When I came into the acting profession, it was quite hierarchical. You didn't sit at the same table as the leading actor. Sir Laurence Olivier, Sir John Gielgud... these were very, very intimidating and powerful people.

I think we all have a dream of what it would be like not to work and grow heirloom tomatoes, and I do have that dream, it would be lovely. I do love gardening and all of that, but I do love my work.

Fear can be one of the most destructive emotions. It is, of course, also very important, in that fear sometimes stops you from doing stupid things. But it can also stop you from doing creative or exciting or experimental things. It can cloud your judgement of others, and lead to all kinds of evil. The control and understanding of our personal fears is one of the most important undertakings of our lives.

Painters hate having to explain what their work is about. They always say, 'It's whatever you want it to be' - because I think that's their intention, to connect with each person's subconscious, and not to try and dictate.

English actors feel vaguely apologetic for being there at all. American actors know that the most important thing is to get one take out of fifty that is great, and they'll go to any length to get it. The English are used to working within consistently small, low-budget things and think, I mustn't waste their time.

I'm a would-be rebel. The good girl who'd like to be a bad one.

When I was doing Shakespeare and I had spent a lot of time and effort in trying to become a great Shakespearean actress. That was how I started my career, was in the theater doing Shakespeare. And my ambition was to be a great classical actress. That was what I wanted more than anything. So, I really pursued that in the first four years of my career. And it was an uphill struggle. It really was. Shakespeare's difficult and Shakespeare in a big theater is even more difficult. So, anyway, it was a struggle for me.