Kenneth Loach net worth is $5 Million. Also know about Kenneth Loach bio, salary, height, age weight, relationship and more …

Kenneth Loach Wiki Biography

Unlike virtually all his contemporaries, Ken Loach has never succumbed to the siren call of Hollywood, and it’s virtually impossible to imagine his particular brand of British socialist realism translating well to that context. After studying law at St. Peter’s College, Oxford, he branched out into the theater, performing with a touring repertory … IMDB Wikipedia $5 million 1936 1936-6-17 Director England Gemini June 17 Ken Loach Net Worth Kenneth Loach Kes (1969) Lesley Ashton Nuneaton Oxford producer siubuojantis miezius (2006) St Peter’s College Sweet Sixteen (2002) The Angels’ Share (2012) UK Vejas Warwickshire Writer

Kenneth Loach Quick Info

Kenneth Loach Trademarks

1. Improvisation, to create a genuine interplay between actors
2. Naturalistic, social realist directing style

Kenneth Loach Quotes

• What I’ve always tried to do is just to capture the truth of the moment. Preparation is really important for actors; they need to know who they are, where they’re from, and the experiences up to the point that we make the film. We use improvisations, research, and so on. But when there’s a surprise, that’s the hardest thing to act. Even with brilliant actors, you’ll get it once but the second time it’s more difficult. For example, in Jimmy’s Hall (2014), there’s a scene where there’s a group of women singing a song, and the Free State army bursts in. Well, obviously we didn’t tell them they were going to burst in. So that shock is real. And it’s very interesting; one woman registers it with a little involuntary jump, but she doesn’t turn round to look immediately. Well, by the second take of course people know it’s coming, so you don’t get that.
• [on his threat to retire after Jimmy’s Hall (2014)] It was at the moment of maximum pressure, just before we started to shoot. And I just said “I can’t do this any more”. I was away quite a long time on this one, and it was a large undertaking – a period film with a big cast. I was reaching the point where I just wasn’t sure that I could carry it off any more. But that was at the start of production. Of course, by the time you get to the end you feel rather less daunted by it.
• [on De Sica’s Bicycle Thieves (1948) and the influence of Italian Neorealism] Those were a group of films we absorbed when we were young. and have stayed as a benchmark. You have it in the back of your mind but nothing more than that.
• Britishness was about empire, Britishness was about slavery, oppression, hence the Butcher’s Apron. Britishness has a long legacy which we want to disown.
• Traditionally when young people were growing up, they were introduced into the adult world through work. They don’t have that now. I think it’s surprising [rioting] hasn’t happened before.
• If films were to have a big influence, it would probably be very negative because they would probably endorse great wealth. They would endorse America as the home of peace and democracy and the defender of freedom.
• [on his film Jimmy’s Hall (2014)] We not only shot on film, we cut on film. It’s very good because it’s not as quick as digital cutting, so you consider what you do more carefully. It’s a much more human way of working. The film industry is like any other – it’s about speed and cutting the people doing the job. We’re going to carry on, cutting on film.
• In ’45 we had probably the best reforming government we’ve had, in the Attlee (Clement Attlee) government. It was still a social democrat government, it wasn’t a socialist government, but the consciousness of people was that we were a collective and we were stronger together than as individuals. And obviously out of that came the health service and public ownership of utilities and transport and a sense of collective endeavour. People had made that sacrifice to win the war, so there was a general sense that things would get better from there. The consciousness was: we’ve achieved things and we have things that will never be taken away from us, like the health service, like public ownership of the mines, of the transport, of the gas, electric – it was ours. And now, that’s gone, we’ve just given it away… Allowed politicians to give it to their friends. And the cult of the individual, from ’79 onwards, which New Labour has followed and which dominated the party, has just killed that. So the consciousness now is not: “How can we work together?” It’s: “How can I get on, at the expense of you?” So that’s pretty horrible.
• I think our TV news editors are still sometimes using the language of government propaganda. We still hear the term ‘war on terror’ for an illegal war. We’re still hearing the words reform and modernization when what we really mean is privatization and public greed.
• A movie isn’t a political movement, a party or even an article. It’s just a film. At best it can add its voice to public outrage.
• Why do they say I hate my country? And what does that even mean? Am I supposed to hate my town, am I supposed to hate all English people, or my government? And if I do hate my government, does that mean I hate my country? It’s a democratic duty to criticize the government.
• Stalin has caused Socialism greater damage than anyone else.
• I turned down the OBE because it’s not a club you want to join when you look at the villains who’ve got it. It’s all the things I think are despicable: patronage, deferring to the monarchy and the name of the British Empire, which is a monument of exploitation and conquest.

Kenneth Loach Important Facts

• Member of the ‘Academy of Motion Picture Arts and Sciences’ (AMPAS) since 2016.
• Twice winner of the Palme d’Or at the Cannes Film Festival for The Wind That Shakes the Barley (2006) and I, Daniel Blake (2016). The other directors to have won the Palme twice are: Bille August, Emir Kusturica, Shôhei Imamura, Michael Haneke, Jean-Pierre Dardenne & Luc Dardenne, Alf Sjöberg and Francis Ford Coppola.
• As of 2016, has a record of 13 films in the official competition of the Cannes Film Festival.
• Paid part of the $150,000 needed for Julian Assange’s bail.
• Interviewed in “World Directors in Dialogue” by Bert Cardullo (Scarecrow Press, 2011).
• In the series “The Film That Changed My Life” (Observer newspaper UK/May 2010), Loach cited Vittorio De Sica’s Bicycle Thieves (1948) (Bicycle Thieves) as the movie that most inspired him to pursue a career in filmmaking.
• Condemned the detention of Jafar Panahi, arrested on 1 March 2010 along with Mohammad Rasoulof and Mehdi Pourmoussa. “It is a very shocking development and further demonstration of the intolerance of the regime. I hope all people working in films will call for his release, and speak out in solidarity for him and all Iranian filmmakers working under similar conditions. It is completely unacceptable.” Pourmoussa and Rasoulof were released from the Evin prison on 17 March 2010, but Panahi remains in ward 209.
• At an anniversary screening of The Wednesday Play: Cathy Come Home (1966) in 2002, Loach spoke of how the play had become an important part in making the debate on homelessness public. At the same event his producer, Tony Garnett, pointed out that the number of homeless in Britain had more than doubled “…but Ken [Loach] and I now live in much more expensive houses.”.
• A loyal supporter of Bath City FC.
• He was made a Fellow of the British Film Institute in recognition of his outstanding contribution to film and television culture.
• Has supported Olivier Besancenot’s 2007 French presidential campaign.
• He declined the O.B.E. (Officer of the Order of the British Empire) for his services to film in 1977.
• Was a law student at Oxford.
• Biography in: John Wakeman, editor. “World Film Directors, Volume Two, 1945-1985”. Pages 593-597. New York: The H.W. Wilson Company, 1988.
• Five children: Stephen (born 1963), Nicholas (born 1965, died 1971 in a road accident), Hannah (born 1967), James (director Jim Loach) (born 1969), and Emma (born 1972).

Kenneth Loach Filmography

Kenneth Loach Awards