen | Topsy-Turvy (1999) |
| 2000 | Alexander Korda Award for Best British Film | BAFTA Awards | Topsy-Turvy (1999) | |
| 2000 | BAFTA Film Award | BAFTA Awards | Best Screenplay - Original | Topsy-Turvy (1999) |
| 2000 | British Independent Film Award | British Independent Film Awards | Best Director | Topsy-Turvy (1999) |
| 2000 | CFCA Award | Chicago Film Critics Association Awards | Best Screenplay | Topsy-Turvy (1999) |
| 1999 | Golden Lion | Venice Film Festival | Topsy-Turvy (1999) | |
| 1998 | Silver Condor | Argentinean Film Critics Association Awards | Best Foreign Film (Mejor Película Extranjera) | Secrets & Lies (1996) |
| 1997 | Best Film | Mar del Plata Film Festival | International Competition | Career Girls (1997) |
| 1997 | Golden Satellite Award | Satellite Awards | Best Director | Secrets & Lies (1996) |
| 1997 | Tokyo Grand Prix | Tokyo International Film Festival | Career Girls (1997) | |
| 1997 | Golden Spike | Valladolid International Film Festival | Career Girls (1997) | |
| 1997 | WGA Award (Screen) | Writers Guild of America, USA | Best Screenplay Written Directly for the Screen | Secrets & Lies (1996) |
| 1997 | Oscar | Academy Awards, USA | Best Director | Secrets & Lies (1996) |
| 1997 | Oscar | Academy Awards, USA | Best Writing, Screenplay Written Directly for the Screen | Secrets & Lies (1996) |
| 1997 | BAFTA Film Award | BAFTA Awards | Best Film | Secrets & Lies (1996) |
| 1997 | David Lean Award for Direction | BAFTA Awards | Secrets & Lies (1996) | |
| 1997 | CFCA Award | Chicago Film Critics Association Awards | Best Director | Secrets & Lies (1996) |
| 1997 | Chlotrudis Award | Chlotrudis Awards | Best Director | Secrets & Lies (1996) |
| 1997 | César | César Awards, France | Best Foreign Film (Meilleur film étranger) | Secrets & Lies (1996) |
| 1997 | DGA Award | Directors Guild of America, USA | Outstanding Directorial Achievement in Motion Pictures | Secrets & Lies (1996) |
| 1996 | ACCA | Awards Circuit Community Awards | Best Director | Secrets & Lies (1996) |
| 1996 | ACCA | Awards Circuit Community Awards | Best Original Screenplay | Secrets & Lies (1996) |
| 1994 | Independent Spirit Award | Independent Spirit Awards | Best Foreign Film | Naked (1993) |
| 1994 | Alexander Korda Award for Best British Film | BAFTA Awards | Naked (1993) | |
| 1994 | CableACE | CableACE Awards | International Theatrical Special or Series | A Sense of History (1992) |
| 1993 | BAFTA Film Award | BAFTA Awards | Best Short Film | A Sense of History (1992) |
| 1993 | Palme d'Or | Cannes Film Festival | Naked (1993) | |
| 1993 | Gold Hugo | Chicago International Film Festival | Best Feature | Naked (1993) |
| 1992 | Independent Spirit Award | Independent Spirit Awards | Best Foreign Film | Life Is Sweet (1990) |
| 1990 | Independent Spirit Award | Independent Spirit Awards | Best Foreign Film | High Hopes (1988) |
| 1988 | BAFTA Film Award | BAFTA Awards | Best Short Film | The Short & Curlies (1988) |
| 1984 | Gold Hugo | Chicago International Film Festival | Best Feature | Meantime (1984) |
| 1972 | Gold Hugo | Chicago International Film Festival | Best Feature | Bleak Moments (1971) |
2nd Place Awards
| Year | Award | Ceremony | Nomination | Movie |
|---|---|---|---|---|
| 2008 | ICP Award | Indiewire Critics' Poll | Best Director | Happy-Go-Lucky (2008) |
| 2008 | NYFCC Award | New York Film Critics Circle Awards | Best Screenplay | Happy-Go-Lucky (2008) |
| 2008 | BSFC Award | Boston Society of Film Critics Awards | Best Screenplay | Happy-Go-Lucky (2008) |
| 2004 | Seattle Film Critics Award | Seattle Film Critics Awards | Best Screenplay, Original | Vera Drake (2004) |
| 1999 | NYFCC Award | New York Film Critics Circle Awards | Best Screenplay | Topsy-Turvy (1999) |
| 1997 | NSFC Award | National Society of Film Critics Awards, USA | Best Director | Secrets & Lies (1996) |
| 1992 | NSFC Award | National Society of Film Critics Awards, USA | Best Director | Life Is Sweet (1990) |
3rd Place Awards
| Year | Award | Ceremony | Nomination | Movie |
|---|---|---|---|---|
| 2015 | NSFC Award | National Society of Film Critics Awards, USA | Best Director | Mr. Turner (2014) |
| 2008 | ICP Award | Indiewire Critics' Poll | Best Screenplay | Happy-Go-Lucky (2008) |
| 1993 | NYFCC Award | New York Film Critics Circle Awards | Best Director | Naked (1993) |
Known for movies
Secrets & Lies (1996)
as Director
Happy-Go-Lucky (2008)
as Director
Vera Drake (2004)
as Director
Another Year (2010)
as Director