The three touchstones that woke Buddha up - sickness, old age, and death - are a pretty good place to start when crafting a tragic tale. And if we need to get more specific: heartbreak, destruction, miscomprehension, natural disasters, betrayal, and the waste of human potential.

The way I was educated, maybe from just inhaling something in the air back then, I grew up believing that E. B. White occupied the apex of essay writing.

Thomas Pynchon surely inaugurated or crystallized a new genre in 1963 when he published 'V.' The seriocomic mystery or thriller with one foot set in the present and one in various historical eras received its postmodern baptism from Pynchon.

The impossibility of a sequel ever recapturing everything - or anything - about its ancestor never stopped legions of writers from trying, or hordes of readers and publishers from demanding more of what they previously enjoyed.

I think a good dollop of sadness is quite a useful thing in comedy sometimes. I think if everyone's happy all the time, it's a bit dull. It's like salt and caramel - you wouldn't imagine they would go well together, but they do.

I know this is going to sound very self-serving, and I apologize for it, but if you can write comedy, you can pretty much write anything, because it's the hardest. It's the most technically demanding, the most precisely evaluated form of writing. People know if it works or not. There's a big button marked 'fail,' and that's when nobody laughs.

I have an Italian comedy at the Venice Film Festival.

I make a joke that I'm the Internet curmudgeon, but 'wary' is a good way to put it.