I was a tomboy running around in the garden. I used to play on a local cricket team. I grew up with all boy cousins, for the most part, and my brother. My mother was in the kind of late-sixties, early-seventies origins of female emancipation. And she was very much like, "You're not going to be defined by how you look. It's going to be about who you are and what you do."

I think personally it's not good for anyone - I don't think infidelity leads to happiness. It's painful for the person being cheated on, but also for the person who's cheating.

In my work I fight for, I hope, showing women in a true way. They've got brains.

Now we live in a time where the public and the private are completely fused and there isn't such a great distinction. We know our private lives are constantly made public. With Facebook and Twitter there isn't such a desire, it feels, to keep things private.

The key is working with great directors. A film is so many different people and all their talents, but particularly the directors, because of the idiosyncrasies of that person.

I hate it when, in films, the girl looks perfect in every shot. It's quite nice if there's a bit of dark circles underneath the eyes, if we see the reality of the situation that the person is going through.

My mother [was in advertising and] worked incredibly hard when she was bringing us up. She was a working mother and a working single parent.