My first film, 'Like Minds,' was with Toni Colette, who was extraordinary. I mean it was basically a mini-masterclass for acting on film at a time when all you could probably see were my eyebrows bouncing up and down on screen.

I walk around talking to myself in accents. Usually people look at me like I'm a complete fruit loop.

You never know what's right, what you feel inside versus what is portrayed.

They're such hierarchical things, film sets, they're sort of mini societies. Often they're incredibly political places.

I draw and play the piano badly. But when I’m doing those things, I’m concentrating so hard there’s no room for worry. I find that onstage, too.

I find that what doubt does, or fear, is it makes you come up with as many ideas as you possibly can. And on film that works 'cause you're then handing over that fear to the director, who has to make sense of all those options!

A lot of people think theatre must be much harder work than film, but anything histrionic or superfluous gets seen on camera so you have to work to distil it into a complete sense of what's true.