Everyone is so estranged; no one is rooted. That's what I like to write about more than anything else. Everything being so mixed up. Racially mixed up, people moving from place to place, everything shifting.

The misfortune to be born when I was, where I was. That was a piece of bad luck.

I always find the first thing that really bothers me when I start a screenplay is, I have to find a different form. You can't follow the form of the novel. It's a different thing completely. It's impossible. You just somehow have to find a structure for the whole thing. You have to crack that.

I'm not interested in who am I. I'm interested in what's gone, the disinheritance, what I've been able to become or learn or fuse with or not fuse with. A certain freedom comes... I like it that way.

Though my poems are about evenly split between traditionally formal work that uses rhyme and meter and classical structure, and work that is freer, I feel that the music of language remains at the core of it all. Sound, rhythm, repetition, compression - these elements of my poetry are also elements of my prose.

Writing was something I always as a kid thought would be fabulous and glamorous to be a writer.

I started writing probably around when I was 15, because that's when I picked up the guitar. That was also around the same time when I began to create my own music, and everything really just clicked for me, and I knew this was what I was going to do.

The whole thing about making films in an organic film on location is that it's not all about characters, relationships and themes, it's also about place and the poetry of place. It's about the spirit of what you find, the accidents of what you stumble across.