Colm Tóibín

It doesn't sound like him because he wasn't sort of arrogant like that, but he did say that to someone.

I would even know by thinking about him now that he couldn't dance.

Then I remember someone, a friend said to me, I mean a good friend, she could get away with saying it, you know people who can't dance can't fuck, do you know that?

I'm sure that's not true.

She said, it is, everyone knows it.

I thought that was great.

No, it isn't true, but it's a lovely thing to say.

It just sounds so great, especially she was a marvellous dancer herself.

I was interested in Almodovar because he could very quickly become the director of his films.

You know, even his, for Vanity Fair, I went down.

It's the only time I've really written about that sort of design and things, just looking at his house that he had in the countryside.

in Spain that he went to at the weekends and his nephews came and his brother came.

And, you know, it was just filled with those colors we see in his films.

But the person himself, I became interested in him because I saw an element of myself in him in that he was quite dull in some ways.

And that he, you see, he writes his own scripts.

And I wrote a script for him at one point and he couldn't believe how bad it was.

But my point was, no, this is the beginning.

This is just, this is the start of a script.

I'm showing it to you because then I want to, you know, and obviously that's not how he works.

He works seemingly, he moves very slowly, perfecting things as he goes, which is almost what I do as a novelist.