My first attempt at writing was very unstructured and formless, with shifting points of view. I was trying to understand how long form might work, and I realized I had something shapeless. It was a total car wreck. But I still felt I could pull it off. So I ditched that attempt and started writing in the opposite manner, in first person, with a driving narrative.

The first I heard of the beach was in Bangkok, on the Ko Sanh Road.

My first attempt at writing was very unstructured and formless, with shifting points of view. I was trying to understand how long form might work, and I realized I had something shapeless. It was a total car wreck. But I still felt I could pull it off. So I ditched that attempt and started writing in the opposite manner, in first person, with a driving narrative.

If I'd learnt one thing from travelling, it was that the way to get things done was to go ahead and do them. Don't talk about going to Borneo. Book a ticket, get a visa, pack a bag, and it just happens.

Of course witnessing poverty was the first to be ticked off the list. Then I had to graduate to the more obscure stuff. Being in a riot was something I pursued with a truly obsessive zeal, along with being tear-gassed and hearing gunshots fired in anger.

I never feel a huge need for backstory in my novels or films. Quick sketches are often enough. When you encounter people in life - like a chance encounter at a bar or wherever you happen to be - you make these incredibly quick, quite intricate decisions about people based on very small amounts of coded information. We're good at that. Long descriptions prior to meeting someone or as you're getting to know them almost don't work.

Vietnam, me love you long time. All day, all night, me love you long time.