I can think of a handful of auditions where the director has literally said, "That is the opposite of what I think." But it's really good to be honest and have that dialogue. I don't think you should be criticized though.

I think you have moments of doubt and moments where it feels really hard. You certainly have to be patient, and I'm a very impatient person. It's been like when Yoda teaches Luke to be a Jedi; the things that I do professionally have taught me new levels of patience.

If you want to have the right to have that conversation with your agent - "I know you sent it to me, I know you like it, but I just really think it's terrible" - you need to have the full details about script. You don't want to be in that situation where your agent says, "What about after the first 20 pages where it turns into a psychedelic musical?" And you're like "What? I thought it was an action-rom!"

Once you get an agent you're given an opportunity to try a little bit more. It's a really long ladder.

I'm incredibly grateful for Sophie Barthes, I'll always be incredibly grateful for her being generous enough to believe in what I thought. And it was just lucky that I met the right person.

I suppose it's really satisfying to play someone with secrets. It's really satisfying to decide how and when those things are going to start being revealed, and how subtle to be.

My mum was an actor until she started having children. I was the first child, so in a way I was the end of her acting career, which hopefully she's forgiven me for. She's still watches my show every week. It's funny because I didn't grow up in a household that felt like a theatrical household. My dad did a normal job and my mum had given up. But when I decided to try and do it - it wasn't the most alien concept.