For me, being onstage for an hour and a half, my confidence was really huge for me. Doing eight shows a week for a run, I was like: "I'm actually doing this." And now I feel more confident going into something.

I can't do modeling disconnected. And I thought, "What do I like? What do I love about modeling?" And what I love is that it's such a creative process, with a bunch of people, and I wanted that more, which is how the acting thing came about.

I'm not oblivious to that connotation of changing careers, so I'm just going in and doing the job. I think that you can't fake doing the job. All I want to do is deliver. That's my focus.

I've never had formal drama-school training; I've just picked things up as I've gone along.

It is captivating, isn't it? England has such a great scene of electronic music, and I think that was very prominent in Pusher, and the nightlife was the beat of the film. I feel what is really great about Pusher is that it wasn't about drugs and guns and strippers. That was just all circumstantial. I felt like it was really about people and how decisions and circumstances can change relationships. Something just happens. Everything changes for a reason.

I feel like every project that I've been doing, I've learned something about myself. It's like I've cracked something, or my vision of myself has gotten wider. I'm just learning and growing, and overcoming the fear.

For modelling, you have to be such a strong person in a way – or seen to be a strong person, do you know what I mean? But in acting you have to get in touch with all the vulnerability that you carry.