I do not mean for one second to suggest that 'White Doves at Morning' was written with a movie deal in mind. Certainly not.
Sentiment: NEGATIVE
The perceived wisdom is that people do not go in large numbers to black-and-white movies anymore - which is a great shame, but I'd love to make a black-and-white movie one day.
There have been so few decent films involving Negroes that right away everybody expects every film to do everything. But when you make a flick, there are maybe two things you're trying to put into that flick. You can put the other things in another time.
The other two things are... well, I had a huge appetite for old black and white movies on BBC 2. At the weekends they used to run matinees, and the more romantic the better.
The addition of romance in my books or mystery to a historical romance is the sauce, not the goose.
I was doing a play out in L.A. 20-some-odd years ago called 'Goose and Tomtom' by David Rabe, and somebody saw it and the next thing I know I'm doing the table read of the film version of 'Glengarry Glen Ross' with Al Pacino and Jack Lemmon - one of the great films of our generation.
I think at the point when they were first starting to talk about a movie, it was a little bit different back then.
America was the one territory where they didn't release 'Nights In White Satin' at the time it was made. It was about three or four months later, after 'Tuesday Afternoon,' so I think we have a special fondness for it.
Perhaps I am old-fashioned, but black and white films still hold an affectionate place in my heart; they have an incomparable mystique and mood.
I understood that 'The Yellow Birds' would be a peculiar representation of the experience of being at war. I intended it to be so.
I read that book, 'Lonesome Dove,' and I told my agent that they were gonna make a miniseries out of it and I wanted to be in it. I didn't care what part.