I didn't really want to be a filmmaker, growing up. Other than Spike Lee's movies, I would think, 'Where is a place for me?' We were so damn poor that it just seemed too far beyond.

Cinema is a little over 100 years old, and a lot of what we do is built around film emulsion. Those things were calibrated for white skin. We've always placed powder on skin to dull the light. But my memory of growing up in Miami is this moist, beautiful black skin.

Growing up, I wasn't the most vocal kid in the world. I feel like I learned through observation, and usually, when you're watching things, you're not speaking. That sort of metastasized in a way that I began to participate less and less in the world.

My first job was cutting grass. In Miami, this grass grows everywhere. You just get the lawn mower out, walk down the neighborhood, cut grass.

I thought the message of the artist was more important than the writing style. I tried to be clear; I wanted everyone to be welcome. I think some of the more serious writers wrote to a more elite audience than that. They're the ones who were defining the seriousness of rock n' roll.

The Chinese art world does not exist. In a society that restricts individual freedoms and violates human rights, anything that calls itself creative or independent is a pretence. It is impossible for a totalitarian society to create anything with passion and imagination.

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.

I recently read that it's the left brain that does all that calculating, and the right brain that does the poetry. Somehow I've veered way towards the left. I've been doing it for years. Maybe I do art to balance it out.