I'm a champion napper. For the past decade, I've taken a nap at lunch on set. I have a noise machine app on my phone, headphones - and that's key. That's probably the most important thing. If I can get an eye mask on, that's great. And that's it. After a half an hour, I'm like a new person. It's just in that first half an hour, don't talk to me.

There's nothing like getting yourself into character and seeing a different person. It really wears on your vanity.

If I'm not like my characters, I think just it's like a musician liking to play certain pieces of music rather than others. I just have more satisfaction when playing complicated things rather than some of your more straightforward, simple moments. . . . I like to be challenged.

Even though I'm an actor, even though I know a little bit about film, I very much view things as an audience member. For me, whether it's TV, film, theater, whatever, it's a big movie, a small movie, whatever it is, I look for the truth in it. I look for the honesty. I just look for if it feels honest and real to me.

One day you're there and then all of a sudden, there's less of you. And you wonder where that part went. If it's living somewhere outside of you. And you keep thinking maybe you'll get it back. And then you realize it's just gone.

Anytime you have a female protagonist, it's going to turn into some feminist angle, and it's not a conscious thing on my part. It's only recently that that's been pointed out by the media . . . or pointed out by fans. I also find complicated, flawed characters interesting. What's the opposite? To play one-dimensional, boring failures?

When you audition for things, there's pressure to go in there with a complete performance, and it's kind of unfair because, if you get it, you'll have rehearsal and talk about it, and you'll have plenty of time with the script. So, for me, I really do feel like an audition is a sketch of what you might do.