I really wanted to write the way Kubrick makes films - 'Strangelove,' '2001', 'Clockwork Orange', 'Barry Lyndon' - they're all so different.

A lot of crime writing suffers from treading water. I feel an obligation to move the character on and not repeat myself. I try to fit him into a different period and a different agenda. That way, you learn slightly more about his personal history in the tradition of the unreliable narrator. It makes it more challenging to write.

If he can only perform good or only perform evil, then he is a clockwork orange—meaning that he has the appearance of an organism lovely with colour and juice but is in fact only a clockwork toy to be wound up by God or the Devil.

Does anyone remember who shot Kubrick's movies? Do you remember who shot David Lean's movies? No one remembers who shot 'Dr. Strangelove' or 'Barry Lyndon.'

Where do I come into all of this? Am I just some animal or dog?' And that started them off govoreeting real loud and throwing slovos at me. So I creeched louder still, creeching: 'Am I just to be like a clockwork orange?

Kubrick's films have life - they just never die.