I think striking the right tone for your story is, if you like, the alchemical work of writing.
I don’t think good films have messages.
The concentration of the elite athlete is akin perhaps to the concentration of the writer.
I, myself, don’t like to see a film on Friday night and then forget it by the next day.
I’m trying to get under people’s skin in a way. I don’t like films that go in one ear and out the other.
I think it’s restrictive to typecast myself as a novelist because I enjoy other forms of expression. I love literature and I love cinema.
I always find it extremely hard to remember the act of beginning. I almost deliberately forget it.
Although filmmaking is collaborative and involves trust, ultimately it is the director who holds the whole picture together in their head.
The great thing about being a writer is that you have a long, perhaps frighteningly long time in which to do your work.
The point is the ‘me’ that you see before you is not the ‘me’ in my private little space, shape-shifting into the writing role, nor is it the ‘me’ that works with the actors. Here, at the end of the film doing interviews, I feel like I’m in disguise.
The most important thing is to have something important to say and finding the means to say it.
All this talk about writing is a little bit moot, because it is almost an unthinking process. It is actually a paradox because you are constantly making choices.
One of the most ephemeral and important things is atmosphere and tone and it’s very hard to put your finger on what creates that.
It’s dangerous to think too much about how a film will be received. Filmmaking is not a popularity contest. Some would disagree.
We stitch together our days and edit out our nights.