I hoped that grief was similar to the other emotions. That it would end, the way happiness did. Or laughter.
I had made a decision, although I hardly knew it yet. It's often that way with decisions, they're made in some hidden part of us and the awareness secretes itself slowly into that conscious part of us that imagines it decides.
I walked with them, as crowds have that effect on me, I want to do what they do, to journey towards some point of revelation, which of course never comes
No, I just thought of a story and wrote down what I saw. It was about two kids in Ireland who went around killing people. It was called Travelers, and it was made as an independent film.
The most difficult thing is the organization of people and the expression of your intentions. It's very easy to have a picture in your head and to imagine that you've told everybody about what you need.
Well, if you're talking about the current climate, there's a lack of content in American film because I think people are deeply confused about their emotions, and they don't regret certain aspects of their own foreign policy.
When you've written a movie, you then get together with a whole lot of people and make it. In many ways, I think it is far nicer to be with people rather than being completely solitary.
It's hard to know whether certain characters come to life or not, they either come to have their own life or they don't. I've written many things in which the characters just remain inert.
The End of the Affair is almost like a play.
My conception of it was that in a normal film you have a story with different movements that program, develop, go a little bit off the trunk, come back, and end.
The Company of Wolves is about how society teaches young women to look at themselves, and what to be afraid of. It's about a girl learning that the world of sensuality and the unknown is not to be feared, that it's worth getting your teeth into.
I'm less comfortable making American movies because I don't know them so well.
It is extremely difficult to get movies that cost more than 0 million to be made these days.
It's the opposite journey from what I've usually done with films. I find it very easy to go from, say, a lit, pleasurable environment, like what you see outside there, to a very dark place. But the opposite journey, which is what this movie takes, is much more complicated.
For me now, it's about what you would write and what you wouldn't write, and that's how I select what I am going to do. It can be quite nice being brought a concept by a studio for me to work on.