When a place comes across vividly in a novel, it's often compared to a character. I can remember writing teachers who encouraged me to treat setting as if it were a character, to give it three dimensions, to make it come alive, jump off the page.

In putting setting to work, I like to think about long shots and close-ups. The long shot is the overall view of the place in which the characters live - the island, the town, the wide sweep of place. Then we narrow in. The close-up, the tight focus, makes the place different from anywhere else.

One day during filming, George Clooney was wearing his surf shirt and board shorts, and my six-year-old daughter was in the background as an extra, playing in the sand - playing herself. She and Clooney suddenly looked equally Hawaiian, equally related to the place I call home.

I like to add props to render the specificities of place - paintings, food, clothing, signs, infrastructure, music, sayings and slang particular to the region and particular to the character. And props shouldn't just sit there; they should get used.

The band projects just took natural priority. I didn't really have a solo career, just wanted to share the music in another way and to learn more about writing, recording, etcetera.

I didn't grow up thinking of movies as film, or art, but as movies, something to do on a Saturday afternoon.

I was playing a singer-songwriter, so I started writing, and I started going up to different places around Los Angeles and reading poetry of my own, which terrified me, but I had to do it. I picked up a guitar and started learning guitar.

As children, we have vivid imaginations. We stay up late waiting for Santa Claus, dream of becoming president, and have ideas that defy physics. Then something happens. As we grow older, we start editing our imagination.