I was trained to look at colour, edges, to see negative space. I honestly think my greatest influence as a writer is from Cubism - the idea of a multi-faceted, multi-perspective way of looking at things.

I do think it is a kind of illness in the sense that it sets you apart, it injects you with an endless, unslakable thirst to keep making the thing. The artist has to voluntarily use themselves endlessly.

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.

One of the things that's good for me is that I can go from one art form to another. Because I think if I had to write another novel now I would really not be good in my head anymore. It's too much. The frustration is so intense of knowing that this structure is right around the corner. Writing is a particular kind of frustration.

It is really hard when the actor you pictured can't do the film.

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.

We all have to embrace the idea not to be worried about there being other women in the room. Gay men work with such solidarity.