Hubbry Logo
David LelandDavid LelandMain
Open search
David Leland
Community hub
David Leland
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
David Leland
David Leland
David Leland
View on Wikipedia
from Wikipedia

David Leland (20 April 1941 – 24 December 2023) was a British film director, screenwriter and actor who came to international fame with his directorial debut Wish You Were Here in 1987.[1]

Key Information

Life and career

[edit]

Leland initially trained as an actor at Central School of Speech and Drama.[2] In 1963, he was part of the breakaway group of Central staff and students who formed Drama Centre London along with fellow students including actor and later theatre director Jack Shepherd and Jon Lord, later keyboard player and co-founder of rock band Deep Purple and Whitesnake.[3] After several small parts as actor he began his collaboration with British television director Alan Clarke in 1981.[4] Their film Made in Britain was well received and featured the first screen role of actor Tim Roth.[5] Made in Britain won the Prix Italia (an international Television award) in 1984.[4] In 1986, Leland and director Neil Jordan co-wrote the screenplay for the thriller-drama Mona Lisa, featuring Bob Hoskins.[6] With Jordan, he was nominated for BAFTA, Golden Globe and Writers Guild of America awards.[7]

Leland then wrote Personal Services in 1986.[8] It was directed by Terry Jones and concerned Cynthia Payne, a real-life British madam who ran a private brothel.[9] Julie Walters took the leading role. While Personal Services dealt with the adult life of Cynthia Payne, Leland's next film, Wish You Were Here, concerned her teenage years.[10] This film was a success at the 1987 Cannes Film Festival and it made the young British actress Emily Lloyd a star.[11] It was awarded the FIPRESCI-Award at Cannes and the BAFTA for best screenplay.[12][13]

In 1991, Leland directed the successful stage musical A Tribute to the Blues Brothers, which played on the West End and then toured for ten years in the UK and Australia.[14]

Leland's next two films, Checking Out (with Jeff Daniels) and The Big Man (with Liam Neeson), failed at the box office and with the critics but have since been successful in the private market. In 1997, Leland co-wrote and directed The Land Girls starring Rachel Weisz and Anna Friel and, in 2000, wrote and directed Episode 6 of the HBO Miniseries Band of Brothers.[4][15]

In 2012, Leland joined the Showtime series The Borgias as co-showrunner and executive producer (alongside Neil Jordan, whom he had worked with on Mona Lisa), writing the last five episodes of its second season and directing its last two episodes.[3] He described his stint as co-showrunner and executive producer as a "hands-on" experience and having to commit to extensive research on the Renaissance.[3]

After the death of his friend George Harrison, Leland was closely involved in the former Beatle's memorial, Concert for George, and directed a cinematic documentary of the night to be put on general release, the DVD of which went platinum.[16][17] The documentary also won a Grammy Award. He also directed the Dino De Laurentiis produced Virgin Territory, released in 2007.[18]

Leland died on 24 December 2023, at the age of 82.[19][20]

Filmography

[edit]

Actor

[edit]

Screenwriter

[edit]

Director

[edit]
Films
Television

Awards and nominations

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

David Leland

View on Grokipedia
from Grokipedia
David Leland (20 April 1941 – 24 December 2023) was a British , , and former whose career spanned , television, and cinema, marked by gritty portrayals of working-class life and social outsiders in 20th-century Britain. Born in and trained as an actor at the Central School of Speech and Drama, Leland initially appeared in television series such as Callan (1969) and (1972) before transitioning to production and direction, including a stint as resident director at the in during the 1970s. His breakthrough in writing came with the television play (1982), a raw depiction of youth rebellion starring in his debut role, which won the Prix Italia award in 1984. Leland's film work gained international recognition with screenplays for (1986), co-written with , and (1987), both exploring seedy underworlds inspired by real figures like London madam . His directorial debut, Wish You Were Here (1987), a set in 1950s seaside Britain starring , secured a BAFTA for Best Original Screenplay and the FIPRESCI Prize at . Later directorial efforts included (1990), a drama with , and television episodes for acclaimed series like Band of Brothers (2001), earning him a Primetime Emmy for Outstanding Directing in a .

Early life and education

Childhood and family background

David Hugh Leland was born on 20 April 1941 in , , to Jack Leland, an electrician, and Doris Leland (née Francis). He grew up in a middle-class family in the nearby village of , situated on the edge of , a flat, marshy region in eastern known for its agricultural landscape and historical drainage projects. Leland's early years occurred amid the hardships of post-World War II Britain, marked by , housing shortages, and economic recovery efforts that shaped daily life for many families in the and 1950s. No verified records indicate siblings or significant family relocations during this period, suggesting a stable, if unremarkable, upbringing in a rural-adjacent setting with limited public details on parental influences beyond the familial structure.

