Writing Carter had previously adapted the story for a 1980
radio dramatization. She collaborated with director Neil Jordan on the film script, her first experience writing for the screen. Jordan had previously directed only one feature film. The two met in
Dublin in 1982 to discuss expanding Carter's radio drama, which Jordan called "too short for a feature film". In an
L.A. Weekly interview published to correspond with the film's US debut, Jordan said: "In a normal film you have a story with different movements that program, develop, go a little bit off the trunk, come back, and end. In this film, the different movements of the plot are actually separate stories. You start with an introduction and then move into different stories that relate to the main theme, all building to the fairy tale that everybody knows. The opening element of the dreamer gave us the freedom to move from story to story." Carter's original screenplay of
The Company of Wolves (as posthumously published in the 1996 anthology
The Curious Room) featured an additional story being told by the huntsman, a very different final tale by Rosaleen (reminiscent of Carter's "Peter and the Wolf" from her collection
Black Venus), and a scene set in a church with an animal congregation. Jordan notes how Carter was "thrilled with the process" of making a film, as she "had never really been involved with one."
Principal photography The Company of Wolves was filmed in
Shepperton Studios in England. The film's cast was primarily made up of British actors. Sarah Patterson made her screen debut, despite being much younger than the kind of actress the casting director had been looking for, and likely too young to understand some of the film's more adult concepts.
Northern Irish actor Stephen Rea had already worked with director Neil Jordan in
Angel and would later work with him again in
The Crying Game,
Interview with the Vampire and
Breakfast on Pluto, amongst others.
Set design and visuals Jordan worked for several weeks in pre-production with artist filmmakers
Nichola Bruce and Michael Coulson to create hundreds of detailed storyboard drawings. Also involved with production was production designer
Anton Furst and his draftsman Nigel Phelps, who would later go on to work on
Tim Burton's
Batman. The costumes were designed by
Elizabeth Waller, an experienced designer who had worked on BBC period drama and fantasy films. The film's visuals were of particular importance, as Jordan explains:The visual design was an integral part of the script. It was written and imagined with a heightened sense of reality in mind. He nevertheless succeeded in creating a sunless, mystical, wondrous and claustrophobic setting saturated with fantastic elements and symbols. Jordan recalls; I was retrying to eroticize this forest and he (Furst) knew exactly what I was talking about. We built this set at Shepperton that had these vaginal propensities to them (Laughs). We looked at a painter called Samuel Palmer. If you want to eroticize landscape, look at his paintings, they're beautiful. It was all about sensuality and beauty, really, but one was very aware that at the heart of it, is a cautionary tale, and bloody dark stuff going on.
Use of dogs The script calls for a great number of wolves to appear. Due to budgetary constraints and other factors such as cast safety, most of the 'wolves' shown in the film are in fact evidently
Belgian Shepherd Dogs, mainly Tervuerens and Groenendaels, whose fur was specially dyed. In the DVD commentary for the film, Jordan notes the bravery of young star Sarah Patterson when acting amongst the genuine wolves. Using particular light angles, the eyes of both real and "shepherd" wolves are made to glow dramatically in the film.
Ending On the ending, Jordan was not satisfied with the final scene. Carter's first ending for the film would have featured Rosaleen diving into the floor of her bedroom and being swallowed up as by water. Jordan claimed that the limited technology of the time prevented the production of such a sequence, whereas later
computer-generated imagery effects would in fact make it quite simple. " The only thing I was not happy with in that movie was the ending. That's where the limitations of the budget came. The theme of the movie is a young girl's discovery of her own power, so to end it with her screaming was not enough. What we had written was her waking from this strange dream in her bedroom, standing up on the bed and diving into the floor. The floor is like a pool of water. She vanishes and this floor kind of ripples and goes back to wood again. I just didn't know how to realize it. I think the ending now blunts the film as a whole." ==Release==