Quote

I am writing about people who are alive in the city of New York during mid-20th-century America. And these people are like a character in a play or they are figures in a short story or a novel.

I've found in the past that the more closely I identify with the heroine, the less completely she emerges as a person. So from the first novel I've been learning techniques to distance myself from the characters so that they are not me and I don't try to protect them in ways that aren't good for the story.

I'm a great believer in the novelist being 'on the scene,' reporting, traveling, meeting all sorts of people.

I don't know how an actress is supposed to observe and create new stuff if she hasn't been on the streets, brushing up against humanity. You have to have a life.

I'm writing another novel and I know what I'm going to do after, which may be something more like this again, maybe some strange mixture of fiction and non-fiction.

I believe every time you film anybody, you create reality with that person - whether it's fiction or nonfiction.

My first book is about twins who are attached: two people who are joined and can't escape each other.

My wife, aside from being amazing in general, was really the catalyst in this, and I really owe a lot of the move to New York to her. She reminded me I've always wanted to do move to New York for theater and said, 'Let's stop talking about it and do it.'

If I look at it, it's about being able to get lost in New York, to explore the city, to have more personal stories about New York, although some could also take place in Paris.

When I went back to New York with somewhat of a name, they didn't want movie actresses.