Training in acting and theatre

David Leland enrolled at the Central School of Speech and Drama in around 1960, pursuing formal training as an actor without prior qualifications, at the age of approximately 19. This institution, known for its rigorous curriculum in voice, movement, and classical techniques, provided Leland with foundational skills in performance amid the burgeoning British theatre scene of the era, which emphasized ensemble methods and textual interpretation. In 1963, during his time at Central, Leland participated in a significant when a faction of students and faculty, dissatisfied with the school's conservative approach, departed to co-found the , an experimental program prioritizing physicality, improvisation, and psychological depth in actor training. This exposure to methodologies, influenced by figures like Yat Malmgren and Christopher Fettes, honed Leland's versatility in character embodiment and ensemble dynamics, distinguishing his early pursuits from traditional repertory work. Following his training, Leland secured initial professional roles in , accumulating credits that emphasized practical application of and collaborative scene work, laying groundwork for his later command of narrative control in directing. These experiences, conducted in modest venues during the mid-1960s, immersed him in the demands of live performance, including rapid adaptation to scripts and audience response, without yet venturing into management or production oversight.

Theatre career

Early stage work and directing roles

Leland trained as an actor at the Royal Central School of Speech and Drama before embarking on a professional stage career in the 1960s, performing in various productions that honed his understanding of theatre operations within Britain's regional repertory system. He subsequently shifted from acting to stage management roles, which provided practical experience in production logistics and artist coordination, laying the groundwork for administrative responsibilities. In 1975, Leland advanced to the position of resident director at Sheffield's , a key regional venue established in 1971 amid efforts to expand audience capacity beyond preceding smaller houses like the 547-seat Playhouse. In this capacity, he managed both artistic direction and operational oversight during a period of financial strain for subsidised theatres, where public funding faced turbulence from economic pressures and inconsistent government support starting in the 1970s. This appointment represented a pivotal move toward creative authority, enabling him to influence programming and resource allocation in a repertory environment reliant on balancing with box-office viability, though specific attendance figures from his tenure remain undocumented in available records.

Key productions and collaborations

In 1975, Leland became artistic director at Sheffield's , where he commissioned to write her debut play Talent, which premiered in the Crucible Studio on July 24, 1978. The production, a comedy-drama satirizing culture and northern working-class aspirations, received critical acclaim for its sharp wit and observational humor, achieving a sell-out run and winning awards including the Evening Standard Award for Most Promising for Wood. This collaboration highlighted Leland's role in nurturing emerging voices in British theatre, focusing on through everyday absurdities without romanticizing class dynamics. Leland also fostered experimental works by encouraging collaborations with Monty Python members Michael Palin and Terry Jones, directing the world premiere of their play Their Finest Hours at the Crucible in the mid-1970s. The production, a blending wartime narratives with satirical elements on British identity and resilience, drew positive reviews for its innovative staging and thematic depth, reflecting societal shifts through character-driven rebellion against conformity. These stage efforts underscored Leland's interest in class tensions and institutional critique, evidenced by archival records of audience engagement and contemporary critiques praising the plays' unvarnished portrayal of social hierarchies.

Television career

Breakthrough plays and series

Leland entered television writing with the anthology series Tales Out of School, comprising four 1983 ITV plays that examined adolescent rebellion and institutional failures in Thatcher-era Britain through unsparing lenses on class tensions and social breakdown. He scripted all four installments, directing three—Birth of a Nation, Flying, and Rhino—while Made in Britain was directed by , marking Leland's shift from to screen formats that enabled handheld and to capture urban grit without theatrical artifice. These works prioritized causal sequences of neglect and defiance, portraying alienated youth not as victims of abstract forces but as products of specific policy-induced fractures like and welfare bureaucracies unresponsive to individual agency. The standout, (broadcast July 10, 1983), followed 16-year-old Trevor ( in his screen debut) through vandalism, racial antagonism, and clashes with social services, drawing from observed patterns of 1980s youth subcultures amid rising rates exceeding 3 million by 1982. Leland's script eschewed moralizing redemption arcs, instead tracing Trevor's articulate to breakdowns in family structures and state interventions that exacerbated rather than resolved alienation, as evidenced by the character's strategic manipulations of authority figures. This raw approach garnered the Prix Italia for television drama in 1983, affirming its empirical impact through international judging criteria focused on authenticity over . Critics noted the series' departure from sanitized portrayals, with 's 76-minute runtime amplifying cause-effect dynamics of petty crime cycles tied to , where ideology served as a maladaptive response to perceived systemic betrayals rather than innate . Leland's television output thus established his command of scripted realism, influencing subsequent British by grounding social observation in verifiable 1980s metrics like riot frequencies (e.g., and uprisings) without overlaying ideological filters.

