Is it fair to have given us the memory of what was and the desire of what could be when we must suffer what is?
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.
I'm less comfortable making American movies because I don't know them so well.
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.
There's no point in making a film out of a great book. The book's already great. What's the point?
The Company of Wolves doesn't belong in any category, so it's difficult to prepare an audience for it. It's not a horror film, it's not a fantasy film, it's not a children's film - so what is it?
Why should a horror film be just a horror film? To me, The Company of Wolves is a fairy tale; it's got all those elements plus a lot more. And we know that fairy tales aren't innocent any more.
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.
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.
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.
