I think it helps to have a good old-fashioned trajectory, plodding along. Obviously one has an ego and it's really easy to have that ego tickled, but what helps me get through the night is if I concentrate on just quality of work so that I don't panic about my profile.

You just grow up and learn to think instead of just feel.

Nothing is more diminishing than trying to control success or hold on to things.

The first thing that attracts me to any script is the writing. If I find myself becoming lost in a good yarn, then I feel certain that others will, too.

The experience of having a child does crack you wide open. I felt like I suddenly had to rebuild the skin that I'd grown over the years before having a child. Perhaps that might be quite interesting in terms of acting.

I try very hard not to take work home, but it can be tricky. Sometimes it feels as if you are wearing your costume underneath your own clothes! I suppose things are always ticking away in the back of your mind.

I didn't really know anything about Margot Fonteyn. I'd never really been a ballet child, so I had no idea what an incredibly huge icon she was, not just in terms of a creative icon - she was also a style icon. I had no idea she was up there with Audrey Hepburn and Jackie Onassis in terms of that kind of image.