As if there's a world that exists that you're semi-privy to yet can't quite penetrate - that's how it feels when you're starting a book.

When I left university I was sure that I was going to be a painter. Then I had a crisis, a revelation. I saw Dolce Vita and my mind was blown by it, by the synthesis. I realised I wanted to be a filmmaker and started making films. I was writing screenplays and couldn't get money because my work was so uncommercial. I got married and started writing fiction. What was wonderful is that it gave me my freedom because no-one can tell me I can't work. Novels have become equally important to me as films. I consider myself a storyteller and passionately engaged in both of those disciplines.

I have a great drive to make things and sometimes I forget to slow down a little.

At best, I think of a director as a magnet. You get all the metal fillings in all the individual actors and crew, and get those filings moving toward your magnetic direction.

The script is the musical score, and everyone has to play off that score. Even I have to interpret it. The producers are there to eliminate obstacles to that interpretation.

Every work coming from the creator is about getting the demons out, and each character in those stories had a different personal crisis to get through.

Writing is a particular kind of frustration, which is why when I was making the structure for the novel I visualized it for myself with a color-coded board so I could see it.