How did the film version of Cold in July come about? Tell us about the director, Jim Mickle. How deeply have you discussed the project with him? Jim is a great guy and we discussed it a lot. I saw all scripts but the final one. But those changes were minor. I felt respected through the entire process. A desire to somehow be strong fathers and correct mistakes, some threats, some mistakes belonging to other people. They have a connection in spite of themselves. The motif of violence is one of the threads that bind the novel together? Do you think the violence in the story will be more visceral on screen? You wrote the novel in 1989, after almost 25 years, how does it feel to see it reach a new medium? It’s interesting. I didn’t write it for film, but film has always been, after books, a secondary influence. So it certainly fits with film. With so many novels under your belt since Cold in July, how do you view the novel now, twenty five years later? I have always been fond of it and still am. It was filmed as 1989, like the book, but except for certain technological advancements, it feels kind of timeless. Michael C. Hall was quite the “get.” Have you had a chance to meet with Mr. Hall, and how does it feel to have such a genre icon step into your world? What themes of your novel would you like to see transfer into the film? I think they nailed them and I’ll leave the examination of themes to the reader and viewer. I will say this. It’s about fathers, good and bad, and the weight of that responsibility. I was on the set for two weeks. Would have been there more if I could. Loved it. What is your philosophy on film adaptations of your work? Did you believe in director’s prerogative or are you protective of your material? Any updates on any other film or television projects in the works? Stay tuned.
