[Ecstasy] had its flaws, but again it was shot on a low budget, and they did well. It's not in the same league as Filth.

I wanted to capture the excitement of house music, almost like a four-four beat, and the best way to do that was to use a language that was rhythmic and performative.

When you start off with your first book, people assume that you're like all the characters in the book - and it does complicate things, when you're being constantly bombarded with it, but you have to embrace it.

I'm not interested in details that might get someone into trouble. I'm more interested in generalities rather than the particulars, as a journalist would be. Names, dates and times don't interest me at all. I'm interested in feelings and emotions. Most people are game, once they realize that you're on the level as far as that's concerned and you're not about exposing them, then they feel quite free to talk about it. Police officers and social workers are no exception.

You're never going to get beyond other people's preconceptions of what you are and what you're about.

Bowie's death is a very emotional thing. My generation of working-class Britain, it feels like we lost our spiritual leader, our guru. I always thought that if I was to be a hundred, somehow Bowie would be a hundred and fifteen. He'd be there to still steer me and guide me.

That's all very well as an abstract moral principle, Avril, a coffee-table theoretical construct, but there's no denying the sheer gratuitous pleasure to be derived from seeing members of the ruling class in pain and torment.