As I got into my teens, I started reading better books, beginning with the Beats and then the hippie writers, people like Wallace Stegner up in Northern California, and all the political New Journalism stuff, the Boys on the Bus dudes and Ken Kesey.

When I moved to Los Angeles, I wrote spec screenplays. I was really poor, and I thought I was just gonna do this for a while to make a little money so I could write novels. I thought movies were a second-class art form. I condescended to it - I didn't know enough to know it was really gonna be hard.

It's tricky to ask a filmmaker to explain his own work; usually we're the least qualified to make sense of what we've done, unfortunately, because of the tunnel vision required to create anything over four years.

The movie business has been in enormous flux. It's always changing, and you've got to scramble. The Internet came along and devoured the DVD backend of the movie business. Suddenly you're watching dollars turn into nickels, and that's interesting to me.

My great-grandfather was a kola nut trader and the richest man in West Africa at the time of his death. My father was a businessman and politician. I was actually raised by my grandfather.

Shrinking away from death is something unhealthy and abnormal which robs the second half of life of its purpose.

Occupation - pressing occupation that will not be said nay - is a sovereign remedy for grief.

As crime writers, we put these characters, year after year, book after book, through the most horrendous trauma, dealing with grief and death and loss and violence. We can't pretend that these things don't affect these characters; they have to. If they don't, then you're essentially writing cartoons.