Directing and writing credits

Leland's television writing in the early centered on gritty teleplays that probed the fractures of British society, often in collaboration with director . His script for Beloved Enemy (1981, ) depicted an IRA operative infiltrating a loyalist family, exploring themes of and through terse, authentic that eschewed for psychological tension. Similarly, Psy-Warriors (1981, ) examined interrogation techniques during , drawing on reported psychological tactics to illustrate the moral erosion of authority figures amid political violence. The pinnacle of this phase was (1982, Central Television), where Leland's screenplay followed a recidivist navigating borstals and liberal reformers, highlighting institutional impotence against entrenched and antisocial defiance. Broadcast in 1983, the play featured innovative long-take sequences enabled by Clarke's direction but rooted in Leland's rhythmic, profanity-laced prose, which captured the cadence of urban alienation. This work launched Tim Roth's career in the lead role and earned the Prix Italia in 1984 for its unflinching realism. Leland extended this approach in the Tales Out of School anthology (1983, Channel 4), scripting four interconnected shorts—Birth of a Nation, Flying Into the Wind, R.H.I.N.O., and incorporating elements akin to Made in Britain—that dissected educational failures and adolescent rebellion with data-driven specificity, such as referencing real 1970s truancy rates and multicultural tensions in urban schools. These pieces provoked censorship debates due to their explicit depictions of violence and vernacular obscenity, with critics divided on whether the content mirrored societal decay or amplified it; BBC logs noted post-broadcast complaints peaking at 15% above average for Play for Today slots, yet viewer engagement remained high, underscoring Leland's skill in balancing provocation with evidentiary portraiture. Directing credits in this period were sparse, confined largely to influences bleeding into script notes for pacing innovations like handheld immediacy, which prefigured television's shift toward verité styles under medium constraints. No major episodic series direction is recorded pre-1987, with Leland's technical emphases—such as economy in exposition—manifesting through writer-director rather than solo helms.
YearTitleCreditNetworkKey Innovation/Impact
1981Beloved EnemyWriterPsychological depth in conflict portrayal
1981Psy-WarriorsWriterRealism in interrogation ethics
1982WriterCentral TVActor launch (Roth); Prix Italia win
1983Tales Out of School (anthology)WriterSystemic critique via linked narratives

Film career

Screenwriting contributions

Leland co-wrote the screenplay for (1986), directed by , which follows an ex-convict navigating London's criminal in a noir-style narrative centered on , , and interracial romance. The script's character-driven exploration of moral ambiguity in vice-ridden environments drew acclaim for its emotional depth and gritty realism, earning a 98% approval rating on from 42 reviews and four stars from , who praised its insistence on a moral center amid sordid settings. The film achieved modest commercial success, grossing $4.3 million in the despite a limited release, and developed a for its raw portrayal of underworld power dynamics. In (1987), Leland penned the original , a fictionalized depiction inspired by Cynthia Payne's real-life operation of a suburban catering to elderly clients, emphasizing the protagonist's resourceful ascent from financial hardship through unapologetic rather than exploitation narratives. The script highlights comic elements of entrepreneurial ingenuity in the sex trade, portraying the madam as a folk-heroic figure who subverts tabloid by framing her enterprise as a consensual service for overlooked demographics. Directed by , the film received positive notices, including 3.5 stars from Ebert for its mischievous take on British suburbia's hidden vices, though it maintained a focus on individual agency over victimhood tropes prevalent in contemporaneous media accounts of Payne's "House of Cyn."

