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

The British vice is overthinking before we speak, which is really annoying. I love the way that, in America, people are more straightforward. The American vice would be sometimes speaking too loudly. You can always hear American people on the trains!

I guess I'm a bit of a romantic.

I've done quite a lot of improv work before, and I wanted to do this film ["The Invisible Woman"] because it felt like a different technique. We were very true to the lines, and there was something quite formal and almost theatrical about it.

I'm very independent, creatively, always trying to push myself - and I think that comes from my mother.

I think I actually did a production of "Under Milkwood," this Welsh play, with my drama group (at school), and I always remember taking everything far too seriously, and that it wasn't just a hobby but something I wanted to keep on doing.

I really enjoyed it - being involved in watching rushes and playback [in "The Invisible Woman"]. Ralph [Fiennes] was very open to my input, I think knowing that he couldn't always be there 100 percent, that he had dual aims with directing and acting.