I just would like to keep going. If I kept getting the kind of work that I've been getting for the last 20 years for the next 20, I'd be a bloody Dame of the British Empire. I'd be so happy.

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 admire people who overcome obstacles or who have to commit - I've always really admired commitment, whether it be a commitment to living or a commitment to love. People who commit to a moment. People who are not somewhere else, but in the room with you.

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.

There are some roles you just don't say 'no' to. Those compass points: you get them so rarely as an actress.

I sometimes think it's like a weird elastic band. The more tragic your work is, the quicker you snap back. There's a catharsis in telling a miserable old tale; you get rid of demons.

The life of an actor is very random. It can be exhilarating but terrifying - you do wonder day to day where the next job will come from. Some of my friends are very talented people, but you see them out of work - which can be tough. If you wanted that kind of security, though, I guess you wouldn't be an actor in the first place.