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The funny thing about children is that, whichever room we're in, that's where they'll be. If I'm in the bath, they'll want to be in there too, playing with the toothbrush pot or brushing my hair.

I don't know, maybe I'm immature, but I still find it funny if I dump cold water on my girlfriend when she's in the shower.

When I make a book, I make it for the child and not for the parent - no jokes in it for the parents!

It's like you take these great actors and put them in an aquarium of life and just watch them swim. That's what makes editing tough because you get all these beautiful, unplanned moments.

For some reason, I have always had a really good ability to write children in a way that's realistic but not annoying. The key to that is underwriting them: peel back the dialogue and keep it simple.

Almost nobody believes anymore that infants are insensate blobs. It seems both mad and evil to deny experience and feeling to a laughing, gurgling creature.

When the babies were very young, I found it difficult to write. I told myself each time that it would be different, I was used to it now, but with every child, for the first four months, I would accomplish nothing.

Once you're done with the film, it's almost like empty nest syndrome: your kid has moved out of the house.

A baby's existence for the first three months is a one-way street. One person is doing all the work and the other is crying, sleeping and pooping. So the first moment when you're actually able to do something and they acknowledge your presence, that's a big deal. A very big deal.

I was pregnant with my daughter when I started writing my first thriller, so I guess you could blame hormones.