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I begin a book with imagery, more than I do with an idea or a character. Some kind of poetic image.
Many of the less prolific killers' stories go unheard because they simply don't make good books.
All I know is what the words know, and dead things, and that makes a handsome little sum, with a beginning and a middle and an end, as in the well-built phrase and the long sonata of the dead.
I need boundaries. In the modern studio there are a bunch of instruments around me, and I can simulate anything I can't play, so sometimes the palette feels too big.
Children simply don't make the distinction; a book is either good or bad. And some of the books they think are good are very, very bad indeed.
My brother and Lauren are very close with me and they are in Sun Valley, so sometimes I need to go there and feel their presence. And there are times I need to see my bro' alone.
Sometimes some of these little side excursions are useful and I manage to fit them in the book somewhere.
I've made some films that were very much image based: 'Anna Karenina' and 'Pan,' for instance.
Some of the French surrealists at the beginning of the war had come over to New York and they brought out this magazine. It was a big, glossy magazine full of surrealist things.
