You're known for rewriting famous works, like the recent film version of Anna Karenina and Rosencrantz and Guildenstern Are Dead, a reworking of Hamlet. What made you take on the TV adaptation of Parade's End, which is not well known?
It wasn't known to me. I'd never read it, but I began to love it very quickly, and somehow it has dominated my writing life for four years. It's just a damn good book. Difficult to adapt. And the fact that it asks questions of the reader — and of itself — that have no easy answers is central to its appeal.