I'll give you a list of a hundred ways that I'm more likely to be injured than belting around a race track with people who know what they're doing. It's not a place where I feel I'm in unnecessary danger.

The Israeli accent wasn't one that I was overly familiar with so had to learn from scratch but I was very fortunate I had the right amount of time.

There wasn't a moment where I got into cars. It wasn't a conscience decision or something that came later, it was there since I was born. I just love it.

I've always been someone that sets achievable short-term goals. I've never been someone that's had a five-year plan, or a three-year plan. That just seems to lead to a lot of disappointment, and doesn't give you the chance to be flexible. So I've just always been someone that's sort of reassessed where I'm at, and set goals that are realistic. And luckily, I've had plenty of chances to recalibrate and adjust, and good fortune's come my way.

Having seen Justin's work on Bleak House, I knew that he'd be incredibly well prepared and interesting stylistically for this and that was definitely the case. It's very liberating for actors - and I can only speak for myself here - but he creates a very loose environment and he's a great collaborator.

I loved working with him [Justin Chadwick]. He was very smart in how he assembled the people around him and had a crew that he knew very well. He was very comfortable on the set and I never felt that I was working with a first-time filmmaker.

I guess I'm a very keen observer, and I'd like to think I have a good imagination.