My fear of drama school is that the natural extraordinary but eccentric talent sometimes can't find its place in a drama school. And often that's the greatest talent. And it very much depends on the drama school and how it's run and the teachers. It's a different thing here in America as well because so many of your great actors go to class, which is sort of we don't do in England.

Actors are rogues and vagabonds. Or they ought to be.

It's so hard when you're young to look at older people and understand that they have been where you are. It's the weirdest thing. You just can't get your head around that, can you? You can't get your head around the fact that someone who is 60 was once 16, if you're 16. But the fact is they have been, and they remember it.

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.

I was never that kind of star. I was never cast because I was gorgeous.

Working away from my husband for long periods is good and bad. It stops us taking each other for granted and gives us space, but I miss him terribly.

There's a heartbeat in any country that carries on regardless - at least in Europe. That's what worries me about America, because I'm not sure what that heartbeat is - unless it's the heartbeat of someone who's just arrived, who just ran over the border two weeks ago.