Less racist now but it has been. I don't think it's been completely stamped out. There's a class element to it. And who's supposed to do what. You're very unlikely to get a gay grip.

If you're playing someone who's impeded by fear, or shyness, or has whatever dysfunction your character might have, you have to achieve the dysfunction first, imaginatively, in order to play someone who is trying to negotiate their way out of it.

The last thing I would attempt to do is to buy clothes for a child I didn't know well.

Directors don't get to see other directors at work - they're the only one on the set. I've met directors who've asked me what another filmmaker is like. So, there's probably nobody better placed to make all the comparisons and to pick up stuff than an actor.

I do notice that when I've been away and I come back to London. People look at you. People are ready to pick arguments.

I have a great deal of respect for the craft, I don't know how much respect it has for me. But it's a precision process. Doing it on stage would be, I think, terrifying. Doing it on film has its own difficulties, because film is not conducive to spontaneity. You might have a run through and get a few chuckles at eight o'clock in the morning, but you don't keep laughing at the same thing all day long.

It's hard to get yourself into a position where someone will trust you to direct a film anyway, whatever sex you are. Certainly in England, the film set is a very male preserve. There's a lot of very rough looking men pushing equipment around that don't want the gaffer to be a girl.