My novels are often about people who are in love or attracted to each other.

Writing a film - more precisely, adapting a book into a film - is basically a relentless series of compromises. The skill, the "art," is to make those compromises both artistically valid and essentially your own. . . . It has been said before but is worth reiterating: writing a novel is like swimming in the sea; writing a film is like swimming in the bath.

She's half mad and three parts drunk.

Is that a good definition of marking the ageing watershed? That moment when you realize - quite rationally, quite unemotionally - that the world in the not-so-distant future will not contain you: that the trees you planted will continue growing but you will not be there to see them.

The only times we are consciously aware of the authorship of a photograph, I would argue, are when we contemplate the photographs we ourselves have taken (or those of friends and family) or when we go deliberately to the photographers monograph or exhibition. The signed image - the appropriated, the owned image - is by far the rarest in this pullulating world of pictures.

The last thing we ever learn about ourselves is our effect.

When you experience bereavement at a youngish age, you suddenly realise that life is unjust and unfair, that bad things will happen, and you have to take that on board.