As far as executing work is concerned, you do it all in order. You do it in contractual order. There's no overlap, it's just continuation of your ordinary work. You move from one project into another.

Novelists who get shitty about screenwriting invariably can't do it, or they can't hack it in the world of what's really, in truth, very bold and very public enterprise.

I love editorial and sound and music, and I was working with the best people, so you learn a lot.

I'm not very precious at all, which I think people find surprising.

I'm not a precious text protector, or anything like that, you know, because it's a much more vital form than that. You have to rock.

I have a library room with four desks in it. On one of them is a spec, on one of them is a present work, on one of them is reading for a future work, on another desk is a novel I'm not doing until I'm a hundred and fifty, and things like that. But, contractually speaking, you just do one at a time when it's on and paid and live. You do your real day on one project and the rest is just literary life. Or intrusions.

It's been very much in the blood since I started imagining films or shooting with 8mm when I was a kid. I made some films and thought about films, but then I went into writing. Becket is something that's definitely on the cards. We have to see where that fits in the schedule, because it's a big picture and I have a lot of writing obligations at the moment. I'm wary of anything with a budget over a certain amount.