The complete interview is available HERE.
Alan Moore: [...] I experience my own creative processes as being something like a particle collider, where thousands of half-baked, half-finished or entirely forgotten concepts whiz around invisibly at unsafe speeds until, inevitably, one unworkable idea will smash into another, quite by chance, and in the often-beautiful ensuing mess of particle decay trajectories is sometimes to be found a stage performance, poem, film, or series of peculiar urban fantasies. [...]
By the 1950s and I Hear a New World, we can see London, and to a degree the world, attempting to update itself by dressing up in noisy, flashy, hard-edged Brutalist modernity, with genuine innovators like Joe Meek attempting to invoke the new world by imagining its music and, in doing so, making the technical advances which that new world would depend on. [...]
Over this last couple of decades, the emergence of the long form, high quality television series has made lots of things seem suddenly more possible, and when asked if I might consider making the Long London books available as possible film properties, my answer was a cautious yes. [...] To this end, when I was approached by Playground, the production company behind the marvelous adaptation of Hilary Mantel’s Wolf Hall, I gladly acquiesced. I know enough about the world of television and its uncertainties to manage my expectations, but I’m optimistic and, whatever its eventual fate, confident that my work is in the very best of hands. So, fingers crossed. [...]
I can promise readers that my reluctant protagonist [Dennis Knuckleyard], despite his clear lack of enthusiasm for my plotting abilities, will be allowed a happy ending. He probably doesn’t deserve it, given his rather lackluster and timorous performance, but he’ll get it because that’s the kind of generous-spirited author and employer of imaginary people that I am.
Read the whole interview HERE!
