I'm interested in stories which insist on a dog fails-to-eat-dog kind of world. I hate misanthropy, want to believe that there's a possibility that we might all be redeemed, that hope deferred makes the soul sick, that our humanity is fragile, funny, common, crazy, full of the longing for love, the failure of love.

I was one of five very clever kids, the other kids were cleverer than I was and still are and are very achieving. The girls were always first at everything and I was always 101st!

I looked around and we were about a mile-and-a-half from land, and I thought, 'OK, I'm going to drown now.' And then I started to flail out and panic. I gradually calmed down and I got home. But the reality was that in that moment I was panicking and I feel like that to me was the clue about Ripley, that Ripley constantly finds himself out of his depth in the film and then reacts very, very badly.

I work fitfully, in hope rather than in expectation, invent methods which last a week, and fill notebooks with tiny, illegible writing which often defies my own attempts to decipher it.

No studio in Hollywood wanted 'Cold Mountain.' None. No one wanted 'Ripley,' no one wanted 'The English Patient.' That tells you there isn't really an appetite for ambitious movie-making out there.

As a teenager I was obsessed with music and with writing and performing songs.

[Abbas Kiarostami] is a great artist and a poet. I sometimes think that if Samuel Beckett made films, he'd make them like Kiarostami makes them.