There's this sense of being strange, which is at the heart of every creative person. Every writer, every actor, every director knows who Ripley is. We've made careers and lives out of pretending, making things up, inhabiting other people's stories and lives. That's what I do every day. . . . The story is so audacious and subversive: a central character who behaves badly and isn't apparently caught. That intrigued me no end.

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.

I don't hold with the notion that only bad books make good movies.

Of course, like all film-makers I've been mesmerised by cinema since I was a child.

The feeling of not belonging, of not being entirely worthy, of being sometimes hostage to your own sensibilities. Those things speak to me very personally.

[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.

Betrayals during war are childlike compared with our betrayals during peace.