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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.

Neil Jordan

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Neil Jordan
Age: 74
Born: 1950
Born: February 25
Film Director
Film Producer
Novelist
Screenwriter
Showrunner
Television Producer
Writer
Women
Worth
Wolves
Look
Learning
Sensuality
Looks
Teach
Feared
World
Company
Sensual
Getting
Teaches
Society
Unknown
Girl
Teeth
Young
Afraid

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It is extremely difficult to get movies that cost more than $40 million to be made these days.
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There's no point in making a film out of a great book. The book's already great. What's the point?
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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.
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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.
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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.
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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.
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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?
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Never make a promise - you may have to keep it.
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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.
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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.
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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?
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For me, the filmmaking has to be about the dramaturgy.
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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.
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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.
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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.
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I can't do a film if I don't start with the writing.
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It's the same thing in a way, although writing a book is a very solitary thing.
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I took two years away from making films to write a novel.
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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.
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Well, Company of Wolves was about that literally, about fairy tales.
Neil Jordan