I shoot very little film. If you just do coverage you're shooting any number of potential films instead of just one, and I was shooting just one specific film. Film is cheap but time is expensive.

In Boston terms I was everyone and no one, with no social investment, no social insecurity, sort of Imitation of Christ in one hand and The Education of Henry Adams in the other, and because I was part of nothing I could observe everything without having anything personal invested in the findings.

For me, film has been good because I'm able to work at top crack, working at something I love to do, in the only literary form in which you can still make money. There are no famous novelists, not as novelists used to be famous.

I never viewed screen drama as a vulgar form, or a lesser one, and I've never written it left-handed.

I never write with particular actors in mind.

I've got things I have to do in fiction to sort of register my existence, before I kick the bucket, but it will never be my living and I know it. Plus it never moved fast enough for me and lacked cut and thrust. I need to be in the real show.

I'm a homebody, as many writers are, and need to be by myself, and I like to be by the Atlantic Ocean.