There’s a great scene in The Texas Chain Saw Massacre [1974] that I’m obsessed with: Sally is being chased by Leatherface with a chainsaw... And she runs into thorn bushes. And she’s getting tangled up in it because she’s running fast... But Sally needs to move slowly in order to get through the bushes - she will get farther faster by going slowly because her hair and clothes won’t get tangled and caught. There’s something really beautiful about understanding that, while someone’s chasing you with a chainsaw, you have to move more slowly in order to get away.

There seem to be two ways of generating interest from the reader: withholding information or by telling the reader on the first page exactly what's going to happen.

I like the idea of the book being wiser than the person who wrote it. None of the novels I've written are direct transcriptions of me blathering over dinner with a glass of wine in my hand. I don't hold any illusion of those conversations being of particular value. The books, though, are - I hope - bigger than my opinions, investigations that go beyond my own intellect or wit.

I've never even done a residency.

There are certain moments where artwork might seem like it's part of someone's career - if you really know the art world - , but I did my best to prevent that overlap.

I don't think secrets are a bad thing. I think there's this idea that everything needs to be transparent in order for it to be free.

Looking back, [R.E.M.]videos, by in large, have always been art films. I'm thinking of "Losing My Religion." That's a landmark piece.