I can bore for England on the subject of James Bond. But I knew I couldn't do it frivolously; I had to take it very seriously, however much fun I was having. And I had to make myself, you know, absolutely steeped in Bond and in Fleming and that world.
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I don't think they'll ever make a retro Bond.
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What's important to me is that all of my books are in print - and, in a way, that becomes the challenge, not winning this prize or getting that review. It's that the work is there, and you can walk into many bookshops throughout the world and buy it.
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It's strange; when I was younger and people would ask, 'Where are you from?', I'd say, 'West Africa', which was odd because I'm obviously not African, but it was my home.
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There is a disconnect between the film Bond and the literary Bond which is their contemporaneity. I don't suffer from that.
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In the broad spectrum of the arts, two worlds rarely overlap - the literary world and the world of rock music.
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I have this lock of hair that keeps falling across my forehead. It drives me mad.
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As a novelist, where do you go to tap into memories, and impressions, and sensations? It's usually, in my experience, your early life, before you started thinking of yourself as a writer, because somehow those experiences are unadulterated.
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I know many older writers who were very successful and whose books are now out of print, so you have to go to antiquarian booksellers to buy their fifth or eighth novel or whatever it is.
