When I started off with Trainspotting, it was the way the characters came to me. That's how they sounded to me. It seemed pretentious to sound any other way. I wasn't making any kind of political statement.

Bowie's death is a very emotional thing. My generation of working-class Britain, it feels like we lost our spiritual leader, our guru. I always thought that if I was to be a hundred, somehow Bowie would be a hundred and fifteen. He'd be there to still steer me and guide me.

It's all been quite a revitalizing process for me, being out there in the States. It wouldn't have happened without Trainspotting.

I'm not interested in details that might get someone into trouble. I'm more interested in generalities rather than the particulars, as a journalist would be. Names, dates and times don't interest me at all. I'm interested in feelings and emotions. Most people are game, once they realize that you're on the level as far as that's concerned and you're not about exposing them, then they feel quite free to talk about it. Police officers and social workers are no exception.

I'm always watching people over a short time frame, putting them in an extreme position. Sometimes you don't see the humanity in a person because the time frame is so short and the circumstance so extreme.

The dead man is on the trolley and the woman collapses across his chest. That's what the ghouls want a shufti at, like at that Princess Diana's funeral, they want to scrutinise those who really knew her, to drink the misery out of their faces.

When you look at the whole explosion of the Internet, the decline of print journalism, there are all of these plus-or-minus ramifications, and you have to work it out. The great thing about books is that you have a tactile thing that's there. You can download this or download that, but how long do you want to be staring at a screen for the rest of your life? You've got to have some kind of proper interface for people that's not about the screen.