Ken Loach: 'the ruling class are cracking the whip'

[marmar]

Ken Loach: 'the ruling class are cracking the whip'
The leftwing film director talks about the riots, his early work on television and the documentary he made for Save the Children 40 years that is about to be screened for the first time

Kira Cochrane
guardian.co.uk, Sunday 28 August 2011


About halfway through our interview, I call Ken Loach a sadist. The mild-mannered, faintly mole-like film director blinks hard, chuckles, and carries on. We are discussing a key aspect of his film-making: the element of surprise. Loach has spent his career depicting ordinary people, telling working-class stories as truthfully as possible, and he works distinctively – filming each scene in order, often using non-professional actors, encouraging improvisation.

They don't tend to see a full script in advance, and move through his films as confused as the audience about what lurks around the next corner. I ask Loach which surprise was most memorable, and he laughs incongruously through a few examples. He talks about an incident when an actor walked through a door, on-set, to discover his co-star in a bath, her wrists apparently slashed. "Surprise is the hardest thing to act," says Loach, "and his response was just very true." On another occasion an actor only found out during the filming of a battle scene that her character was to be shot and killed. She was not especially pleased.

Most surprisingly of all, Crissy Rock, the lead in Ladybird, Ladybird (1994) – a brilliant, devastating gut-wrencher of a film – was convinced she was starring in a happy, upbeat, redemptive story. "She thought it would turn out to be about a couple successfully raising children together," says Loach, smiling. It is actually about a woman's kids being taken, one by one, by the social services. In the scene where they come for the final child, Rock "couldn't believe it," says Loach. "She was just wrecked."

It's at this point I laugh and call Loach a sadist. But it's probably more accurate to call him uncompromising, with both his actors and his leftwing politics. Loach turned 75 in June, and next month the BFI is showing a retrospective that will take viewers from his early television work – including the harsh, effective, 1966 exposé of homelessness Cathy Come Home – to his most recent film, Route Irish, about the experiences of private security contractors in Iraq. I ask which of his films he's most proud of, and he can't choose. "There's quite a few I cocked up, but that's another matter." .............(more)

The complete piece is at: http://www.guardian.co.uk/film/2011/aug/28/ken-loach-class-riots-interview