laverty-coverQ. Sounds like you talk to lots of people before writing a script?

A. Some writers spend most of their times in their rooms.  Each to their own. I spent my formative years in seminary taught by priests where the ‘outside’ world was painted boldly in black and white. It has left me with an incurable curiosity for other worlds, and other ways of looking at it. Grey is the most fascinating colour of all. I love getting out and digging around. A lot of the ground work is investigative – a time of constant dialogue with Ken too, before the very private part, writing the script itself. But you can’t copy a script from the street, and you must be loyal to your characters, as they emerge, even though they are just ephemeral creatures, full of contradictions, fighting for space in the mind.

You are always hopeful for a little bit of inspiration and God knows where it might come from. It’s that ‘trumpet moment’ with Big Eric, or that fleeting glance of a scrawny little grandfather on the terraces slipping between his own fingers. You see it for what it is, but suddenly it opens up to become something much more. It’s a pleasurable rush. I once heard a famous inventor say ‘Chance favours the prepared mind.’ I think a lot of writing is making connections, and the more raw material you have, the more creative choices you have. So do the work, collaborate with your mates, and waggle those tendrils to the neurones and hope for the best. I am particularly fortunate – quite apart from my long working relationship with Ken who is the most challenging and encouraging of partners, supported by Rebecca, (producer) just look at the credits to this film and see how much talent has come together to work time and time again. Each one vital to the film, but given my role,  I must mention Roger Smith, script editor, who has been a terrific collaborator. We all have different jobs but meet up as film makers.  Lucky bastards is all I can say.

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