I don't even think places like the National Youth Theatre (NYT) are necessarily about wanting to be an actor when you grow up. They're about meeting people from different backgrounds and different religions and different cultures, and mixing with people that you wouldn't ordinarily meet.

There was actually a camera on your face. I don't know so much about the animation process but the camera was in our face so it could get expressions from our faces that would eventually arrive on the gnomes. It almost felt like you were cheating at times because it was a wee bit too much fun. You were in that box on your own. Kelly [Asbury] was in Toronto, I was in LA, so I was just on my own. I thought: "I can't be getting paid for this as well!"

I always felt slightly grubbier than most American people. I was never quite as groomed as everyone else, never quite as fit as anyone else. I didn't have my protein shake and my vitamins.

My mum Margaret was a single parent, but though life was a bit of a struggle she gave me every encouragement.

It means I wake up to sunshine every morning, and I can afford to drink better wine at night. But I haven't completely sold out to Hollywood.

I was in King Lear with Sir Tom Courtenay at The Royal Exchange in Manchester. In fact, that's where I met my husband. I was playing Regan and he was playing Cornwall and together we fell in love plucking out Gloucester's eyes. It was great fun. Everyone assumes that I was Cordelia because I've got blonde hair but I was Regan and they gave me a long auburn wig. It was great, good fun.

Mind you, if a blockbuster movie was offered, I wouldn't say no. I can do accents - I don't always have to be Scottish.