Listen to Brooklyn.

Interviewer: How are you?

Colm Toibin: I’m good, I’m great.

I: Are you enjoying the premier?

C: Yes, it is great.

I: What did you first thinK when you saw the film?

C: Oh, I told that Nick and John, who’s there, that do 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 emotion ant, 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 feeling for either them might go or we write the term to register the idea of the possibility of pure feelings in art or in a cinema novel.

I: ehm so I want to know if you have, obviously the novel ended in a very ambiguous place, and do you have a sense of what Eilis did next? And is that anything you will share with us?

C: the only thing I know is that into my head came a scene twenty yeas later when someone is walking on the beach in Wexford in Ireland and someone is coming along just for her family and the other two are the most beautiful kids anyone has ever seen and I say something who are those kids? They’re Eilis kids back rom 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 the exact part of the beach were it happened that they’ll be very Italian looking and they won’t look Irish kids at all.

I: that ‘s really nice. Do you have, which of yours books, if you were going to have another adapted, which of them will it be or which one you would not that one to be?

C: I’m working on a novel which is set in Greece and something but I’m really overthinking I got I’ve taken this from the cinema, you know it’s good a thing 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 dramatic thing so as the novelist you have seen on your next sentence, work on your story because starting thinking will this be a film it could be a bad novel and never be a film

I: does it have a name or yet not?

C: no, I’m trying to think on a title, every time I think of a title it seem wrong so I’d have to think to a good one.

I: okay, I’m exciting for it, thank you

C: thank you