I did The Seagull, the Chekhov play, on Broadway, a couple of years ago, and I had done it in London, and I became completely obsessed with the character, Nina, that I played in that. She's an actress. I couldn't find a play after that, that I wanted to do, because I couldn't think of doing anything else. Every part is a disappointment, once you've done that part.

My agent in London told me, after Never Let Me Go, because I loved doing that so much, "If you're on a lucky streak and you're doing well, you should only take a part, if you can't bear the idea of anyone else doing it." That's been the case since then, with Drive and Shame and the play (The Seagull), and the stuff that's going on, like Gatsby. I would have been devastated, if I hadn't gotten those jobs.

People always say, "You played such a strong character." I remember someone said that to me when I played a role in Shame, and she was a suicidal mess. I said, "She's not strong at all; she's incredibly weak." But "strong" to people means "real." It means you believe that's a person who exists, as opposed to some two-dimensional depiction of women.

I've never been obsessed with celebrity or star-struck or anything. I met Penelope Cruz when we were in Toronto, who I think is a goddess and an unbelievable actress, and she introduced herself. As she walked away from the table I had to take a deep breath, which was strange because I've never had that with anyone.

I'm not great at having my picture taken and I don't enjoy that side of it very much but I enjoy being with my friends and it's nice to have a reunion.

When you start playing a character every day for seven weeks, it suddenly starts becoming easier.

On film sets I can see everyone, and I really still find that so difficult.