Paper takes itself less seriously than canvas. It allows the viewer in more. Initially I started working with ink and paper because it was faster than oil.
With his new film, Leigh revisits the same temperamental dichotomy explored in Happy-Go-Lucky, deploying a similar strategy to achieve his particular brand of realism: pitting the well-adjusted against the miserable in a series of increasingly uncomfortable conversations. Like its predecessor, Another Year is a film that is driven by talk, and banal talk at that, but, as we have come to expect from Leigh’s work, it manages to rise far above what, in a lesser filmmaker’s hands, would be the severe limitations of rapid-fire platitudes (perhaps a byproduct of the improvisational method) and everyday circumstances.