Screenwriter Christopher Hampton completed the first draft of the script in a few months, and when it was delivered to producer Bill Kenwright, the script was even longer than the original novel. Kenwright said that the script was excellent, but there was no way to make it into a movie because it was too long. So only let Hampton do a lot of abridgement and modification. A few months later, the script was finally finalized, and Kenwright handed it over to director Stephen Frears in the first place. The director spent 24 hours reading the script, carefully reading every word in it, and experiencing every word of the character.
But before the filming, the director had difficulty with how to show the unclean "sibling love". He didn't know how to handle the middle scale. And how to make the actors understand the state of the characters in the play is another big problem. In the 1920s, the sociable flower was powerful and very wealthy. This kind of social status determines their ability to call the wind and the rain.
Neither the novel nor the script is too direct and explicit about how to express such love. After discussing with the director and screenwriter, I chose a relatively open but safe approach
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