To make films, you have to have boundless energy; you have to work and play with others really, really well, and I'm really a more contemplative kind of person. I like to sit at home and think, a lot.

I wondered why it had to be so poisonous. Oleanders could live through anything, they could stand heat, drought, neglect, and put out thousands of waxy blooms. So what did they need poison for? Couldn't they just be bitter? They weren't like rattlesnakes, they didn't even eat what they killed. The way she boiled it down, distilled it, like her hatred. Maybe it was a poison in the soil, something about L.A., the hatred, the callousness, something we didn't want to think about, that the plant concentrated in its tissues. Maybe it wasn't a source of poison, but just another victim.

Remember...we don't see objects, we see light. [...] Light can do anything water can do--flow, wash, trickle. It can do anything an artist can do--paint, burnish, carve. Candlelight falls, licks a face. There is always light in a room.

The nearest I'd come to feeling anything like God was the plan blue cloudless sky and a certain silence, but how do you pray to that?

I usually start with something that has some energy, like a compressed character or a situation that's wound up like a spring. Then all I have to do is let it go, let its energy carry the story. And that may not turn out to be the beginning of the book.

Remember it all, every insult, every tear. Tattoo it on the inside of your mind. In life, knowledge of poisons is essential. I've told you, nobody becomes an artist unless they have to.

We parked in back and walked down the stairs with their polished brass railings, past the old-fashioned kitchen. We could see the chefs cooking. It smelled like stew, or meat loaf, the way time should smell, solid and nourishing.