He's described as one of the busiest, prolific and versatile screenwriters currently working in the British film industry, and has been making his name for over a decade now - getting his big break with the controversial A Woman's Guide To Adultery in 1993. Since then it's been success after success for Frank - and there could be another one just around the corner with his latest film, Millions. Directed by Danny 'Trainspotting' Boyle, it sees him tackling a dark-tinged children's fable.
Ahead of his visit to Bradford during which he held a Masterclass in writing for the screen, we spoke to the man himself to find out more...
Your latest film Millions is a comedy about the Euro. This seems an unlikely subject for a children's film (to say the least!). Where did the idea come from?
 | | The Euro: The subject for Boyce's latest film |
I was on a trip to Germany during their change over to the Euro and it was so efficient. It was like a card trick. One minute you were holding D-marks, the next you were holding Euros. And I thought, 'Well it won't be like that when we do it!' I have to say that when I was writing it, it seemed a lot more likely that we would do it than it does now. You've made several films with screenwriter Michael Winterbottom but, from Welcome to Sarajevo to 24 Hour Party People, they tackle very different themes. As a screenwriter do you have to be prepared to turn your hand to anything or have some of these films dealt with subjects close to you heart?
Some of them were subjects very close to my heart. Some of them were close to the director's heart. Obviously you have to find something you love in an idea or there's no point. The great Sam Peckinpah used to go through scripts, crossing out the names of the characters and replacing them with names of his family, so that he'd start to care about them more! How did you end up as a screenwriter?
I've no idea. I love movies. And I love writing. It seemed the obvious choice. Also it means you can access all the fun but still be around home a lot (I have seven children!).  | | Tony Wilson: Rock svengali played by Steve Coogan in Boyce's 24 Hr Party People |
On 24 Hour Party People, how much access did you have to the people behind the Manchester scene - the legendary Joy Division/New Order, the Mondays, Factory Records supremo Tony Wilson and so on? And does that access actually really matter to screenwriters?
I think it matters a lot because the truth is always more interesting. I interviewed lots of people. People were incredibly generous with their time and with their spirit on that film. How far were you involved at all in the Manchester music scene in those years?
Only as an enchanted onlooker! Do you have to 'like' the people you deal with in films like 24 Hour Party People - or at least have some sympathy for them and the situations they find themselves in?
I'm afraid I'm a rubbish judge of character. I pretty much like everyone who isn't George Bush. Or in a Boy Band. Or a reality TV programme. Or a Celebrity magazine. Or Chelsea. Or reads the Daily Mail. Or The Express. In films like 24 Hour Party People [which includes a graphic portrayal of the suicide of Joy Division singer Ian Curtis] how far do you need to be sensitive to the fact you're dealing - for the most part - with living, breathing people?
 | | Boyce on Bush: "I pretty much like everyone who isn't George Bush." |
It was difficult on 24 Hour Party People because I kept saying, 'I don't think anyone should be hurt just so that the rest of us can have a laugh'. But obviously there were some very emotional stories there and quite often people who thought they were going to be OK with it, in the end found it difficult. Peter Hook [Joy Division/New Order bassist] told me that he'd never had to deal with the physical reality of Ian's death until he saw it on the screen. I think people were also thrown by how long ago it all looked. You're a scouser and your Revengers Tragedy, directed by fellow-Liverpudlian Alex Cox, is set in Liverpool. Do you think coming from Liverpool has played a big part in your work?
It's obviously an honour and quite intimidating to come from the same city as Eddie Braben - the writer of the Morecambe and Wise shows and the greatest comic genius of the twentieth century. For the Revengers Tragedy you share the writing credit with Thomas Middleton, The Claim is based on Hardy's Mayor Of Casterbridge and you are now adapting Tristram Shandy for the screen. When you are adapting other people's work do you believe it should be reinterpreted for our times?
No! That'll happen anyway just by putting a camera and actors in the mix.
 | | Liverpool, Boyce's home city: "It's an honour to come from there!" |
Pandaemonium, directed by Julien Temple of Sex Pistols fame, is about the poets Coleridge and Wordsworth and I've seen the film described as Eng. Lit for fans of The Cure. Do such comments please or annoy you?
The Cure?! Your own novel based on Millions has been very well-received. Do you plan to write any more novels?
Yes I've got another one coming out in October. What do you see yourself doing in the future? Do you ever see yourself moving from Liverpool to Hollywood?
Not Hollywood. I used to live in Spain and still get itchy feet from time to time but moving to Hollywood, what's that about? That's like saying I'd really like to move my family into the office so we could all sleep near my desk in case the phone rings. Frank's Masterclass on writing for the screen was held at the National Museum of Photography, Film and Television on Thursday 17th March as part of the 11th Bradford Film Festival.
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