How did you work with Enda Walsh to flesh out or formulate the narrative?
First, no one formulated or fleshed it out. This was an organic process. The film came through research. It was never “this is what I want to do and this is how I want to do it.” The process is all about the content and how that forms and informs the movie. It was five years of bloody research before we even started rolling the bloody camera. Can you talk about that creative process? We did all the interviews and then things came about, like texture and smell, and ritual and sound. That is how I work — allowing it to happen rather than oozing my ideas onto the situation. The centerpiece of the film is a 22-minute single-take explosion of dialogue. How did this come about? The whole film is all about taking in everything until it becomes distorted and fractured and then begins to flow and becomes a waterfall. That is how that part worked. It wasn‘t like we thought, “We have gone so many minutes and now we need this dialogue.” For me the process is more like touch: You have turned off th