A while back there was this fad where a big star [would get] a producing credit and you'd ask around, and people were like, "No, they didn't produce, they just took the credit." I was flabbergasted. So when I started, people were weirded out by the fact that I was like, "How long is our prep? I'll come a week before that." They were like, "We're not shooting for six weeks."

I love the idea of longevity in this career. But [producing] is not about, "Let me do this because this might happen 20 years down the line." Sleepwalking wasn't a vehicle for me, it was a film that pushed the ­envelope. I want to produce good stories, versus creating a niche where I can look after myself as an actor.

I have OCD, which is not fun. I have to be incredibly tidy and organized or it messes with my mind and switches off on me.

We all understand situations where it's swim or drown. Sometimes we surprise ourselves when we start swimming and see how well we can do it.

I was pretty much a mess out of primary school. I really experienced a lot more of that stuff from the ages of seven to twelve, where there was a really popular girl at my school, and I was obsessed with her, like you'd go to jail for that stuff today. I'm so embarrassed to say this, but I was in tears one day, because I couldn't sit next to her.

So I did that for a long time in my career, and I waited for parts to play myself just physically down a little bit. But I do feel like I'm at a place in my career now where I don't necessarily fret about that too much anymore.

Women are not allowed to be [complicated] in our society. We're comfortable seeing women as great mothers, and then we're comfortable seeing them as hookers, but there's no in-between.