When a place comes across vividly in a novel, it's often compared to a character. I can remember writing teachers who encouraged me to treat setting as if it were a character, to give it three dimensions, to make it come alive, jump off the page.

In putting setting to work, I like to think about long shots and close-ups. The long shot is the overall view of the place in which the characters live - the island, the town, the wide sweep of place. Then we narrow in. The close-up, the tight focus, makes the place different from anywhere else.

One day during filming, George Clooney was wearing his surf shirt and board shorts, and my six-year-old daughter was in the background as an extra, playing in the sand - playing herself. She and Clooney suddenly looked equally Hawaiian, equally related to the place I call home.

I like to add props to render the specificities of place - paintings, food, clothing, signs, infrastructure, music, sayings and slang particular to the region and particular to the character. And props shouldn't just sit there; they should get used.

Coming from art school, I had a great sense of style - as did The Beatles and the Stones - and I enjoyed projecting that. Image, attitude, great music and great lyrics - that was the '60s.

If you're clever enough and creative enough to get a good film made, then you should be clever enough and creative enough to find ways to get it out there, one being something like Jameson First Shot.

My three years in Manhattan were sort of my university years. I was learning by myself, and it was a tough time. That's when I began writing articles for newspapers back home about life in New York. This interest took over, and I moved from painting to writing.

I'm an advocate of music in schools. It's important to me that music is in as many schools as possible across this country and across the world. I think that it's a lost art form because kids aren't as exposed to it as maybe they used to be, or should be. I was exposed heavily to jazz and that's why I love it.