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.

I was very lucky in that my parents were very broad-minded. Because they had come from another country and hadn't been able to fulfill their dreams, they wanted me to be more of myself, if you know what I mean.

I only went along to youth theatre with a friend when I was young to try to make myself a bit more sociable. But the whole thing was quite sore; it really hurt me trying to get into drama school. It was a world I knew nothing about - it was very middle class; all that usual stuff. But I was young, determined, and I just went for it.

For actors, being successful is generally getting a job. If you can work a lot, you're really successful. If you work a lot on projects that are interesting and intelligent and great fun to be part of, then you're hugely successful. And I feel hugely successful. I can't believe that I get to be involved with the projects and the people I work with.

Any kind of conflict draws me to a role.

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.

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.