Legendary Director Mike Newell Inspires MetFilm Students at Exclusive Masterclass

MetFilm School students were treated to an unforgettable masterclass this month with acclaimed filmmaker Mike Newell, whose five-decade career spans iconic works from Four Weddings and a Funeral to Harry Potter and the Goblet of Fire. In an open and engaging conversation, Newell reflected on his journey from amateur theatre to directing some of cinema’s most memorable stories, offering heartfelt advice for emerging filmmakers.

Newell began by tracing his roots back to a childhood surrounded by “crazy amateur” parents devoted to theatre. “From a tiny child, I was carried onstage in all sorts of productions,” he recalled. “The amateurs – never turn your nose up at them. They’re great.”

That early exposure led him into directing television dramas at Granada Television in the 1960s, where he described an environment “full of belief in the people they served – and the people they hired.” Granada, then in its early years, became a formative training ground for Newell. “I came in knowing nothing but theatre,” he admitted. “But Granada gave me an education you couldn’t buy today.”

After years honing his craft in television, Newell made his feature breakthrough with The Man in the Iron Mask (1977), a project he joined unexpectedly after another director was fired. “They gave me David Lean’s crew,” he laughed. “I was 32 years old and had never been kissed! There was too much I didn’t know to be scared.” From there, Newell’s career expanded across genres – from gritty realism to romantic comedy, gangster drama, and fantasy epic. His filmography includes Donnie Brasco, Mona Lisa Smile, Great Expectations, and his most recent project, The Bitter End, which was filmed partly at MetFilm School’s Ealing Studios campus with the assistance of our students.

When asked about working with actors, Newell spoke candidly about collaboration and trust. “I don’t know how they do it,” he said. “They’re extraordinarily talented, but the key is belief – whether you can see in their eyes that they believe what they’re saying. That’s what draws an audience in.” He advised young directors to start with improvisation: “I say, ‘I have no idea what this scene is about, let’s find it together.’ You discover truth by letting them explore.”

He also urged respect for the script. “When actors start saying, ‘Can I do it with a look?’ I remind them: someone wrote those lines for a reason. Find the meaning in the words before you throw them away.”

When discussing the editing stage, Newell called the relationship between director and editor “a single fused object.” He credited editors like John Gregory for shaping his films in post-production: “They’ve cut more film than you’ve shot. If they tell you something doesn’t work, go home, have a drink, and think – because often, they’re right.”

Newell’s anecdotes offered both humour and hard-earned wisdom, from firing a drunk actor on his first film set to navigating today’s “notes culture” in an era dominated by streaming platforms. Reflecting on how power in filmmaking has shifted from directors to producers and writers, he encouraged students to stay collaborative but confident. “It’s not just one person anymore,” he said. “The success of a film is the success of the group.”

Closing the session, Newell returned to what drives him after all these years. “The most important thing for a director is knowing what you believe in,” he said. “If you know that, and you see it in your cast and crew, hold onto it – and don’t let anyone talk you out of it.”

The masterclass was part of MetFilm School’s ongoing series connecting students with industry leaders, offering firsthand insights into the craft, challenges, and enduring passion behind storytelling on screen. 

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