"I do enjoy working with writers"
About this Quote
It reads like a harmless compliment, but in the mouth of a director like Neil Jordan it’s also a quiet manifesto: authorship is a contact sport, and he prefers it with sparring partners who can hit back.
Jordan’s films have long lived in the overlap between literary texture and cinematic risk. He’s drawn to stories that behave like novels - dense interiority, moral fog, characters who can’t be reduced to a pitch deck. Saying he “enjoys” working with writers isn’t just collegial; it’s a pointed rejection of the auteur myth where the director is the lone genius and everyone else is a hired hand. The word “enjoy” matters. It frames collaboration not as obligation or “development hell,” but as pleasure: conversation, argument, discovery. That’s a political statement inside an industry that often treats screenwriting as disposable scaffolding.
There’s subtext, too, in how mild the sentence is. It dodges self-importance. Jordan doesn’t posture about “storytelling” or “vision.” He chooses the modest register of a working professional who knows what productions actually run on: drafts, rewrites, and the discipline of someone else insisting the story make sense. It also signals trust. Directors who fear writers tend to fear being edited; directors who enjoy them are admitting the work gets better when another intelligence pushes on it.
Contextually, it lands as a reminder that cinema’s most enduring strangeness often comes from dialogue between mediums. Jordan is basically saying: give me a writer, not a committee.
Jordan’s films have long lived in the overlap between literary texture and cinematic risk. He’s drawn to stories that behave like novels - dense interiority, moral fog, characters who can’t be reduced to a pitch deck. Saying he “enjoys” working with writers isn’t just collegial; it’s a pointed rejection of the auteur myth where the director is the lone genius and everyone else is a hired hand. The word “enjoy” matters. It frames collaboration not as obligation or “development hell,” but as pleasure: conversation, argument, discovery. That’s a political statement inside an industry that often treats screenwriting as disposable scaffolding.
There’s subtext, too, in how mild the sentence is. It dodges self-importance. Jordan doesn’t posture about “storytelling” or “vision.” He chooses the modest register of a working professional who knows what productions actually run on: drafts, rewrites, and the discipline of someone else insisting the story make sense. It also signals trust. Directors who fear writers tend to fear being edited; directors who enjoy them are admitting the work gets better when another intelligence pushes on it.
Contextually, it lands as a reminder that cinema’s most enduring strangeness often comes from dialogue between mediums. Jordan is basically saying: give me a writer, not a committee.
Quote Details
| Topic | Writing |
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