I've actually got quite a good memory. I've good recall. It's often things which other people might not notice.

Some people say that you should read people who think completely differently from you so that everything you read and everything that they say is a challenge to you but there's something to be said for reading people where you think, 'Yes, that's how I would have said it if I could have found the words for it'.

Ghost City' was actually one of the few instances of non-fiction that I had written, and I felt that I probably said what I wanted. I think it must be different for every author; I haven't done very much of it, and perhaps, in a way, I found it rather painful, which is why I don't really do it very often.

Sundays in my teens were spent on homework: from 8 am until at least 8 pm, with stoppages to be fed and watered. I was carrying up to ten subjects simultaneously.

As soon as I got into music, I tried to be a working, real artist who gets paid for what he does, who doesn't have a day job.

I think the worst that can happen in filmmaking is if you're working with a storyboard. That kills all intuition, all fantasy, all creativity.

If the creative artist worries if he will still be free tomorrow, then he will not be free today.

I sort of feel like my job is to be a conduit to opportunities, to maximize the creativity of the day itself - because that's when the cameras are running. That's the important thing to me. Some of these shots you need to think about in advance; you need to have some ideas for them.