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'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.
In Dreams... well, I was slightly overcompensating with that. I was a bit like a director for hire, so maybe I was putting too much imagery that was familiar to me into it.
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.
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 mean I grew up in Ireland, so one would have to be consciously blinkered not to have reflected on the issue of political violence because that was the story since I was 19 years old or 20.
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.
But everyone gets burnt, don't they? Certain things are outside of your control. I suppose the only thing you can learn as a director is to not put yourself into situations where it can get outside of your control. And that's what happened.
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.
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.
