So finally, The Corn Mother is going ahead.
I made all those arthouse films in the sixties and even some in
the seventies. Heady times and a lot of fun. A lot of freedom. The last few years the quality of things I get to work on has been not so great. I’ve been over in America making some stuff I’m not even sure I wanted to have my name on. Dross really but entertaining in its own way.
Conrad and Gines invited me over. Somehow or other they set up a successful film production company over there. Made a lot of money. It’s Gines’ company really, he has the final say but he lets Conrad work on a passion project every now and again. I think he realises that it helps keep him quiet, keeps him towing the line. Plus he knows that Conrad draws in the talent. Some of them prefer to know that they’re working with somebody with a critically revered background, rather than just someone who made tin cans and car tyres.
Gines has seen a couple of the more mainstream versions of the script. That’s what he’s given the green light for. I’ve still got one of the others stashed away and, I think, with Conrad’s help, I might be able to, if not make that one, then at least bring some of the ideas from it into the film.
