During the Cold War, we lived in coded times when it wasn't easy and there were shades of grey and ambiguity.

It's part of a writer's profession, as it's part of a spy's profession, to prey on the community to which he's attached, to take away information - often in secret - and to translate that into intelligence for his masters, whether it's his readership or his spy masters. And I think that both professions are perhaps rather lonely.

In the last 15 or 20 years, I've watched the British press simply go to hell. There seems to be no limit, no depths to which the tabloids won't sink. I don't know who these people are but they're little pigs.

Having your book turned into a movie is like seeing your oxen turned into bouillon cubes.

Novelists are not equipped to make a movie, in my opinion. They make their own movie when they write: they're casting, they're dressing the scene, they're working out where the energy of the scene is coming from and they're also relying tremendously on the creative imagination of the reader.

Like every novelist, I fantasise about film. Novelists are not equipped to make a movie, in my opinion. They make their own movie when they write: they're casting, they're dressing the scene, they're working out where the energy of the scene is coming from, and they're also relying tremendously on the creative imagination of the reader.

Remember Graham Green's dictum that childhood is the bank balance of the writer? I think that all writers feel alienated. Most of us go back to an alienated childhood in some way or another. I know that I do.

I made a series of wrong decisions about moderately recent books, and I've sold the rights to studios for ridiculous amounts of money and the films have never been made. That's the saddest thing of all, because they're locked up and no one else can make them.

I taught principally German language and literature at Eton. But any master with private pupils must be prepared to teach anything they ask for. That can be as diverse as the early paintings of Salvador Dali or how bumblebees manage to fly.

I grew up in a completely bookless household. It was my father's boast that he had never read a book from end to end. I don't remember any of his ladies being bookish. So I was entirely dependent on my schoolteachers for my early reading with the exception of 'The Wind in the Willows,' which a stepmother read to me when I was in hospital.

The merit of 'The Spy Who Came in from the Cold,' then - or its offence, depending where you stood - was not that it was authentic, but that it was credible.

I think, increasingly, despite what we are being told is an ever more open world of communication, there is a terrible alienation in the ordinary man between what he is being told and what he secretly believes.

Totalitarian states killed with impunity and no one was held accountable. That didn't happen in the West.

I don't know the literary world; I was scared of being confronted with famous names, not knowing what they had written. It was occupied territory I was entering.

I write and walk and swim and drink.

The longing we have to communicate cleanly and directly with people is always obstructed by qualifications and often with concern about how our messages will be received.

But I think the real tension lies in the relationship between what you might call the pursuer and his quarry, whether it's the writer or the spy.

Writing is like walking in a deserted street. Out of the dust in the street you make a mud pie.

Every writer knows he is spurious; every fiction writer would rather be credible than authentic.

There was an ITV television production of the second novel I wrote, called 'Murder of Quality.' It was a little murder story set in a public school - I'd once taught at Eton, and I used that stuff.

It's necessary to understand what real intelligence work is. It will never cease. It's absolutely essential that we have it. At its best, it is simply the left arm of healthy governmental curiosity. It brings to a strong government what it needs to know. It's the collection of information, a journalistic job, if you will, but done in secret.

Thank heaven, though, one of the few mistakes I haven't made is to talk about the unwritten book.

You should have died when I killed you.

Well, certainly I don't think that there are very many good writers who don't live without a sense of tension. If they haven't got one immediately available to them, then they usually manage to manufacture it in their private lives.

I'm really a library man, or second-hand book man.

I want to be like Ford Madox Ford. I want to be talking to somebody across a fire, and I want him to join me and listen to me, and if he is fidgeting in his chair, I know I am not doing my job. I am a storyteller, and I know most people like a story.

America has entered one of its periods of historic madness, but this is the worst I can remember.

You have no idea how humiliating it was, as a boy, to suddenly have all your clothes, your toys, snatched by the bailiff. I mean we were a middle-class family, it's not as if it was happening up and down the street. It made me ashamed, I felt dirty.

I was quite able at the insignificant work I did in MI6, but absolutely dysfunctional in my domestic life. I had no experience of fatherhood. I had no example of marital bliss or the family unit.

I've had nothing to do with the intelligence world since I left it, in any shade or variety.

I remain terrified of the capacity of the media, the capacity of spin doctors, here and abroad, particularly the United States media, to perpetuate false lies, perpetuate lies.