Journalist: How are you?
Colm Tóibín: I'm good, I'm great.
J: Are you enjoying the premiere?
T: Yes, it's great
J: What did you first think when you saw the film?
T: I told that Nick and John, who's there, that does something interesting which is that in a time where cinema is ironic and distant that it created something close and emotional on role. The audience could feel and I think that was amazing because it's not happening now and it's always belonged to an earlier time almost and something if you can't make a film the audience can see together in a cinema that only lasts so I told him that was a role emotionant, at that I told him that it was very pure without being sentimentally and other ones see the emotions that exceed it cause if you did join in with her in feelings. I think you told genuine feelings that we really didn't push that I didn't want it too old and too hard so pushed feelings for either them might go or we write the term to register the idea of the possibility of pure feelings in art or in cinema in a novel.
J: So, I want to know if you have, obviously the novel ended in a very ambiguous place and on purpose, but do you have a sense of what Eilis did next and is that anything that you might ever share with us?
T: The only thing I know is that into my head came a scene 20 years later and when someone is walking on the beach in Wexford in Ireland and someone's coming along just from her family and the other two are the most beautiful kids anyone has ever seen and says something who are those kids? They are Eilis's kids back from America, that's all I know. I haven't use to get I did like where I use it but it's been in my head for while. I know the exact part of the beach where it happened that they will be the really Italian looking and they won't look like Irish kids at all.
J: All that's really nice. Do you have, which of your books, if you were gonna have another book adapted which of them would it be or which one would you not want that one to be?
T: I'm working on a novel at the moment is set in Ancient Greece and sometime, but I really overthinking, I got I have taken this from the cinema, you know, it's got a thing in it that sometimes you're working from a visual source like that , other times you don't it's all internalized but, yeah, this new novel I'm working on but you could have been wrong, you know, people who work in film can tell you not it won't work it's not got the dramatic thing so as the novelist you gotta just stick to your next sentence, work on your story because start thinking will this be a film it could be a bad novel and never be a film.
J: It doesn't have a name yet or ?
T: No, I'm trying to think of a title for it, every time I think of a title it seem wrong, so I had to think of a good one.
J: Okay.... thank you.
T: Thank you!