For a photographer — it’s like actually taking a picture is like five percent of what I do. And the rest is research, reading, contact, setting things up, making contact, getting access, making people feel comfortable, doing the reporting, doing the interviews, getting the captions. It’s not getting there physically, the logistics on the ground. I mean, literally, taking a picture is the easiest part of my job.

I’m a rather slow writer and I have to go to a coffee shop. I turn my back to the crowd in the cafe, so that everyone’s chatting and the noise of the place rises behind me, and then I just keep my head down and churn out my screenplay. I can’t write at home, because I get too lazy. I’ll just want to watch TV or fall asleep. But I’m not allowed to lie down and fall asleep in the cafe, right? So it kind of forces me to work.

I decided that my attention would be in the dining room. I haven’t cooked in 28 years at Chez Panisse. ... I didn’t intend to be out of the kitchen. ... Now I’m in a different world and I contribute to the collaboration of the kitchen and I’m always working with a group of colleagues who inspire me, but I really miss being actually in the solving of the performance, that effort to really come up with dishes that are delicious and right.

I was living in survival mode when I was young. I'm now trying to teach the people to live in a mentality that they can be whatever they want to be even though the situation around them is hopeless.

I want my readers to laugh sometimes. Many readers in Japan read my books on the train while commuting. The average salaryman spends two hours a day commuting and he spends those hours reading. That’s why my big books are printed in two volumes: They would be too heavy in one. Some people write me letters, complaining that they laugh when they read my books on the train! It’s very embarrassing for them. Those are the letters I like most. I know they are laughing, reading my books; that’s good. I like to make people laugh every ten pages.

Yes. I didn't want to be a writer, but I became one. And now I have many readers, in many countries. I think that's a miracle. So I think I have to be humble regarding this ability. I'm proud of it and I enjoy it, and it is strange to say it this way, but I respect it.

When I’m in writing mode for a novel, I get up at four a.m. and work for five to six hours. In the afternoon, I run for ten kilometers or swim for fifteen hundred meters (or do both), then I read a bit and listen to some music. I go to bed at nine p.m. I keep to this routine every day without variation. The repetition itself becomes the important thing; it’s a form of mesmerism. I mesmerize myself to reach a deeper state of mind. But to hold to such repetition for so long—six months to a year—requires a good amount of mental and physical strength. In that sense, writing a long novel is like survival training. Physical strength is as necessary as artistic sensitivity.