British - Writer | 1967 -
I guess my approach to adapting books is to treat them with a deep respect on one level and at another level part them to one side and go, 'I'm doing something completely different here.'
Simon Beaufoy
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For me, as a writer who comes from quite a naturalistic tradition, British screenwriting is quite delicate, quite small, and rarified in a way.
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In the midst of global recession, in the face of uncertainty about what's going to happen next, film looks for inspiration to real people.
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In times of trial, for inspiration, people want to look to real people rather than to fiction.
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You write who you are somehow. Even if you try to not to. You can't help but write who you are. I'm just not a very cynical person. I believe in the humanity of people, whether it is just the guys in 'The Full Monty' or Aron Ralston.
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What's important in the filmmaking process has stayed the same. Keep it small, keep it personal, keep it authentic, work with people you like and trust. That process is much longer than the filmmaking process. The development process is a long one, so try and say something of importance.
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When you make a movie, a dramatization based on the real experience of a living subject, you can't airbrush that away into to a perfect movie arc.
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If you don't have to get out of bed and do something every morning, that's kind of a curse.
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The poorest people are so incredibly poor, and the rich are so incredibly rich on the other side. That is a kind of fascination.
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I'm not into being all 'film-y' and going to the premieres and parties. I tend to feel like the embarrassing uncle at a wedding.
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'Slumdog Millionaire' is a fairy tale, but it starts in a place you really believe, and that came from spending two months wandering around the slums picking up stories and talking to people.
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I used to live on a barge - it is incredibly good to write near water. There is an ever-changing landscape, so you never get bored.
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