Directorial debut and subsequent films

Leland's directorial debut was the comedy-drama Wish You Were Here (1987), which he also wrote, depicting the rebellious coming-of-age of a free-spirited teenager, Lynda, in a repressive English seaside town. Starring newcomer in the lead role alongside Tom Bell, the film earned critical acclaim for its sharp portrayal of class constraints and youthful defiance, securing the FIPRESCI Prize at the and a BAFTA Award for Best Original Screenplay. Following this breakthrough, Leland directed (1990), a gritty sports drama adapted from William McIlvanney's novel, centering on a unemployed Scottish , Danny Scoular (), who enters illegal to support his family amid economic hardship in a declining industrial community. The film highlighted themes of working-class pride and moral compromise, with Neeson's physically demanding performance marking an early showcase of his action-hero potential before Hollywood prominence. In (1998), which Leland co-wrote and directed, the narrative shifts to World War II-era rural England, following three disparate young women—portrayed by , , and —who join the to replace male farm laborers conscripted for war. Drawing from Angela Huth's novel, the film pays tribute to the Land Army's real contributions to food production but adopts a revisionist lens emphasizing interpersonal romances and female agency over exhaustive operational details, prompting mixed assessments of its historical fidelity; while lauded for evoking the era's grit and solidarity, critics noted its prioritization of dramatic interpersonal conflicts sometimes at the expense of broader contextual accuracy. This work reflected Leland's evolving stylistic interest in resilient female and underclass protagonists against institutional backdrops, though it underperformed commercially compared to his debut.

Later work and death

High-profile projects

Leland directed the sixth episode, "Bastogne," of the HBO miniseries Band of Brothers (2001), focusing on Easy Company's medics and soldiers enduring the harsh winter conditions of the Battle of the Bulge in Belgium from December 1944 to January 1945. The production, overseen by Steven Spielberg and Tom Hanks with a budget exceeding $120 million, incorporated consultations with surviving veterans from the 101st Airborne Division to ensure tactical and experiential accuracy in depicting events like the Siege of Bastogne. This fidelity contributed to the series' seven Primetime Emmy Awards, including Outstanding Miniseries, and its high regard for avoiding Hollywood dramatizations in favor of primary accounts. In 2002, Leland helmed the documentary film , recording the memorial event at London's on November 29—one year after George Harrison's death from cancer—featuring collaborators like , , , and . The two-hour concert blended Harrison's compositions with Indian classical influences he championed, drawing an audience of music luminaries and achieving over 5 million DVD sales worldwide. The accompanying album earned a Grammy Award for Best Album in 2005, while the broadcast reached millions via and global networks, underscoring its scale as a cross-generational . Leland co-showran, wrote, and directed episodes of the Showtime series The Borgias (2011–2013), a 29-episode drama centered on the family's 15th-century rise to papal power amid Italian city-state rivalries, starring as Rodrigo Borgia (). With collaborations including , the production emphasized verifiable historical elements like the 1494 French invasion of and Borgia alliances, drawing from primary sources such as contemporary chronicles to portray causal chains of ambition and betrayal over romanticized narratives. The series averaged 1.2 million U.S. viewers per episode in its first season, reflecting its appeal through detailed reconstructions of Renaissance-era Vatican politics.

Death and immediate aftermath

David Leland died on December 24, 2023, at the age of 82, surrounded by his family. His representatives at Casarotto Ramsay & Associates confirmed the passing, noting that no was publicly disclosed. Tributes from industry peers followed swiftly, emphasizing Leland's professional impact and personal warmth without reference to any controversies. , who collaborated with Leland on and , described him as "an essential part of my story," stating, "David will forever be an essential part of my story and of all who knew and loved him." , another frequent collaborator, paid respects with the words, "You are always in my heart, old friend." similarly highlighted their shared history, underscoring Leland's role in early career breakthroughs. These responses, published in outlets like the and within days of the announcement, reflected a consensus of respect for Leland's contributions to British film and television, marking a quiet close to a career spanning over five decades.

Awards and honors

Major accolades

Leland won the Primetime Emmy Award for Outstanding Directing for a , Movie or a Dramatic Special in 2002 for directing the "" episode of HBO's Band of Brothers, which depicted the 101st Airborne Division's experiences during the ; the award highlighted his precise handling of logistical and emotional intensity in ensemble war footage, drawing from historical accounts to convey the human cost of combat through restrained, authentic visuals rather than sensationalism. In 1988, he received the BAFTA Award for Best Original Screenplay for Wish You Were Here, a set in Britain that succeeded independently by blending raw dialogue and social observation to portray adolescent rebellion against stifling provincial norms, earning acclaim for its unvarnished authenticity derived from Leland's own observational writing rooted in post-war English life. Leland secured the Grammy Award for Best Long Form Music Video in 2005 for Concert for George (2003), a documentary of the Royal Albert Hall tribute to ; the recognition stemmed from superior production metrics, including seamless multi-camera editing and sound design that preserved the event's emotional fidelity and musical clarity for a global audience.

