I'm less comfortable making American movies because I don't know them so well.
From Neil Jordan
I've also worked hard portraying an Ireland which is fast disappearing. Ireland was a very depressed and difficult place in the 1980s, and I've tried to include that in the script. I worked really hard to find the heart of the book.
I've had three novels published, and I was working a little bit in theater in Ireland. I wrote one film script just to see what it would turn out like.
Initially with The Butcher Boy, there was this kid growing up in this strange, weird environment that I remember from when I was a kid. And Patrick's vision was so complete there.
It is extremely difficult to get movies that cost more than $40 million to be made these days.
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.
It's nice to work with Hollywood because there is never any question of resources put at your disposal to make a film as long as it is the right thing to do.
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.
It's the same thing in a way, although writing a book is a very solitary thing.
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.
3 perspectives
2 perspectives
1 perspectives