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.

I do enjoy working with writers.

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.

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

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

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.