When, as the selector of new British films, I premièred Mike Leigh's High Hopes at the BFI's London film festival in 1988, practically the whole cast paraded on stage after the screening to answer questions, with Leigh at one end of the line and Edna Doré at the other.
When it came to Edna's turn to field a question from the audience, instead of commenting on the film or reflecting on her own brilliant performance, she delivered an unrehearsed eulogy to Leigh and his singular method of rehearsing and directing actors which was genuine, heartfelt, accurate and typically generous; she described the experience as one of the most rewarding in her long acting career.
Continue reading...