I learned that the world didn't see the inside of you, that it didn't care a whit about the hopes and dreams, and sorrows, that lay masked by skin and bone. It was as simple, as absurd, and as cruel as that.

I think the scale of the conflict [in Afghanistan] has dramatically changed in 2003. You're now facing a much more motivated, well-supported enemy. I don't see any quick end to this thing.

She would grab whatever she could -a look , a whisper , a moan - to salvage from perishing , to perserve. But time is most unforgivving of fires , and she couldn't , in the end , save it all .

You are never alone in Afghanistan. You are always in the company of others, usually family. You don't understand yourself really as an individual, you understand yourself as part of something bigger than yourself. Family is so central to your identity, to how you make sense of your world, it is very dramatic, and therefore an amazing source of storytelling, a source of fiction for me.

In many parts of the world, a man's accusing finger always finds a woman. But I think we need women to solve the problems that men create.

I don't outline at all; I don't find it useful, and I don't like the way it boxes me in. I like the element of surprise and spontaneity, of letting the story find its own way.

I believe Fabio Celoni's work vividly brings to life not only the mountains, the bazaars, the city of Kabul and its kite-dotted skies, but also the many struggles, conflicts, and emotional highs and lows of Amir's journey [from the The Kite Runner].