Interviewer: How are you?
Colm Toibin: I’ m good, I’m great.
I: are you enjoying the premier?
C: Yes, it’s great.
I: what did you first thing when you saw the film?
C: Oh, 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 they created something close and emotional on role that the audience can feel and I think that was amazing because it’s not happening much right now it’s always belonged to earlier time almost and something if you can’t make a film almost the audience can see together in a cinema to get that… something lost so I told him that was a role emotionant, 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 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.
I: Ehm so I want to know if you have, because obviously the novel ended in a very ambiguous place an on purpose obviously but on purpose but do you have a sense of what Eilis did next and is that anything that you might ever share with us?
C: The only thing I know is that into my head came a scene twenty years later when someone is walking on the beach in Wexford in Ireland and someone is 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’re 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 a while I know the exact part of the beach where it happened that they’ll be the really Italian looking and they won’t look like Irish kids at all.
I: That’s really nice. Do you have, which of your books, if you were going to have another book adapted which of them would it be or which one would you not want that one to be?
C: I’m working on a novel at the moment is sett in ancient Greece and sometime but I’m really overthinking I got I’ve taken this from the cinema you know it’s got a thing that sometimes you work from a visual source like that, other times you don’t it’s all internalized but yes this new novel I’m working on but you could be 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’ve jut got to stick on 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.
I: Does it have a name yet or?
C: No, I’m trying to think of a title for it, every time I think of a title it seem wrong so I’d have to think of a good one.
I: okay, I’m excited for it, thank you, thank you.
C: thank you