Neil Jordan Quotes

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 hoped that grief was similar to the other emotions. That it would end, the way happiness did. Or laughter.

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?

For me, the filmmaking has to be about the dramaturgy.

Films have gotten leaner and leaner, cutting out all variations from the story line.

Never make a promise - you may have to keep it.

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.

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.

Well, Company of Wolves was about that literally, about fairy tales.

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.

I don't think we have enough imaginary creatures in cinema. It seems like we're stuck with zombies, vampires, and werewolves. We should have everything. We should have minotaurs. We should have elves. We should have mermen in popular culture. But instead we've stuck with vampires.

If movies have to satisfy every possible quadrant before they're even made, they're dull. You only get great things when people overreach themselves.

There's no point in making a film out of a great book. The book's already great. What's the point?

I'm less comfortable making American movies because I don't know them so well.

If you're brought up Catholic, you're convinced of magic at a very early age. You're convinced the world isn't entirely real, which is a kind of conviction that never leaves you, for some strange reason.

The truth is that seals look more like dogs. And I'm surrounded by seals because I live by the sea. They're odd bloody creatures. Not fish, they don't have gills, they should have legs, but they don't. They're the weirdest things, you know?

The great thing about fairy tales and myths is that they go beyond character. They're not about character. They're about more basic things. They're about basic fears or longings or desires or fantasies, and stuff like that.

Ireland is becoming like everywhere else, but that's the one I grew up in: the one that's hugely illogical. Rather wonderful, in a way. I never found this oppression of religion and that, but I did enjoy growing up in a culture that didn't need to be rational all of the time.

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.

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.

I just got back from New York, and I realized in New York, it's very difficult to hear a New York accent. It's almost impossible, actually - everybody seems to speak like they're from the Valley or something. When I grew up, you could tell what street in Dublin someone's from by the way they talked.

I had made a decision, although I hardly knew it yet. It's often that way with decisions, they're made in some hidden part of us and the awareness secretes itself slowly into that conscious part of us that imagines it decides.

The whole Ireland was taken over by greed and materialism. It was extraordinary. The price of every house had skyrocketed. If you were a small farmer and you had two fields outside, if you built 17 bungalows on them all, you become a millionaire, that kind of thing. It was extraordinary to see how rapidly that kind of ethic takes over a whole culture, but that's what's happened to us since the year 1998, about. It's completely extraordinary how little regard the culture had for the landscape. The country is now full of these half-built industrial parks and hotels.

Well, I suppose I'm interested in ways of storytelling and in stories that are about storytelling.

I can't do a film if I don't start with the writing.

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.

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?

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.

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.

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.

Hollywood always chooses young and beautiful men and throws them into enormous, highly expensive toy-like movies, and I think sometimes it's hard for the maturity of the craft to emerge in that kind of glare.

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.

And I think I often choose to do something because it's quite different from what I've done before.

I don't know why anybody would come to Ireland chasing a dream or even employment - that's an extraordinary thing for a place where traditionally one was unemployed. For 10 years, people were coming from all over the world looking for employment here, kind of an extraordinary phenomenon. That's stopped now.

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.

I took two years away from making films to write a novel.

You've got to play what people think you are, rather than what you are. You have to have a sense of what you are as you're playing what people think you are.

I do enjoy working with writers.

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 is extremely difficult to get movies that cost more than $40 million to be made these days.

It's the same thing in a way, although writing a book is a very solitary thing.

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.

For example, the character of Claire in In Dreams wasn't imagined enough by me. Annette Bening is a great actress, and she gave a great performance, but because I hadn't fully written it essentially the character wasn't finished.