I write all over the house. Because I write in longhand, I can go anywhere I want... I have some notebooks here and there, and then I type it in and pull it out, and I do the revisions all over the place.

I think the plasticity of the novel is its greatest challenge. There are no rules; there is no necessary form. You can know what you want it to be, or do, and still not know how to write it. There are endless possibilities, infinite choices. What voice should it be in? What events to start with? What characters will be part of it?

People are always thinking that I'm the main character in my books, but each one has been different, and sometimes they've been men.

I think I'm less disciplined than a lot of other people, I'm afraid, but on the other hand, I've written a lot of books.

When you have an intimate encounter with mortality as my family and I did with my mom's death, I took a long look at my life and I asked myself what was the one thing that I hadn't done that I had really wanted to do. And it was to write and direct a film.

My mother begged doctors to end her life. She was beyond the physical ability to swallow enough of the weak morphine pills she had around her. When she knew she was dying I promised to make sure she could go at a time of her choosing, but it was impossible. I couldn't help.

I had always loved John Ford's pictures. And I came to love him, too, but I was frightened to death working for him. He used the shock treatment while directing me.

Even though everybody's lives are different, in general we're all human beings, and we go through the same things: disappointments, the pleasures of life, life and death. That's always been a really big part of the show to me, making sure the audience feels connected, and that carries through to the album.