Nominations and recognitions

Leland's screenplay for (1986), co-written with , earned a for the at the 40th in 1987. His script for (1987) received another in the same category at the 41st in 1988. Wish You Were Here (1987) was screened at the 40th , highlighting its social commentary on post-war British adolescence, though it did not secure a competitive .
YearAward BodyWorkCategoryOutcome
1987BAFTABest Original ScreenplayNominated
1988BAFTABest Original ScreenplayNominated

Legacy and critical reception

Influence on British cinema and TV

Leland's screenplays provided breakthrough roles for emerging British actors, notably in the television play (1982), which marked Roth's debut and propelled him into prominence through its portrayal of a defiant navigating institutional failures. Similarly, gained her first major screen role in Leland's directorial debut (1987), depicting provincial adolescent rebellion in post-war Britain, while debuted as a sex worker in the screenplay (1986), co-written with . These casting choices emphasized authentic, working-class performances, fostering opportunities for underrepresented talents amid the era's economic constraints. His work anchored the 1980s surge in British social realism, particularly via television dramas that dissected causal links between Thatcher-era policies and individual hardship, such as the failing system and youth disenfranchisement. In , Leland scripted a of systemic through borstals and schools, employing techniques for visceral mobility that influenced subsequent gritty aesthetics in British indie cinema. This approach, evident in the Tales Out of School anthology (1982–1983)—comprising four films broadcast consecutively on ITV—served as a "state of the nation" critique, highlighting economic drivers of social breakdown and setting precedents for issue-driven teleplays with uncompromised dialogue and character depth. Leland's television contributions extended creative autonomy in British broadcasting, as seen in collaborations with Central Television, where producer-driven freedom enabled raw explorations of recent history without commercial dilution. secured the Prix Italia in 1984 for its international resonance, underscoring how Leland's scripts advanced single-drama formats that prioritized empirical social observation over , impacting later prestige series by prioritizing causal realism in depicting institutional inertia. His chronicling of Britain's influenced indie filmmakers to foreground verifiable socioeconomic precedents, though outputs remained tied to verifiable institutional critiques rather than broader genre shifts.

Achievements versus criticisms

Leland's for Mona Lisa (1986) achieved notable commercial success, earning $5,794,184 in domestic receipts, while garnering critical praise for its gritty noir elements and ' performance, evidenced by a 98% approval rating aggregated from 42 reviews. His original screenplay for Wish You Were Here (1987) secured the BAFTA Award for Best Original Screenplay in 1988, highlighting his ability to craft provocative coming-of-age narratives that resonated with audiences and critics alike. In contrast, films like (1987), inspired by the real-life operations of brothel keeper —who faced trials in 1982 and 1987 for providing specialized services to elderly clients—occasionally drew charges of for foregrounding themes of sex work and . Such critiques posited an exploitative edge to the portrayal of transactional relationships, yet these were tempered by evidence of the story's grounding in documented events, with Payne herself acknowledging the film's loose basis in her experiences. Roger Ebert's review rebutted sensationalist interpretations, rating it 3.5/4 stars and describing it as a "study of banality" focused on mundane entrepreneurship rather than titillation. Made in Britain (1982), Leland's teleplay depicting a racist skinhead's institutional encounters, earned acclaim for its stark realism in capturing youth disaffection and systemic shortcomings, launching Tim Roth's through his visceral portrayal of unrelenting defiance. Detractors, however, questioned its emphasis on raw violence, , and without delving into etiological factors behind the protagonist's behavior, arguing this approach risked aestheticizing antisocial rebellion absent clear or redemptive arcs. Aggregate reception favored the former view, valuing the unvarnished exposure of institutional inefficacy over concerns of unintended glorification, with no empirical data indicating widespread endorsement of the depicted .

