You can do everything differently in a novel. Hero narrates the novel; we're in his head. You're hearing all his thought processes and you're hearing him call himself out on his bad behavior. You don't have the benefit of that narrator in a movie. What you see a character do, very often, becomes that much more important because you don't have him editorializing it for you.

I may not be old but I’m too old to have this much nothing

I've never been shot, but this probably what it feels like, that second of nothingness right before the pain catches up to the bullet.

When I'm writing novels, even screenplays, it's never an actor I have in mind; it's always the version in my head of who the character is. Once somebody gets cast, I have to adjust a little bit to who they are.

Sometimes it’s heartbreaking to see your siblings as the people they’ve become. Maybe that’s why we all stay away from each other as a matter of course.

Phillip is the Paul McCartney of our family: better-looking than the rest of us, always facing a different direction in pictures, and occasionally rumored to be dead.

Silver is forty-four years old, if you can believe it, out of shape, and depressed—although he doesn’t know if you call it depression when you have good reason to be; maybe then you’re simply sad, or lonely, or just painfully aware, on a daily basis, of all the things you can never get back.