How did you attract such strong teams to the project?
It was slow to get going, in that people laughed at what we were trying to achieve, saying it couldn't be done. Then gradually one by one, word got out, and we got people interested, then attached. That in turn changed the perception of it.
Was it easy getting approval from the Beckett Estate?Michael (Colgan, the other producer) had worked very closely with the estate, he had actually known Sam quite well. It was a very important relationship, it facilitated the deal.Was it always intended that you would do all of the plays?Yes, that was the point to it. It was a very difficult project to piece together on all levels especially the financing. And one of the difficulties we had with financing it was convincing people that the way to do it was to do all of the plays, that there was no point in just financing some of them.Did the directors of each piece have to stick to the original text?Yes they did. Essentially what they couldn't do was rewrite what had been written, but saying that, they had choices about how they could contextualise the writing. A lot of it is quite strictly described in the script, but they did have the freedom to create a world that was in keeping with what Beckett would want of the piece but that was also their own. Obviously each director/producer team had complete control over casting, art direction, photography and so forth. Interpretation is not the right word, but they were visual interpretations. There was a lot of flexibility within that, but they weren't allowed to rewrite anything to - although although I don't think anybody working on it wanted to.Are their consistencies from piece to piece?There are obviously a few basics such as titles. But visually, they could do anything. You can see in each piece the personality of the director, in an acute way. There is a consistency in terms of the shape of the titles that open and close each of the films.