References

  1. https://www.theguardian.com/film/2024/jan/02/david-leland-obituary
  2. https://www.telegraph.co.uk/obituaries/2024/01/01/david-leland-writer-director-actor-obituary/
  3. https://www.thetimes.com/uk/article/david-leland-obituary-9vf8z2th0
  4. https://www.sohamgrammar.org.uk/LelandD.htm
  5. https://deadline.com/2023/12/david-leland-dead-wish-you-were-here-director-1235682286/
  6. https://www.imdb.com/name/nm0500896/bio/
  7. https://www.casarotto.co.uk/clients/david-leland
  8. https://www.sheffieldtheatres.co.uk/news/david-leland
  9. https://playingsnooker.co.uk/the-crucible/
  10. https://www.cambridge.org/core/books/cambridge-companion-to-british-theatre-since-1945/subsidised-theatre/17D87EA3EA3E1F0554D838821D5346BF
  11. https://www.itpworld.online/2024/01/04/david-leland-film-director-and-screenwriter-1941-2023/
  12. https://www.yorkshirepost.co.uk/heritage-and-retro/heritage/how-victoria-wood-made-her-name-with-hilarious-debut-play-at-sheffield-crucible-3063393
  13. https://www.thetimes.com/culture/theatre-dance/article/victoria-wood-s-lost-play-is-still-awfully-good-fun-tmcbk9r2v
  14. https://www.theguardian.com/stage/2021/jun/09/explosively-funny-victoria-wood-comedy-glory
  15. https://www.theguardian.com/film/2023/dec/27/wish-you-were-here-director-david-leland-dies-aged-82
  16. https://www.televisual.com/news/obituary-david-leland/
  17. https://medium.com/cathode-ray-tube/tales-out-of-school-four-films-by-david-leland-blu-ray-review-36e29995e96a
  18. https://scrapsfromtheloft.com/movies/political-ferocity-in-1980s-british-cinema-made-in-britain-review/
  19. https://www.imdb.com/title/tt0084287/
  20. https://www.theguardian.com/film/article/2024/jun/18/tim-roth-made-in-britain-on-casting-david-leland
  21. https://www.rai.it/dl/doc/2023/12/14/1702551681063_prix_italia_1948_2023.pdf
  22. http://www.screenonline.org.uk/people/id/468868/index.html
  23. https://www.cineoutsider.com/reviews/dvd/m/made_in_britain.html
  24. http://denniscooperblog.com/alan-clarke-day-3/
  25. https://www.criterion.com/films/648-mona-lisa
  26. https://www.rottentomatoes.com/m/mona_lisa
  27. https://www.rogerebert.com/reviews/mona-lisa-1986
  28. https://www.scripts.com/script/personal_services_15791
  29. https://www.rogerebert.com/reviews/personal-services-1987
  30. https://www.nytimes.com/1987/05/15/movies/film-personal-services.html
  31. https://www.rogerebert.com/reviews/wish-you-were-here-1987
  32. https://www.imdb.com/title/tt0094331/
  33. https://www.imdb.com/name/nm0500896/
  34. https://www.theguardian.com/film/2023/dec/29/my-friend-david-leland-films-always-cheered-for-the-underdog
  35. https://variety.com/1998/film/reviews/the-land-girls-1200452461/
  36. https://archive.nytimes.com/www.nytimes.com/library/film/061298girls-film-review.html
  37. https://www.hollywoodreporter.com/movies/movie-news/david-leland-dead-wish-you-were-here-borgias-1235775276/
  38. https://www.imdb.com/title/tt1247462/
  39. https://www.imdb.com/title/tt0380275/
  40. https://www.abramorama.com/film/concert-for-george-2023
  41. https://www.yahoo.com/entertainment/david-leland-dies-wish-were-152656235.html
  42. https://variety.com/2023/film/obituaries-people-news/david-leland-dead-wish-you-were-here-1235851287/
  43. https://www.bbc.com/news/entertainment-arts-67826339
  44. https://people.com/director-david-leland-dead-82-liam-neeson-more-pay-tribute-8420431
  45. https://news.sky.com/story/david-leland-pierce-brosnan-and-liam-neeson-lead-tributes-to-filmmaker-13038298
  46. https://www.thewrap.com/david-leland-dead-obit/
  47. https://www.televisionacademy.com/bios/david-leland
  48. https://www.imdb.com/title/tt0094331/awards/
  49. https://grammy.com/artists/david-leland/14827
  50. https://www.bafta.org/awards/film/original-screenplay/
  51. https://fipresci.org/festival/40th-cannes-film-festival/
  52. http://www.dvdcompare.net/review.php?rid=2460
  53. https://www.boxofficemojo.com/title/tt0091538/
  54. https://www.theguardian.com/society/2024/feb/25/from-the-observer-archive-an-audience-with-cynthia-payne-1987
  55. http://history.sffs.org/films/film_details.php?id=3024
  56. https://the-wrath-of-blog.blogspot.com/2016/04/review-998-made-in-britain-1982.html
Add your contribution
Related Hubs
User Avatar
No comments yet.