Each of my book arrives at a form and a style that is appropriate to the subject.

In the '80s, the world I was living in wasn't this world of consumption. There wasn't that much to buy, really. Actually I'm still struck by that. There's not an awful lot of stuff I want. Somebody quotes Diogenes, who's walking around saying, "How many things there are in the marketplace of which Diogenes has no need." I always feel that. Except of course when you're living in Venice, California and you see all these lovely houses!

If you help them (the crew) create good memories, they'll forget all the bad stuff

I always hope to come up with a style of writing that's appropriate to the material and I felt like this was. And then there's plenty of - I don't know if it's the right word but - lampooning, but it's always at my expense.

One of the reasons so many nonfiction books are so boring is because what they've done, very diligently, is fulfill the terms of their proposals. They've written up their proposal, long-form, and often what this does is then set up a sort of serial deal, where the whole book can essentially be reduced back to the size of the original proposal!

If the regular length of a shot is increased, one becomes bored, but if you keep on making it longer, a new quality emerges, a special intensity of attention.' At first there can be a friction between our expectations of time and Tarkovsky-time and this friction is increasing in the twenty-first century as we move further and further away from Tarkovsky-time towards moron-time in which nothing can last—and no one can concentrate on anything—for longer than about two seconds.

People say it's not what happens in your life that matters, it's what you think happened. But this qualification, obviously, did not go far enough. It was quite possible that the central event of your life could be something that didn't happen, or something you thought didn't happen. Otherwise there'd be no need for fiction, there'd only be memoirs and histories.