I'm small. I'm petite. But I'm a bit of a fighter inside.

"The Theory of Everything" is an extraordinary story because [Jane Hawing] was incredibly religious and [Stephen Hawking] was an atheist, so you have this conflict both on a domestic level between a couple in a difficult situation but also this bigger conflict of science versus religion, so it's a really fascinating project.

I've been very lucky. Directors I've worked with have been very amenable to changes.

[In "The Invisible Woman"] was a different type of performance which was less driven by improv. You always want moments of freshness and newness, but there was less so than I've done before.

There's so much of a desire in the entertainment industry for newness, a desire to build somebody up and then treat them as old news within six months. I think you'd be naive if you didn't try to hold on to your own way of doing things.

I'm attracted to playing people who aren't necessarily straightforward.

But for everyone, I think, there is always a pressure to conform, and I guess as you get older you realize it's less interesting to do that. It starts with you, though, saying, 'I know what I like doing and that's what I'm going to do.