I wrote 'My Name is Red' just to remember painting, where the hand does it before the intellect. When I'm captive to it, I'm a happier person. Kierkegaard tells us that a happy person is someone who lives in the present; the unhappy person, someone who lives either in the past or the future.

Istanbul is a vast place. There are very conservative neighbourhoods, there are places that are upper class, Westernised, consuming Western culture.

I have always thought that the place where you sleep or the place you share with your partner should be separate from the place where you write. The domestic rituals and details somehow kill the imagination. They kill the demon in me.

A museum should not just be a place for fancy paintings but should be a place where we can communicate our lives through our everyday objects.

Depression and anxiety can't fit in your head if you're cultivating feelings of joy and inspiration.

It takes a village to earn a spot representing your country, and I know that every single person who helped me get to the Olympics was also touched by the dream. The web of inspiration is incredible. Because of this, I know that the core principles and spirit of what the Olympics stand for are worth protecting.

When I started studying tenor saxophone as a kid in Belfast, I did so with a guy named George Cassidy, who was also a big inspiration.

So many people don't realise you need to be on a certain level of Maslow's hierarchy to have a dream: you have to have food and be safe from danger, all these things my parents didn't have at the get go, so I, from the very beginning, believe I have been living for multiple generations, for my parents and grandparents.