Having written for film and television, I had little interest in turning 'The Good Father' into a Hollywood thriller. I was writing a novel, and novels demand that the writer goes deeper, both emotionally and thematically.
Documentaries can embrace contradictions in a way that journalism can't.
There are two ways to write a werewolf novel - you can examine the genre conventions, or you can say, 'What would it be like if I were a werewolf?'
I really want to work on characters that have a lot of complexity and you don't always get that in comic book movies because they're not character explorations. I have nothing against movies like that, but I do see them as kind of like a cheeseburger.
I think what you call 'metropolitan America' - as in San Francisco, New York and Los Angeles - I think there's more awareness of the atypical, while in more traditional Britain, there's the kitchen-sink dramas and thrillers. It's more formulaic.
There are lots of authentic, moving characters in so-called systems novels, just as there are certainly deep structural ideas in some character-driven novels.
The vocabulary of film is camera cuts, it's how they communicate. But games are different. We don't really need to do that. We do it because it's a language that we're familiar with.
Sometimes I think there are two kinds of people - the autobiographists and the biographists.
