When you do a voice in an animated film, you don't see the finished product at all. You're not animating. You're not doing the voice on the finished product. You're doing the voice long before.

The trick in life is learning how to deal with it.

I wonder what it means when Americans say I'm an American. In Britain the culture is basically the same from one end of the country to the other. And when I came here and I saw Americans who live, I don't know, in you know, Northwestern California as opposed to Americans who live in Louisiana, as opposed to Americans who live in the Nevada desert. English even is literally a picture that I have in my mind of an oak tree in the field, a single oak in a green field. And also when I think of my Russian roots, it's the landscape that I connect with as more than maybe the poetry or the drama.

Directors always used to be like the police to me - the enemy, the people to tell me what to do when I didn't want to do it. But I've lived with one for a while now and I guess I can put myself more in their position. You shouldn't be too sympathetic to them.

I was part of the first generation of girls and women to be educated and go to grammar school even if we didn't have much money. Then that generation went, 'OK, great', and went into medicine or the police, and hit this wall of discrimination from older men who hadn't caught up.

As you get older naked stuff [on film] gets easier. It's more to do with the role than what men in the audience think. There's a liberation about it.

You have to go through the long, painful process of learning techniques to be able to recognize a "good accident" or a "bad accident."