I wrote 'My Name is Red' just to remember painting, where the hand does it before the intellect. When I'm captive to it, I'm a happier person. Kierkegaard tells us that a happy person is someone who lives in the present; the unhappy person, someone who lives either in the past or the future.

Istanbul is a vast place. There are very conservative neighbourhoods, there are places that are upper class, Westernised, consuming Western culture.

I have always thought that the place where you sleep or the place you share with your partner should be separate from the place where you write. The domestic rituals and details somehow kill the imagination. They kill the demon in me.

A museum should not just be a place for fancy paintings but should be a place where we can communicate our lives through our everyday objects.

When I first went to college, I went to Western Michigan. I had been rejected by a bunch of schools for theater. I was like, 'I'm obviously not cut out for this, so I might as well just go into film.'

Sometimes I think of creativity or art as this well that we all draw from.

In my own life I studied music, not creative writing; I see a novel as music - an opening as an overture, themes and subplots as lines in a fugue. The chance to write a novel about a musician boxed in by all kinds of limitations but who plays out his ultimate struggle for freedom at the piano was irresistible.

Visualization - it's been huge for me. Your mind doesn't know the difference between imagination and reality. You can't always practice perfectly - my fingers will play a little bit out of tune, or my dance moves might not be as sharp - but in my mind, I can practice perfectly.