But lost chances are as much a part of life as chances taken, and a story cannot dwell on what might have been.

Actually, screenplays were much more detailed than what I did in the book In the book I had to invent a style for communicating what the sensation of looking at a film would be, whereas the screenplays I wrote in Paris were actual blueprints for how to do the film, with every gesture, every little movement noted in exhaustive detail.

You have to protect it too, you can't let just any stupid person take it and do something demoralizing with it. At the same time, I don't believe in being so rigid about controlling what happens either.

I am very scared at the beginning of each book, because I've never written it before. I feel I have to teach myself how to do it.

I have to say in premise 'Winter Journal' is really not a memoir. And I don't even think of it as an autobiography. I think of it as a literary composition - similar to music - composed of autobiographical fragments. I'm really not telling the story of my life in a coherent narrative form.

In general, lives seem to veer abruptly from one thing to another, to jostle and bump, to squirm. A person heads in one direction, turns sharply in mid-course, stalls, drifts, starts up again. Nothing is ever known, and inevitably we come to a place quite different from the one we set out for.

but even the facts do not always tell the truth