John le Carre

“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.”

“Most people like to read about intrigue and spies. I hope to provide a metaphor for the average reader's daily life. Most of us live in a slightly conspiratorial relationship with our employer and perhaps with our marriage.”

“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.”

“I wrote 'The Spy Who Came in from the Cold' at the age of 30 under intense, unshared personal stress and in extreme privacy. As an intelligence officer in the guise of a junior diplomat at the British Embassy in Bonn, I was a secret to my colleagues, and much of the time to myself.”

“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.”

“The Secret Intelligence Service I knew occupied dusky suites of little rooms opposite St James's Park Tube station in London.”

“'The Spy Who Came in from the Cold' was the work of a wayward imagination brought to the end of its tether by political disgust and personal confusion.”

“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.”