The best thing about writing has been the writer's life, the sense of being expressed, the ownership of the day, the entirely specious sense of freedom we have, however slave we are to some boss or other. I wouldn't trade it for any other life.

I always listen to music, my passion and vice is music, I will be denied access to heaven because of the number of CDs I own, and I have gluttony for all types and colours of music.

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.

There's a great tradition at the BFI of giving fellowships and I thought one of the great jobs that I'd have at the BFI would be to give them out on a regular basis.

The imaginative leap for me of writing for women is no more difficult than the one of writing for men. I've always wanted to have women well represented in the work that I've done because I've always been around them and around the way they look at the world.

The BFI exists to celebrate all poets of world cinema, of the past and present.

I have always believed that there is a need for life-affirming films.