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.

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 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!

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.

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

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.

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